The essay—with its emphasis on the provisional and explorative rather than on definitive statements—has evolved from its literary beginnings and is now found in all mediums, including film. Today, the essay film is, arguably, one of the most widely acclaimed and critically discussed forms of filmmaking around the world, with practitioners such as Chris Marker, Hito Steyerl, Err...(展开全部)

室利•阿罗频多(1872－1950)，印度 “三圣”（圣雄甘地、圣诗泰戈尔、圣哲阿罗频多）之一，居印度近代以来最著名的精神哲学家之列。民族主义者，自由斗士，诗人，哲学家，瑜伽修行者。 　　7岁就去英国求学，毕业于剑桥大学。21岁时回国，开始研究本土文化，渐渐参加独立运动。到34岁已为名教授而被推为大学校长；到36岁已为秘密结社之魁首，主持暴动暗杀等事。同年其秘密结社败露被捕，入狱一年，诉讼获释。获释后仍继续其爱国运动，但得讯又将被逮捕，于是间关抵达南印度之一海滨埠头，名“捧地舍里”（pondicherry），当时是法国属地，为英国势力所不及，时正38岁（1910）。从此隐居著述，凡四十年，以至去世，从未离该地。阿罗频多一生著述有一百多种，其代表性的著作有《神圣人生论》、《薄伽梵歌论》、《综合瑜伽论》等。 　　在中国，其思想的研究者和传播者为徐梵澄（1...(展开全部)

室利•阿罗频多(1872－1950)，印度 “三圣”（圣雄甘地、圣诗泰戈尔、圣哲阿罗频多）之一，居印度近代以来最著名的精神哲学家之列。民族主义者，自由斗士，诗人，哲学家，瑜伽修行者。 　　7岁就去英国求学，毕业于剑桥大学。21岁时回国，开始研究本土文化，渐渐参加独立运动。到34岁已为名教授而被推为大学校长；到36岁已为秘密结社之魁首，主持暴动暗杀等事。同年其秘密结社败露被捕，入狱一年，诉讼获释。获释后仍继续其爱国运动，但得讯又将被逮捕，于是间关抵达南印度之一海滨埠头，名“捧地舍里”（pondicherry），当时是法国属地，为英国势力所不及，时正38岁（1910）。从此隐居著述，凡四十年，以至去世，从未离该地。阿罗频多一生著述有一百多种，其代表性的著作有《神圣人生论》、《薄伽梵歌论》、《综合瑜伽论》等。 　　在中国，其思想的研究者和传播者为徐梵澄（1...(展开全部)

Nora M. Alter argues that the essay film is a hybrid genre that fuses three major categories of film: feature, art, and documentary. Much like the written essay, its literary predecessor, the essay film draws on a variety of forms and approaches, fundamentally altering the shape of cinema. Alter traces the essay film’s origins to early silent cinema, charting the genre’s evolut...(展开全部)

Nora M. Alter argues that the essay film is a hybrid genre that fuses three major categories of film: feature, art, and documentary. Much like the written essay, its literary predecessor, the essay film draws on a variety of forms and approaches, fundamentally altering the shape of cinema. Alter traces the essay film’s origins to early silent cinema, charting the genre’s evolut...(展开全部)

Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein's film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.

埃里克·舍曼,出生于洛杉矶，成长在好莱坞的制片厂里，现任教于加利福尼亚艺术学院，曾在几家主要的好莱坞电影公司担任制片主管，与一些好莱坞顶尖级的编剧、制片和导演一起工作，成功地保证了许多电影在预算的资金和时间之内出品。从1976年开始，除了与一些工作室合作之外，埃里克还拥有和经营着一个电影公司Film Transform，全面涵盖了电影和视频制作的业务。他的著作包括四本广泛使用的教科书：《导演电影》（Directing the Film）、The Director's Event、Frame By Frame和Selling Your Film。

Few periods in history compare to the Great Depression. Stock market crashes, bread lines, bank runs, and wild currency speculation were worldwide phenomena - all occurring with war looming in the background. This period has provided economists with a marvelous laboratory for studying the links between economic policies and institutions and economic performance. Here, Ben Berna...(展开全部)

Few periods in history compare to the Great Depression. Stock market crashes, bread lines, bank runs, and wild currency speculation were worldwide phenomena - all occurring with war looming in the background. This period has provided economists with a marvelous laboratory for studying the links between economic policies and institutions and economic performance. Here, Ben Berna...(展开全部)

"Editing is the creative force of filmic reality." So Dmytryk, director of the American classic "The Caine Mutiny" begins this little book, which he hopes will aid film directors and editors in perfecting their art. It is informative for general audiences as well, demonstrating how deeply the experience of any film relies on the creativity and versatility of its editor. Product...(展开全部)