"The librarian who does not get Bondanella immediately must be petitioned, picketed, importuned". -- Choice

Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory. In The Flesh of Images, Mauro Carbone begins with the point that Merleau-Ponty’s often misunderstood notion of “flesh” was another way to signify what he also called “Visibility.” Considering vision as creative voyance, in the visionary sense of creating as a particular presence something which...(展开全部)

彼得•默里， 伦敦大学艺术史荣誉教授， 毕业于考陶德艺术学院［the Courtauld Institute of Art］，并在那里从事教学。1967年，他接替尼古拉斯•佩夫斯纳［Nikolans Pevsner］来到伦敦大学伯贝克学院[Birbeck College, University of London］。他撰写了许多建筑史著作， 包括《文艺复兴建筑》 ［Renaissance Architecture] ( 1972 ) ; 《英国建筑史》［A History of English Architecture] ( 1962, 1965）的一部分；以及与妻子琳达•默里［Linda Murray］共同撰写的《文艺复兴艺术》 ［The Art of the Renaissance] ( 1963）， 该书也被艺术世界丛书收录。

A handsome reissue of a classic guide to the architecture of Renaissance Italy indispensable to travelers, students, and architecture buffs alike and still the most comprehensive and accessible overview available. Photos and drawings throughout.

'His figure was striking, but not so from grace ...and as he stalked along, wrapt in the black garments of his order, there was something terrible in its air; something almost super-human.' First published in 1797, The Italian is one of the finest examples of Gothic romance. The fast-paced, narrative centres on Ann Radcliffe's most brilliant creation, the sinister monk Schedon...(展开全部)

An essential analysis of cinema from one of the great figures of French philosophy The cinema, like language, can be said to exist as a system of differences. In his latest book the acclaimed philosopher Jacques Rancière relates cinema to literature and theatre. With literature, he argues, cinema takes its narrative conventions, while at the same time effacing its images and it...(展开全部)

This book explores the border zones between life and non-life as represented in cinema from the end of the nineteenth century, when France led the global film industry, to the first decades of the twenty-first century, when world film markets are dominated by Hollywood. Informed by both the Internet of Things and the Parliament of Things, The Cinema of Things examines cinematic...(展开全部)

"The Cinema of Eisenstein" is David Bordwell's comprehensive analysis of the films of Sergei Eisenstein, arguably the key figure in the entire history of the film. The director of such classics as Potemkin, Ivan the Terrile, October, Strike, and Alexander Nevsky, Eisenstein theorized montage, presented Soviet realism to the world, and mastered the concept of the film epic. Comp...(展开全部)