退休工人老赵（赵本山饰）相中了一个胖女人，令他尴尬的是，胖女人与他初次见面就提出要5万块钱作为婚礼的费用，老赵只能咬着牙答应了。徒弟小傅给他出了个主意，让他利用厂区后面的一个旧公共汽车车厢，使它成为那些恋爱男女约会的场所，并起名为“幸福时光小屋”。
一天老赵到胖女人家见到胖女人前夫留下的盲女孩（董洁饰），胖女人嫌弃她，要老赵将盲女孩安排在“幸福时光小屋”工作。事有不巧，当老赵带盲女“上班”时，旧车厢已被吊在空中。胖女人家已没盲女的容身之地，老赵只好带盲女回家。为帮盲女恢复生活的信心，老赵和众工友将这个啼笑皆非却又感人的骗局小心翼翼地继续下去，一班退休同事假扮成前来按摩的顾客……

孙丽英（巩俐 饰）数年前与丈夫离婚了，独自抚养着天生失聪的儿子郑大，她耐心的教会儿子说话，教儿子识字，母子俩生活艰难，但她却没有埋怨丈夫移情别恋，埋怨上天对她的不公。
孙丽英认为自己的儿子跟正常人没什么两样，可是儿子入学考试失败还是让她感到失落。郑大被其他孩子欺负的时候把助听器摔烂了，孙丽英想让前夫帮忙，却不得要领。
生活还是要继续的，为了给儿子再买一个助听器，孙丽英除了派报纸，还兼职了几份钟点工。好朋友大贺与方老师都给她们俩母子提供了很大的帮助，孙丽英也对方老师产生了好感。
经方老师的帮忙，郑大上学的事也有了希望。可是孙丽英却被雇佣她做钟点工的贾老板差点强奸了。她拿着本该属于自己的钱给郑大买了一个助听器，可郑大还是受到了歧视，孙丽英追逐着走在大街上的孩子。儿子问为何自己要戴助听器，孙丽英终于面对了现实，告诉儿子因为他是个聋子……

二嫫（艾丽娅 饰）靠卖麻花面维持生计，丈夫（戈治均 饰）是昔日的老村长，后来落下了病根做不了重活，家中重担全落在二嫫身上。隔壁的“瞎子”（刘佩琦 饰）家有电视和一辆破卡车，在村里算是不错的人家。二嫫的儿子虎子经常跑到“瞎子”家蹭电视看，自尊心颇强的二嫫暗下决心要买台全县最大的电视回家。“瞎子”对二嫫有意思，为她在县城介绍了一份工作并定时接她回村，后来两人在车上发生了关系。村里人对二嫫和瞎子指指点点，“瞎子”老婆（张海燕 饰）和二嫫在家门口打了一架。二嫫去县城卖血，最后终于买回了大电视......
本片根据徐宝琦的同名小说改编而成，获瑞士第47届罗卡诺国际电影节青年评审团金奖、国际影评人奖、评审团大奖。

故事背景设定在 1970 年代初期的胡士托近郊，一个将解散的身心障碍青年夏令营展开一场平行的转变，为身心障碍者权利运动揭开序章，从此永远改变年轻人的生活和美国的历史。本片由吉姆·莱布雷希特 (Jim LeBrecht) 和妮可·纽纳姆 (Nicole Newnham) 执导（前者正是该夏令营的学员），两人也与莎拉·博德 (Sara Bolder) 共同担任制作人，监制则为浩尔德·格特勒 (Howard Gertler)。

丈夫远在异地工作，梁丹（秦燕 饰）独立抚养身患轻度智障的儿子冬冬（黄海波 饰）。冬冬在六岁时患癫痫性痉挛，导致大脑损伤。梁丹相信儿子的病终会被治好，然而周遭的压力却不断袭来：学校将冬冬劝退；单位又禁止梁丹带儿子上班；周围的人不断投来异样的目光，甚至梁丹的丈夫也决定将儿子抛弃。但无论生活怎样艰苦，她始终不放弃令冬冬康复的希望……
本片荣获1990年法国南特三大洲国际电影节评委会奖和公众大奖、1992年瑞士国际电影节导演特别奖、1992年英国爱丁堡电影节欧洲影评人菲普雷希奖、1993年获柏林电影节青年论坛影评人奖。

