杰丝米妮·瓦德（Jesmyn Ward，1977- ），黑人女作家，密歇根大学艺术硕士，现任杜兰大学创意写作副教授。著有小说《哪里疼痛》（Where the Line Bleeds）及《拾骨》（Salvage the Bones），后者荣获2011年美国国家图书奖。非虚构作品包括为《纽约时报》编辑的畅销文集《这一次烈火》（The Fire This Time）及回忆录《我们收获的男人》（Men We Reaped）。2017年荣获麦克阿瑟天才奖，同年凭借第三部小说《唱吧！未安葬的魂灵》（Sing, Unburied, Sing）二度摘得美国国家图书奖，成为历史上第一位两次获得该奖项的女性。2018年获选《时代》百大影响人物。目前与家人居住于密西西比州。 孙麟，大学讲师，中国美国史研究会会员。从事美国非裔文学与文化的教学和研究。

A searing and profound Southern odyssey by National Book Award winner Jesmyn Ward. In Jesmyn Ward’s first novel since her National Book Award–winning Salvage the Bones, this singular American writer brings the archetypal road novel into rural twenty-first-century America. Drawing on Morrison and Faulkner, The Odyssey and the Old Testament, Ward gives us an epochal story, a jour...(展开全部)

A searing and profound Southern odyssey by National Book Award winner Jesmyn Ward. In Jesmyn Ward’s first novel since her National Book Award–winning Salvage the Bones, this singular American writer brings the archetypal road novel into rural twenty-first-century America. Drawing on Morrison and Faulkner, The Odyssey and the Old Testament, Ward gives us an epochal story, a jour...(展开全部)

When "Hitchcock's Films" was first published, it quickly became known as a new kind of book on film - one that came to be considered a necessary text in the Hitchcock bibliography. When Robin Wood returned to his writings on Hitchcock's films and published "Hitchcock's Films Revisited" in 1989, the multi-dimensional essays took on a new shape - one that was tempered by Wood's o...(展开全部)

简介：就这个战斗爽！！！！！！谁都可以是超级大反派。（本作品为全女世界线，轰到你死咪马赛，谨慎食用）

“An epic account of Viet Nam’s painful 20th century history, both vast in scope and intimate in its telling . . . Moving and riveting.” —VIET THANH NGUYEN, author of The Sympathizer, winner of the Pulitzer Prize With the epic sweep of Min Jin Lee’s Pachinko or Yaa Gyasi’s Homegoing and the lyrical beauty of Vaddey Ratner’s In the Shadow of the Banyan, The Mountains Sing tells a...(展开全部)

This book adopts a cognitive theoretical framework in order to address the mental processes that are elicited and triggered by found footage horror films. Through analysis of key films, the book explores the effects that the diegetic camera technique used in such films can have on the cognition of viewers. It further examines the way in which mediated realism is constructed in ...(展开全部)

Fun and fright have long been partners in the cinema, dating back to the silent film era and progressing to the Scary Movie franchise and other recent releases. This guide takes a comprehensive look at the comedy-horror movie genre, from the earliest stabs at melding horror and hilarity during the nascent days of silent film, to its full-fledged development with The Bat in 1926...(展开全部)

唐纳德·里奇（Donald Richie），1924年出生于美国，日本电影、文化专家。 1947年，唐纳德·里奇随军来到日本东京。很快，他就对日本文化、特别是日本电影产生了浓厚的兴趣，并开始尝试写作影评。1948年，他相识了被誉为“日本电影教母”的川喜多夫人，两人在向西方世界介绍和推广日本电影的过程中，结下了长期而深厚的友情。也正是通过她的介绍，里奇结识了当时名满日本影坛的电影大师小津安二郎。 自1953年起，唐纳德·里奇定期为《日本时报》撰写影评。1959年，他出版了《日本电影：艺术与工业》，这也是第一部用英语介绍日本电影的专著。之后，里奇发表了大量介绍、论述日本电影及社会的专著与文章，开始了其长达半个多世纪的日本文化“情缘”。

When Bright Morning takes her sheep to pasture, she gazes across the beautiful valley that is the home of her Navaho tribe and sees Spanish slavers riding straight toward her.