Liewlyn Moss, hunting antelope near the Rio Grande, stumbles upon a transaction gone horribly wrong. Finding bullet-ridden bodies, several kilos of heroin, and a caseload of cash, he faces a choice- leave the scene as he found it, or cut the money and run. Choosing the latter, he knows, will change everything. And so begins a terrifying chain of events, in which each participan...(展开全部)

Liewlyn Moss, hunting antelope near the Rio Grande, stumbles upon a transaction gone horribly wrong. Finding bullet-ridden bodies, several kilos of heroin, and a caseload of cash, he faces a choice- leave the scene as he found it, or cut the money and run. Choosing the latter, he knows, will change everything. And so begins a terrifying chain of events, in which each participan...(展开全部)

時尚／LV；運動／Nike；電腦／IBM……，眼下我們生存的時代，品牌形象代表一切，連小學生也懂得要用名牌。要表現自己的專業、品味、社經地位，就要消費特定的產品，不管你是否真喜歡其品質。獲得消費者的品牌認同，就等於獲利的保證，於是新創的品牌虎視眈眈，欲取市場第一品牌之位而代之。至於沒有顯赫招牌的產品，往往價美物廉還是乏人問津。 知名品牌挾著雄厚的資本、強勢的行銷能力、全球運籌（global logistics）的經營觀念，令其產品席捲全世界。一種產品行銷全球，創造了後現代的國際風格，統一了世人的消費觀，卻斲傷了異文化的豐富性。全球性的公司聲稱要支持文化的多樣性，其實他們所謂的「多元文化主義」只是生產更多的產品，讓消費者有較多的購買選擇。 而在知名品牌風光行銷全球的背後，是許多不為人注意的勞工。他們其中的大多數人無法分享公司的鉅額利...(展开全部)

Toward the end of the nineteenth century, the hegemony of the printed word was shattered by the arrival of new media technologies that offered novel ways of communicating and storing data. Previously, writing had operated by way of symbolic mediation--all data had to pass through the needle's eye of the written signifier--but phonography, photography, and cinematography stored ...(展开全部)

Toward the end of the nineteenth century, the hegemony of the printed word was shattered by the arrival of new media technologies that offered novel ways of communicating and storing data. Previously, writing had operated by way of symbolic mediation--all data had to pass through the needle's eye of the written signifier--but phonography, photography, and cinematography stored ...(展开全部)

Thich Nhat Hanh says: 'Our biggest fear is that we will become nothing when we die. If we think that we cease to exist when we die, we have not looked very deeply at ourselves.' With his usual blend of stories, exquisite analogies and guided meditations, Thich Nhat Hanh takes the reader through the same examination of death, fear and the nature of existence that Buddhist monks ...(展开全部)

When David Shannon was only five years old, he wrote and illustrated a story in which an unruly little boy breaks all of his mother's rules -- he jumps on the beds; he chews with his mouth open; he plays ball in the house. Any child who is tired of hearing his parents say "No " will readily identify with this boldly illustrated, comical story.

史蒂芬·里瓦洛伊斯（Stéphane Levallois）法国艺术家。生于1970年，生活在巴黎。1988年，他进入佩尼昂高等艺术学院学习，曾师从著名设计大师诺曼·塞斯莱维兹（Roman Cieslewicz）。毕业后，史蒂芬·里瓦洛伊斯从事平面设计、标志设计和电影与摄影的海报的制作。他还在游戏公司Cryo担任艺术指导。史蒂芬·里瓦洛伊斯也是一名出色的电影故事板画手。他与很多导演合作过，诸如马克·卡罗（Marc Caro，）、简·库恩（Jan Kounen）、路易斯·莱特里尔（Louis Leterrier）、彼得·韦伯（Peter Weber）、王家卫等。此外，他还为法国著名设计师菲利普·斯塔克（Philippe Stark）、法国Dior首席设计师约翰·加里亚诺（John Galiano）、法国时尚摄影大师让·巴布提斯·蒙第诺（Jean Bapt...(展开全部)

拉兹洛·莫霍利-纳吉（1895—1946)，是20世纪杰出的前卫艺术家之一。曾任教于早期的包豪斯，奠定三大构成基础，强调理性、功能，他在学术上对表现、构成、未来、达达和抽象派兼收并蓄，以各种手段进行拍摄试验。最为突出的研究是以光、空间和运动为对象。他曾以透明塑料和反光金属为实验材料，创作“光调节器”雕塑。

Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein's film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.