From the old family photos I collected in the ruins of military dependents’ village, I brought the figures in the photos out, and then isolated them from their own stories. On the original sites, I filmed a created story of the people being photographed to reconstruct their stories. By doing so I attempted to recall and to reexamine the history of the past military dependents’ village. In the film I applied a lot of obscure symbols such as portraits of military men, children with guns in their hands to bring the political atmosphere at the time forward. I also applied the unusual spectacles when the demolition work was operated (e.g. ruined lanes and paths, water spurting out from broken pipeline, bushes on fire, shattered glasses in a pile) and in the end of the film, the residents in these old pictures were run over by industrial machines. The visual violence indicated all things would return to its initial state, a wide and lonely plain, as if the village and the people had never existed here. The village being named as “Fu-Xing (Revival) Village” was ironic both literally and politically because in the end, it’s just a vain hope in history.