Qingdao East Road, abbreviated as 青島東, lies entirely between Zhongshan South Road and Hangzhou South Road. On its north and south sides are the Legislative Yuan, the Control Yuan, and Chenggong High School. Being surrounded by legislative institutions, it often becomes the starting point for protests. These protests erupt instantaneously, like the rhythmic and subtle pulse of a heartbeat. After the protests, people sleep and experience aftershocks, much like the constant drizzle in Taipei, which perpetually reminds us that events are never absent.

潍县出生的年少的满仓在乞讨途中晕倒，被天佑母亲所救，并与天佑成为好朋友。在解救姜傻子和其女儿大嫚、小嫚的过程中，两人结识了乐于打抱不平的夏德发…

近代历史题材电视剧《青岛往事》讲述王满仓（黄渤饰），夏德发（刘向京饰）和天佑（巩峥饰）兄弟三人在青岛打拼，在经历创业，情伤，分家，背叛，复仇等种种之后，在国家命运的大背景下重新站在一起的另类感人励志故事。

屡获殊荣的媒体艺术家雷菲克·安纳多尔（Refik Anadol）与意大利珠宝世家BVLGARI宝格丽携手开启一场沉浸式艺术之旅，探索品牌最具标志性的"灵蛇"符号的无限维度。这是一场历时一年的创意实验﹣﹣艺术灵感与数字创新在此交融，匠心工艺与科技未来于此共鸣。本片首次独家记录这一创想过程，揭秘传统与革新如何碰撞共生，最终缔造出时代杰作。

屡获殊荣的媒体艺术家雷菲克·安纳多尔（Refik Anadol）与意大利珠宝世家BVLGARI宝格丽携手开启一场沉浸式艺术之旅，探索品牌最具标志性的"灵蛇"符号的无限维度。这是一场历时一年的创意实验﹣﹣艺术灵感与数字创新在此交融，匠心工艺与科技未来于此共鸣。本片首次独家记录这一创想过程，揭秘传统与革新如何碰撞共生，最终缔造出时代杰作。

日本映画としては珍しく、第一次世界大戦を扱った作品。青島の戦いを題材に、日本初の海軍航空隊としてドイツ軍に立ち向かった若者たちを描く。

日本映画としては珍しく、第一次世界大戦を扱った作品。青島の戦いを題材に、日本初の海軍航空隊としてドイツ軍に立ち向かった若者たちを描く。

本剧改编自同名漫画，讲述了“恋爱不需要主义”的傲娇绝食系帅哥男子与脱离恋爱的35岁的干物系女子之间的“协定恋爱”的“超”王道爱情喜剧故事。

本剧改编自同名漫画，讲述了“恋爱不需要主义”的傲娇绝食系帅哥男子与脱离恋爱的35岁的干物系女子之间的“协定恋爱”的“超”王道爱情喜剧故事。

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."