身毒丸（藤原龙也 饰）少年丧母，他终日沉浸在怀念母亲的悲痛之中。父亲（三谷升 饰）为了家庭，从妓院买回来妓女抚子（白石加代子 饰）担任孩子们的继母，抚子带着领养的孩子千代一起进入了这个家庭。抚子努力维系这个家，然身毒丸过于执迷过去，对这个继母始终心怀敌意，母子之间的隔阂逐渐加深。最终，忍无可忍的抚子通过诅咒弄瞎了身毒丸的双眼，而逃出家门的身毒丸为了报复继母，杀害了无血缘关系的弟弟千代。父亲因无法承受巨大的打击而去世。家破人亡后，身毒丸悔不当初，最终与继母冰释前嫌，以恋人的身份生活下去。

日本著名纪录片导演原一男处女作。关于日本一群脑瘫患者的私密纪录片。

郑加农与妻子刘洁离婚了。郑因脑部受过伤经常剧烈疼痛，他去医院检查时遇到了在部队受伤时护理过自己的护士麦群，两人愉快地回忆起往事。这次相遇唤起了麦群对郑的爱恋，伴随着麦给予的具大精神安慰，郑走完了人生的旅程，而麦群从没有后悔自己的选择。

平凡的工人谢长庚（刘子枫 饰）拥有坎坷的人生，他的妻子早年去世，身后留下一个先天弱智的儿子晨晨（刘洋 饰）。老谢又当爹又当妈，每天出门上班便将晨晨反锁在家中。晨晨只能隔着铁栏张望外面的世界，寻常的童年与他无缘。在最近一次诊断中，老谢被发现患有癌症，这让一向少言寡语的谢长庚悲苦万分。他无计可施，甚至萌生了和儿子一同赴死的念头。厂工会主席和区民政科长石铁对此高度重视，一方面稳定老谢情绪，送他去医院积极治疗，另一方面耐心照顾晨晨的起居。石铁将晨晨送入启智学校，在那里小家伙结识了笑笑、牛牛、娇娇等好朋友，他的童年总算有了一抹亮色……

在线媒体Sundance Now直接预订剧情喜剧《This Close》，另外亦找了主演演员；预订18年上线的6集半小时剧《This Close》由两名聋人演员Shoshannah Stern及Josh Feldman执笔兼主演，根据Sundance影展的短片所改编，讲述一对好友之间的关系，主角包括刚订婚的Kate（Shoshannah Stern），以及准备忘记前未婚夫的Michael（Josh Feldman）。
Zach Gilford饰演Danny，Kate的未婚夫﹑Cheryl Hines饰演Stella，公关专家的她是Kate的老板；Colt Prattes饰演Ryan，Michael的前度﹑Marlee Matlin饰演Michael的母亲Annie，正从酗酒中康复，她希望与儿子重新建立关系。

马大力（高虎 饰）是个患脑瘫的残疾人，护士刘小蓉（赵平 饰）在与其接触中产生感情。不久，已怀孕的刘小蓉突然离开了马大力，此时，大力创办的残疾人康复中心已对外开放。残疾人李云（王群 饰）在农贸市场遇见前男友陈刚，两人碰见流氓滋事，趁李云报警之时，流氓把陈刚打成重伤。李云拿出全部积蓄为陈刚治疗，同时柱着拐杖四处寻访目击者，以期抓获凶手。社会各界被李云身残志坚的行为所感动，纷纷解囊相助。不久，派出所通知她行凶的流氓已抓获，同时见义勇为办公室将李云的先进事迹在全县通报表彰。次年，北京召开全国残疾劳模表彰大会，大力与李云双双登上天安门城楼......

