Confronting half of her mother’s life—her mother who had survived the Jeju April 3 Incident—the director tries to scoop out disappearing memories. A tale of family, which carries on from Dear Pyongyang (YIDFF 2005), carving out the cruelty of history, and questioning the precarious existence of the nation-state.

電影《變態者意識形態指南》是由斯洛文尼亞的哲學家、拉康精神分析專家斯拉沃熱‧齊澤克編寫劇本及主演、由蘇菲‧費因斯(Sophie Fiennes)執導。如齊澤克的另一部《變態者電影指南》一樣，它透過穿梭於著名的電影場景之間來勾勒出一個理解藝術和世界的精神分析理論框架，是某種意義下一部「紀錄片」。

What is a revolutionary? The writings of Marx and Engels both use the metaphor of revolution as the "locomotive of history". Is, then, the revolutionary a standard bearer of progress, a pace setter, a frontrunner? 　　None of the above, because in a world ruled by a turbo "devaluation" where only the new has market value, where commodity production spirals out of control, the "train of time" is a deadly trend. Alexander Kluge instead opts for Walter Benjamin's idea of the revolution as mankind "pulling the emergency brake". We must hold up the torch of reason to the problems at hand, and the true revolutionary is therefore the one who can unite future and past, merging two times, two societies, the artist who montages stories and history. And so we come to Alexander Kluge and his art. 　　Kluge's monumental "News from Ideological Antiquity. Marx – Eisenstein – Das Kapital" is a 570-minute film available only on DVD which is based on the work of two other montage artists, James Joyce and Sergei Eisenstein. These two met in 1929 to discuss filming Marx's "Kapital" which had been written 60 years beforehand. Now, eighty years on, Alexander Kluge joins the party and takes up where Eisenstein failed, because neither Hollywood's capitalists nor Moscow's Communists were prepared to send the necessary funds his way. 　　Most of the film consists of involved discussions between Alexander Kluge and other Marx-savvy writers and artists. Poet and essayist Hans Magnus Enzensberger compares the soul of man with the soul of money, author Dietmar Dath explains the meaning of the hammer and sickle on the Soviet flag and, from the standpoint of the Stoics, leaps (rather than marches at an orderly pace) into industrialisation, the actress Sophie Rois makes an impassioned appeal for Medea, differentiating between additive and subtractive love, filmmaker Werner Schroeter stages a Wagner opera featuring the "rebirth of Tristan in the spirit of battleship Potemkin", philosopher Peter Sloterdijk talks about Ovid and the metamorphosis of added value, a man at the piano analyses the score of a strike song while workers and factory owners face off in an opera by Luigi Nono, the poet Dürs Grünbein interprets Bert Brecht's aesthetisation of the Communist manifesto in swinging oceanic hexameter, cultural scientist Rainer Stollmann emphasises the myriad meanings of Marx's writings as science, art, story telling, philosophy, poetry. And social theorist and philosopher Oskar Negt looks sceptical when asked whether it's possible to find the right images for all this stuff when you're less interested in pedagogical content than the encompassing theory. 　　Scholarly stuff, wide and deep in scope, yet bold and playful. But even if your own study of Marx is no more than a faded memory, it is hugely enjoyable to watch and listen to these experts as their "thinking gradually deepens through talking" and to watch Kluge interject, hopping adroitly from one thought to the next, surprising his interlocutors, catching them off balance, sending them off on new trajectories. We never know how much agreement and variance is hidden in Kluge's objections. His a Socratic approach to questioning, curious, open to everything, and so wonderfully subtle that at the end always find yourself wondering whether he had been driving at a particular target all along. Alexander Kluge is a great manipulator, an industrious loom, who weaves the most far-flung observations into his system. 　　He is not filming "Das Kapital" but researching how one might find images to make Marx's book filmable. The quest is the way is the destination. The model for his underlying structure is Joyce's "Ulysses" where the entire history of the world is packed into a day in the life of his hero, Bloom. In Kluge's hands this becomes a collage of documentary, essayistic and fictional scenes, interviews and still photos, archive images of smoking factory chimneys, time-lapse footage of pounding machines and mountains of products, diary entries and blackboards scribbled with quotes referencing constructivism and concrete poetry. 　　Coincidences, collisions. Back to back with a short film in which director Tom Tykwer stirs things up in a Berlin street, two readers struggle to recite the following sentence, slipping in and out of synch with increasing desperation: "Whenever real, corporeal man, man with his feet firmly on the solid ground, man exhaling and inhaling all the forces of nature, posits his real, objective essential powers as alien objects by his externalisation, it is not the act of positing which is the subject in this process: it is the subjectivity of objective essential powers, whose action, therefore, must also be something objective." 　　No sooner are we shown "how the history of industry and the established objective existence of industry are the open book of man's essential powers, the perceptibly existing human psychology" than we have the history of capitalism is explained to us as a giant extension of the fairytale about the devil with the three golden hairs – every thing is a human being being cast under a spell. And the beginning of Mae West's film career runs parallel to the leap into industrialisation – a form of aesthetic slapstick in which not cream pies fly through the air but ideas and concepts. 　　Unlike Eisenstein, who was driven to desperation by the herculean task of cutting the 29 hours of "October" into a 90-minute film version and turned to drugs into the process which left him temporarily blind, Kluge cooly sticks to his guns and his nine hours. And it's not a minute too long. 　　(This article was originally published in Tagesspiegel on 8 January 2009. Helmut Merker is a film critic.)

