暂无剧情简介

暂无剧情简介

远古流传着一位骑士用剑结束黑暗世界，给人们带来了光明的传说。在女主角小时候遇到了妖物，一位金色狼头的战士救了她。女主角长大后，一次去美术馆时候，遇到了变成妖物的管理员。危机中男主角钢牙出现变身成金色狼头战士再次救了她。之后故事序幕展开……

一部讲述魔戒在过去50年中是怎样影响西方的通俗文化的长篇纪录电影

杜家二少爷杜竞航（郑元畅饰）是一位名律师，然而个性冲动又急躁的他一天到晚都在外头闯祸。而哥哥杜竞远（吴中天饰）不仅温文尔雅，在各个方面表现得都很优秀。竞远与青梅竹马的未婚妻郭可亭（钱韦杉饰）是众人心中天造地设的一对。温柔善良的可亭看起来有几分柔弱，而对于爱情她却坚定而勇敢。生活在豪门世界之外的彭小均（夏于乔饰），是个孤苦无依的十八岁未婚妈妈。小均在酗酒的继父频频的家暴下，生活几乎到达了难以忍受的地步。本想前往男朋友家得到安慰的小均，却惊见男朋友脚踏两条船。小均茫然地踏上了一辆不知开往何方的火车。 　　在火车上，小均遇见了竞远与可亭。出于好奇，小均试戴了可亭手上的订婚戒指。可亭希望这枚杜家的家传戒指，能给小均带来幸福的力量。然而就在此时，火车出轨，陷入一片黑暗。他们的爱情与命运，从此交织在了一起。

中学女生Nayuta在回家路上救了一个和母亲一起被外星人追杀的小男孩Kiro。因为好奇Nayuta戴着Kiro头上戴着的形状类似戒指的金属头饰去学校上学，被假扮成老师的外星人盯住。外星人在烧毁Nayuta的家致使其父母身亡后抓走了Kiro。Nayuta在同样头上带金属环的龙太郎带领下和同伴们会合，开始了在苏子引导下的反抗绿色恶心外星人的战斗...

小均在一场火车意外中幽幽醒来，失去了所有记忆的她，完全不清楚自己是谁，正要前往何处。但她手上戴的古戒，是杜家长子未婚妻的证明，小均因此糊里胡涂地被接到豪门杜家。杜家的大家长把她当作自己的亲身女儿般呵护，让怀了身孕的小均感受到前所未有的亲情温暖。 　　随着小均记忆恢复的越多，她就感到越惶恐。她慢慢了解到，她不是大家口中那位千金小姐。她不但出身贫寒、拥有一个贪婪的继父、而且当初让她怀孕的那个男人还拋弃了她。坐上火车前的那个小均，只是一个走投无路的未婚妈妈… 　　而杜家的二少爷，竞航，虽然在优渥的环境下成长，心中却背着许多沉重的十字架：他背弃了父亲对他的期许，承载了对大哥的死的自责，还拒绝了千金小姐可亭深情的爱。他想要拋开一切，却逃避不了身为杜家继承人的事实。这一切又一切的矛盾，纠结在他的心中，让他有如困在牢恢械囊矮F，愤怒而无法脱身。 　　不被众人了解的竞航与天真单纯的小均，从互相伤害，彼此抗拒，到情不自禁渐渐的爱上对方，眼前却有无数的考验在等着他们。面对自己的大嫂，竞航向小均手上的传家戒指暗自发誓，他要保护小均，免受这险恶世界的威胁，即使这代价要牺牲的，是自己的性命……

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html