田庚患上了无法治愈的肝癌，医生诊断他的生命只剩下不到三个月了，然而，在这三个月中，田庚还必须忍受病痛的折磨。绝望之中，田庚想到了自杀，然而，却未遂被送入了医院。在医院中，负责照料田庚的是他旧日的恋人王婉宜，尽管王婉宜努力劝说田庚勇敢的面对未来，但田庚依旧不为所动。
在医院里，田庚结识了截肢的少女北方，北方年纪轻轻就已经失去了一条腿，而她的而另一条腿显然已经出现了和先前相同的病症。北方对生活早已经失去了希望，这让田庚的心里很不是滋味，北方和田庚都认为对方是那个应该活着的人，而死亡对自己其实是一种仁慈。随着时间的推移，这一老一少两人成为了彼此的支柱，相互扶持，相互依靠。

因妈妈出远门，弟弟需要独自照顾脑瘫的哥哥。期间，弟弟意外发现哥哥其实懂得许多事情，也有着同于常人的生理欲望，但这些从来都没有人去在意过……

这部电影采用的是“戏中戏”的结构，写一群人在电影院里看电影，电影中放映的是一个胖女人对她刚去世丈夫的悲痛追忆。她一生都被神经衰弱和忧郁症所折磨，当她无法面对残酷现实的痛苦时便以睡眠作为逃避方式，最后也死在沉睡之中。影片外的情节则是一个节目主持人面对电影观众在讨论苏联的电影历史和现状，但这群观众却个个心不在焉，一个个趁机开溜，最后只有一个睡着的观众和两排穿制服的士兵。
风格相当怪诞幽默，但有一丝悲凉苍茫的情绪渗入其中，呈现了一个严肃的苏联电影人对于苏联社会现状的思考：苏联人在面对无法解决的现实问题时竟然以睡觉作为躲避的手段，同时也提出了艺术电影在苏联缺乏知音和市场的现实无奈。

丁丽华（陶虹 饰）是一位盲人，但身体上的残疾却并没能折损她的心智，正相反，和普通人一样，她坚强而乐观，独立又向上。从盲人学校毕业之后，亲戚为已到婚嫁之年的丁丽华安排了一门亲事，对方亦是同她一样的盲人。
生性好强的丁丽华并不愿意就此嫁为人妻开始漫长的操劳家事的生活，正相反，她积极争取，入选了伤残人集训队。在集训队中，丁丽华展现出了过人的运动天赋，也因此找到了人生的目标和希望。尽管教练（蒋恺 饰）平日里对她十分严格，但丁丽华还是慢慢对其心生爱意。与此同时，一位名叫刘义（何冰 饰）的男生对丁丽华表现出了好感，夹在两个男人之间，丁丽华会做出怎样的选择呢？

"Lorde's words — on race, cancer, intersectionality, parenthood, injustice — burn with relevance 25 years after her death." — O, The Oprah MagazineWinner of the 1988 Before Columbus Foundation National Book Award, this path-breaking collection of essays is a clarion call to build communities that nurture our spirit. Lorde announces the need for a radical politics of intersectionality while struggling to maintain her own faith as she wages a battle against liver cancer. From reflections on her struggle with the disease to thoughts on lesbian sexuality and African-American identity in a straight white man's world, Lorde's voice remains enduringly relevant in today's political landscape.Those who practice and encourage social justice activism frequently quote her exhortation, "Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare." In addition to the journal entries of "A Burst of Light: Living with Cancer," this edition includes an interview, "Sadomasochism: Not About Condemnation," and three essays, "I Am Your Sister: Black Women Organizing Across Sexualities," "Apartheid U.S.A.," and "Turning the Beat Around: Lesbian Parenting 1986," as well as a new Foreword by Sonia Sanchez."You don't read Audre Lorde, you feel her." — Essence"Lorde's timeless prose in this collection provides contemporary social justice warriors the language, strategies, and lessons around resistance, through the power of intersectionality, a Pan-African vision, and — ultimately — through the power of love and radical self-care." — NBC News"When I don't know what to do, I turn to the Lorde." — Alexis Pauline Gumbs, Bitch Media"Whenever my mind is heavy with questions and my heart thirsts for nourishment, I turn to the writing of Audre Lorde. Every time I revisit the words of Audre Lorde, I marvel over how relevant they continue to be." — AfterEllen.com"The self-described black feminist lesbian mother poet used a mixture of prose, theory, poetry, and experience to interrogate oppressions and uplift marginalized communities. She was one of the first black feminists to target heteronormativity, and to encourage black feminists to expand their understanding of erotic pleasure. She amplified anti-oppression, even as breast cancer ravaged her ailing body." — Evette Dionne, Bustle Magazine