A research-based essay film, but also a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states.

节目是由《Show Me The Money》的制作团队继《Show Me The Money》、《Unpretty Rapstar》后打造的全新形式的Hiphop选秀节目。以rapper身份活跃的"MC 敏智"郑俊河和恶童HAHA通过Hiphop聚首带来前所未有 的新综艺。 节目分别从韩国六个地区的高校学生中选出每个地区前九强，由各地区名次相同的选手同台竞赛，并按各地区总分的顺序依次由选择带领自己地区的导师，经过数轮淘汰赛和决赛前的复活赛后，最终将有6名选手参与决赛。

节目是由《Show Me The Money》的制作团队继《Show Me The Money》、《Unpretty Rapstar》后打造的全新形式的Hiphop选秀节目。以rapper身份活跃的"MC 敏智"郑俊河和恶童HAHA通过Hiphop聚首带来前所未有 的新综艺。 节目分别从韩国六个地区的高校学生中选出每个地区前九强，由各地区名次相同的选手同台竞赛，并按各地区总分的顺序依次由选择带领自己地区的导师，经过数轮淘汰赛和决赛前的复活赛后，最终将有6名选手参与决赛。

生于大海，守护大海，去往大海——那就是“蓝色人鱼”！距今约100年前，由于板块运动，日本的大部分国土被水淹没而消失。为了保全国土而接连建成的水上都市不知何时成为了海上都市，随着连结它们的航路增大，需要更多的人员来保护海洋安全。由此，工作的女性进出海上、守护海洋安全的职业“蓝色人鱼”成为了女学生们憧憬的存在。在这样的时代，幼时好友的岬明乃和知名萌香，和拥有“成为蓝色人鱼”这一目标的伙伴们一起，进入了横须贺的海洋高中学习。

讲述一所传统的女子学校，突然打破常规，招收了几名男生入校学习，以改变学校的经营风格。然而在一切被女生主导的学校里，这几个男生遭遇各种意想不到的状况

故事发生在遥远的未来，彼时，大陆板块的活动令海水渐渐淹没了日本的大部分国土，人们不得不在海上建造起新的都市。随着时间的推移，海上都市的规模越来越大，航路越来越复杂，为了维持秩序，一种人们称之为“蓝色人鱼”的新型职业渐渐被大众所接收和憧憬，这份光荣的职业亦成为了很多女子高中生们未来奋斗的目标。 　　活泼开朗乐观向上的岬明乃（夏川椎菜 配音）、沉默寡言外冷内热的宗谷真白（Lynn 配音）、害羞内向但在熟人面前有着十分可爱的一面的立石志摩（古木望 配音）、傲娇毒舌非常在意自己身高的西崎芽依（种崎敦美 配音），这些个性迥异的女孩子们，是否能够实现她们心中的理想呢？