So Damned is about an eleven-year old girl who wakes up basically and finds that she is in hell and that she's dead, and that she's going to be eleven-years old and dead in hell for the rest of eternity. So she has to, number one, make friends and figure out how hell works and make the best of it. But she's also got to figure out why she's in hell and how she died, and then ult...(展开全部)

So Damned is about an eleven-year old girl who wakes up basically and finds that she is in hell and that she's dead, and that she's going to be eleven-years old and dead in hell for the rest of eternity. So she has to, number one, make friends and figure out how hell works and make the best of it. But she's also got to figure out why she's in hell and how she died, and then ult...(展开全部)

伊沃•安德里奇(1892——1975),南斯拉夫塞尔维亚作家，一九六一年“因以史诗般写作天赋,深刻揭示与其国家历史交织在一起的人的命运的问题”而获诺贝尔文学奖.。 安德里奇出生于波斯尼亚特拉夫尼克附近的多拉克村，他的父亲是个手艺人，在安德里奇三岁时就去世了。之后，母亲带着他迁居维尔舍格拉德姑母家，并在那里度过了童年，城旁德里纳河上的大桥给了他深刻的印象。他在萨拉热窝上中学时，参加革命组织“青年波斯尼亚”。一九一四年因受奥地利皇位继承人弗朗茨-斐迪难在萨拉热窝被刺身亡案牵连，被奥地利当局逮捕，入狱三年。出狱后在萨拉热窝完成中学学业，然后去萨格勒布、维也纳和克拉科夫上大学，一九二三年通过了关于波斯尼亚文化史的博士论文，获格拉茨大学博士学位。 安德里奇的祖国波斯尼亚的历史和整个南斯拉夫的历史一样，是备受外国侵略和压迫的历史。早在十四世纪波斯尼亚就受到奥斯曼...(展开全部)

Landscape is everywhere in film, but it has been largely overlooked in theory and criticism. This volume of new work will address fundamental questions: What kind of landscape is cinematic landscape? How is cinematic landscape different from landscape painting? How is landscape deployed in the work of such filmmakers as Greenaway, Rossellini, or Antonioni, to name just three? W...(展开全部)

Architecture and Film looks at the ways architecture and architects are treated on screen and, conversely, how these depictions filter and shape the ways we understand the built environment. It also examines the significant effect that the film industry has had on the American public's perception of urban, suburban, and rural spaces. Contributors to this collection of essays co...(展开全部)

Women occupy a privileged place in horror film. Horror is a space of entertainment and excitement, of terror and dread, and one that relishes the complexities that arise when boundaries – of taste, of bodies, of reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the materna...(展开全部)

迈克尔·拉毕格（Michael Rabiger），曾任芝加哥哥伦比亚学院影视系主任，并建立了该学院的纪录片中心，在欧洲为国际影视院校联合会（CILECT）主持跨国纪录片讲习班，曾导演、剪辑了超过35部电影作品。他是纽约大学艺术学院的客座教授，讲授故事创意、导演和高级制片课程。其他著作有《开发故事创意》（Developing Story Ideas）《纪录片创作完全手册》（Directing the Documentary），这些教材为世界各地电影院校、电影专业人士、电影爱好者所喜爱，并不断更新、再版，长销不衰。 唐培林，湖南永州人，副教授、硕士生导师。自1988 年起，先后求学于湖南师范大学，学习英语语言文学专业（学士）；北京广播学院（现中国传媒大学），学习广播电视艺术学专业电视艺术与技术方向（硕士）；中国传媒大学，学习广播电视艺术学专业电视剧历史与...(展开全部)

Nonfiction Film Theory and Criticism, an anthology edited by Professor Richard Barsam of Richmond College, City University of New York, aims rather conspicuously at this textbook market. Barsam has made several previous book attempts to anticipate the needs of teachers and students in the documentary field.