Since it first appeared in Screen in 1975, Laura Mulvey’s essay "Visual Pleasure and Narrative Cinema" has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey’s compelling polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge preconceived ideas and produce new works that owe their possibility...(展开全部)

Since it first appeared in Screen in 1975, Laura Mulvey’s essay "Visual Pleasure and Narrative Cinema" has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey’s compelling polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge preconceived ideas and produce new works that owe their possibility...(展开全部)

Visual Explanations: Images and Quantities, Evidence and Narrative is about pictures of verbs, the representation of mechanism and motion, process and dynamics, causes and effects, explanation and narrative. Practical applications and examples include statistical graphics, charts for making important decisions in engineering and medicine, technical manuals, diagrams, design of ...(展开全部)

This volume explores the interaction between text and image in Indian Buddhist contexts, including not only the complex relationship between verbal stories and visual representations at Indian sites, but also the ways in which visual imagery is used within textual narratives. The chapters are authored by a mixture of textual scholars and art historians, bringing together differ...(展开全部)

In the twenty years preceding the First World War, cinema rapidly developed from a fairground curiosity into a major industry and social institution, a source of information and entertainment for millions of people. Only recently have film scholars and historians begun to study these early years of cinema in their own right and not simply as first steps towards the classical na...(展开全部)

Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno—affiliated through friendship, professional ties, and argument—developed an astute philosophical critique of modernity in which technological media played a key role. This book explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impr...(展开全部)

马克·费罗：法国年鉴学派史学家，第一次世界大战史、俄国史专家，将电影作为文献和媒介进行历史研究的先锋。著作甚丰，除本书外，其他主要著作有：《法国史》（2001）、《历史的禁忌》（2002）、《伊斯兰教的冲击》《电影，对历史的一种解读》（2003）等。

Routledge Critical Introductions to Urbanism and the City