Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's...(展开全部)

Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's...(展开全部)

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical ...(展开全部)

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical ...(展开全部)

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical ...(展开全部)

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical ...(展开全部)

马歇尔·伯曼（Marshall Berman） 任教于美国纽约市立大学，讲授政治理论和城市生活研究。他的另一部主要著作是《本真性政治学：激进政治学与现代社会的出现》。

马歇尔·伯曼（Marshall Berman） 任教于美国纽约市立大学，讲授政治理论和城市生活研究。他的另一部主要著作是《本真性政治学：激进政治学与现代社会的出现》。

阿加·博伊科（Aga Bojko） 美国北卡罗来纳大学夏洛特分校心理学学士、德保罗大学人机交互硕士、伊利诺伊大学香槟分校人机交互硕士；GfK北美定制研究公司用户体验副总裁、《用户体验》（UX）杂志执行编辑，曾经就职于User Centric公司、Indiegogo公司和谷歌等多家著名的用户体验和IT公司，有着丰富的用户体验研究经验，在各种类型的眼动仪方面拥有十多年的经验，擅长用软件、网站、日用消费品等进行用户体验研究。

阿加·博伊科（Aga Bojko） 美国北卡罗来纳大学夏洛特分校心理学学士、德保罗大学人机交互硕士、伊利诺伊大学香槟分校人机交互硕士；GfK北美定制研究公司用户体验副总裁、《用户体验》（UX）杂志执行编辑，曾经就职于User Centric公司、Indiegogo公司和谷歌等多家著名的用户体验和IT公司，有着丰富的用户体验研究经验，在各种类型的眼动仪方面拥有十多年的经验，擅长用软件、网站、日用消费品等进行用户体验研究。