The film begins and ends in a shopping centre in Hong Kong. We carefully observe the smooth movement of the escalators, the constant flow of people that never stops, the musical fountain that presides over the centre of the internal courtyard, as if this gigantic complex could concentrate the circulation of the entire city, or even, the entire country. From there, it will be more a tale about concrete, enormous port warehouses, glazed galleries built for the 2010 universal exhibition, overpopulated tower blocks, the fragments of still recent colonialism...

鸦片战争后，驻扎香港的英军中弥漫着对于南中国地区热带湿热气候的焦虑与恐惧。19世纪流行的瘴气理论将瘟疫和空气、环境与种族联系起来，而这些焦虑间接地决定了香港直到今日的阶级分化和空间形态。这一时期港英政府开始着力于港岛的绿化，香港植物园的建立同时又肩负着为大英帝国博物学科收集整理殖民地植物和自然知识的任务。英国博物学家对于植物的档案需求促进了外销画在欧洲的流行。本作品着眼于梳理殖民地早期殖民主义和帝国扩张对于粤港空间与自然形态的影响，也试图探讨在这一框架下东西方文化抑或商贸交流的模式与今日的异同。

所谓“联合作业”，特指动画学院的毕业生五个人一小组，各自分工，相互配合，共同完成动画短片的过程。又到了一年毕业级，北京电影学院动画学院05级动画艺术班的学子们在老师的指导下各自分组，开始准备他们的毕业作品。对于这群平常散漫惯的大男孩来说，凡事能拖就拖，自作业宣布开始过去半个月，除了插科打诨就是暴打游戏，规定要完成的剧本却遥遥无期。最后的快乐时光，铭记于心的嘶吼……
本片为北京电影学院动画学院05级动画艺术班毕业作品，并荣获该学院第九届学院奖最佳新人奖，第11届大学生短片大赛最佳故事奖。

故乡重庆

电影一直都是虚构与现实的结合。如果我们将20世纪的电影整编到一起，我们将看到怎么样的一部20世纪的历史呢？在这样的一部历史中，不光有史实、纪录，也有想象、反思和憧憬。它也许可以不光告诉我们发生了什么事情，也可以告诉我们某个特定社会的所思、所想。

通过瓦砾、灰尘、野草、瓦砾、废墟和人体，直观地探索韩国光州前武装部队医院的废弃地点。由于对1980年5月失败的民主起义的记忆挥之不去，医院于2018年作为第12届光州双年展的特别地点开放。

梗概：关于一个纠结于过去、现在和未来之间的城市的三个追问。
作者：
王博, 1982年生于重庆, 现居纽约布鲁克林, 艺术家、导演。他目前任教于纽约视觉艺术学院视觉与批判研究系。
潘律， 德国拜罗伊特大学跨文化研究硕士和香港大学比较文学系博士，曾在柏林科技大学（2008－2009）和哈佛燕京学社（2011-2012）担任访问学者，现任香港理工大学中国文化学系助理教授。

由上海炫动传播与迪士尼公司合拍的动画片《半斤八两》从1月16日-2月22日每天11：45、春节小长假期间每天8：05在东方卫视播出。
该片以独具中国传统文化特色的两只石狮子“半斤”和“八两”为主角，他们的形象活泼可爱，一个矮胖，一个高瘦，一个天真乐观，一个略显消极。故事围绕这两个有趣的角色设定展开，内容包罗万象，从中国传统节日、美食文化、戏曲艺术、民间习俗、文化艺术以及神话传说等丰富的内容，充满了中国情怀，致力于将中国传统文化元素拟人化，共同为不同年龄、跨越国界的观众讲述带有中国元素的全新故事。

This film is about haunting memories of Asia's late 20th-century modernization. The story departs from a 1965 United States embargo on the hair trade, known as the "Communist Hair Ban". Yet, in every wig resides a ghost from the imperial past.
Wigs were vital for the rise of the Asian economy in the post-war era. In the heyday of the 1960s, it was the number four export in Hong Kong's export-orientated industrialization. Between Mao's China - the largest source of hair supplies, and the insatiable Western market, Hong Kong functioned as the gateway. In 1965, U.S. Treasury Department imposed an embargo on "Asiatic hair", to cut off foreign currency to Communist China in the hair trade. The highly racialized category of "Asiatic hair" was later revised as "communist hair", to enable the wig industry to develop in U.S. allies including mainly South Korea and Japan, which led to a significant reconfiguration of light industry in East Asia. Departing from the moment of the communist hair ban, through stories of movement, diaspora and migration, this project examines the role of Hong Kong as a transient space that mediates and sanitizes the connection between different worlds, and the relationship between U.S. Imperialism and East Asia order in the Cold War era.
Produced by: Ruoyao Jane Yao
Director of Photography: Yavuz Selim Isler
Cameraman (Hong Kong): Fai Wan
Sound Recording: Franco van der Linde
Casting Director: Sai-wang Lau
Makeup: Ika Kartika
Color Grading: Bob Lemm
Voice-over:
Jia Zhao, Hamza Junaid, Tommy Tse
Cast:
Zoenie Liwen Deng, Ruoyao Jane Yao, Zoe Tang, Michael de Ross, Sidney Vereycken, Sai-wang Lau, Jo-Lene Ong
Produced by:
Geodesic Studio, Vines Films
Thanks to
WAAG Society, Amsterdam
16mm Film Transfer and Scanning
Andec Filmtechnik, Berlin

Taking this phenomenon as its point of departure, the work traces the architectural evolution of these retail complexes. Drawing from a range of historical references—including the Crystal Palace, built for the 1851 Great Exhibition in London; 19th-century terrarium prototypes used in the British Empire’s botanical trade; and 20th-century corporate salesforce training videos—the work reflects on how the mall as a spatial form evolved from its colonial root of conquest, to a machine of consumerism and social control. Yet, The Revolution Will Not Be Air-Conditioned also pays close attention to how the intended outcomes of spatial design can be subverted, turning such insulated and sanitized spaces into a ground for political action and dissent.” (Bo Wang)
Sound Mixing: Julian Schulze
Music:
In Isolation
Over the Black
Chunk's Travel Diary
Artist: Fionnlagh, Album: What Came Before, Label: Ambientologist Records
This work was commissioned by Junni Chen, for the exhibition Lustrous Like Plastic, Hessel Museum of Art, CCS Bard College, NY.