雅克·勒高夫（Jacques Le Goff，1924－2014），法国历史学家，年鉴学派第三代代表人物之一，1972—1977年任法国社会科学高等学院院长。勒高夫专长中世纪史，尤其是12—13世纪。他认为中世纪本身是一个独立的文明，与希腊－罗马时代及现代有明显分别。勒高夫的著作有多种在中国翻译出版，如《圣路易》（2002）、《中世纪的知识分子》《钱袋与永生：中世纪的经济与宗教》《试谈另一个中世纪》（2014）等。

雅克·勒高夫（Jacques Le Goff，1924－2014），法国历史学家，年鉴学派第三代代表人物之一，1972—1977年任法国社会科学高等学院院长。勒高夫专长中世纪史，尤其是12—13世纪。他认为中世纪本身是一个独立的文明，与希腊－罗马时代及现代有明显分别。勒高夫的著作有多种在中国翻译出版，如《圣路易》（2002）、《中世纪的知识分子》《钱袋与永生：中世纪的经济与宗教》《试谈另一个中世纪》（2014）等。

Born in Estonia in 1901, Louis Isidore Kahn was to become one of the United States' most important architects of the post-war period, alongside the Modern masters Mies van der Rohe, Walter Gropius and Le Corbusier. Although renowned for a number of seminal modern works, he came to question many of the precepts of the Modern Movement. In particular, he questioned the ability of ...(展开全部)

Andrei Tarkovsky (1932-86) was considered by many to be one of Russia's most influential filmmakers, despite an output of only seven feature films in 20 years. He was revered by such luminaries as Bergman and Kurosawa for his use of long takes, languid pacing, and meditations on spirituality and the human soul - as can be seen in his best known films, "Andrei Rublev" (1964-66) ...(展开全部)

"The assembly of pieces of i-- lm to create fright is the essential part of my job, just as a painter would, by putting certain colours together, create evil on canvas." Alfred Hitchcock (1899-1980) was one of the most interviewed directors in the history of i-- lm. Among the hundreds of interviews he gave, those in this collection catch him at key moments of transition in his ...(展开全部)

"For me, each shot is a living thing, with a breath of its own, that consists of inhaling and exhaling. this is a process that cannot accept my interference. it must have a natural opening and fading." Deeply rooted in the soil and culture of his native Greece, in its history, and in its contemporary political upheavals, Theo Angelopoulos (b. 1935) has chosen to make all his fi...(展开全部)

Over nearly sixty years, Agnès Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the “Mother of the New Wave” but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the cha...(展开全部)