Bodies of Difference chronicles the compelling story of disability's emergence as an area of significant sociopolitical activity in contemporary China. Keenly attentive to how bodies are embedded in discourse, history, and personal exigency, Matthew Kohrman details ways that disability became a fount for the production of institutions and identities across the Chinese landscape during the final decades of the twentieth century. He looks closely at the creation of the China Disabled Persons' Federation and the lives of numerous individuals, among them Deng Pufang, son of China's Communist leader Deng Xiaoping.
List of Illustrations
Preface
Acknowledgments
Introduction
1. A Biomythography in the Making
2. Why Ma Zhun Doesn’t Count
3. Building a Corporate Body
4. Speeding Up Life in Beijing
5. Troubled Sociality: The Federation-Canji Relationship
in Wenchang County
6. Dis/ablement and Marriage: Ridiculed Bachelors, Ambivalent Grooms
Epilogue
Notes
Appendixes
References
Index

In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness--fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. "Memoirs of the Blind" is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts--including Diderot's "Lettres sur les aveugles," the notion of mnemonic art in Baudelaire's "The Painter of Modern Life," and Merleau-Ponty's "The Visible and the Invisible." Along with engaging meditations on the history and philosophy of art, Derrida reveals the waysviewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, "Memoirs of the Blind" extends and deepens the meditation on vision and painting presented in "Truth and Painting." Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.

"Narrative Prosthesis: Disability and the Dependencies of Discourse" develops a narrative theory of the pervasive use of disability as a device of characterization in literature and film. It argues that, while other marginalized identities have suffered cultural exclusion due to a dearth of images reflecting their experience, the marginality of disabled people has occurred in the midst of the perpetual circulation of images of disability in print and visual media. The manuscript's six chapters offer comparative readings of key texts in the history of disability representation, including the tin soldier and lame Oedipus, Montaigne's "infinities of forms" and Nietzsche's "higher men," the performance history of Shakespeare's "Richard III, " Melville's Captain Ahab, the small town grotesques of Sherwood Anderson's "Winesburg, Ohio" and Katherine Dunn's self-induced freaks in "Geek Love."David T. Mitchell is Associate Professor of Literature and Cultural Studies, Northern Michigan University. Sharon L. Snyder is Assistant Professor of Film and Literature, Northern Michigan University.

In Diminished Faculties Jonathan Sterne offers a sweeping cultural study and theorization of impairment. Drawing on his personal history with thyroid cancer and a paralyzed vocal cord, Sterne undertakes a political phenomenology of impairment, in which experience is understood from the standpoint of a subject that is not fully able to account for itself. He conceives of impairment as a fundamental dimension of human experience, examining it as both political and physical. While some impairments are enshrined as normal in international standards, others are treated as causes or effects of illness or disability. Alongside his fractured account of experience, Sterne provides a tour of alternative vocal technologies and practices; a study of “normal” hearing loss as a cultural practice rather than a medical problem; and an intertwined history and phenomenology of fatigue that follows the concept as it careens from people, to materials science, to industrial management, to spoons. Sterne demonstrates how impairment is a problem, opportunity, and occasion for approaching larger questions about disability, subjectivity, power, technology, and experience in new ways. Diminished Faculties ends with a practical user’s guide to impairment theory.