Why is the cinema 100 years old, and not 120 or 150 years old? Why do Kodak film stocks have such trouble capturing non-Caucasian skin tones? Why did professionals wait thirty years and more before widely adopting 16mm film? Technologies of Seeing is a breakthrough in analysis of the idealogical and aesthetic forces central to the historical development of film and television...(展开全部)

Why is the cinema 100 years old, and not 120 or 150 years old? Why do Kodak film stocks have such trouble capturing non-Caucasian skin tones? Why did professionals wait thirty years and more before widely adopting 16mm film? Technologies of Seeing is a breakthrough in analysis of the idealogical and aesthetic forces central to the historical development of film and television...(展开全部)

"Seeing comes before words. The child looks and recognizes before it can speak.""But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled....(展开全部)

"Seeing comes before words. The child looks and recognizes before it can speak.""But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled....(展开全部)

埃罗尔·莫里斯（Errol Morris，1948—） 美国著名导演、编剧、制作人，威斯康星大学历史学学士、普林斯顿大学科学史硕士、加州大学伯克利分校哲学博士。其执导的纪录片《细细的蓝线》获“美国国家影评人协会年度最佳纪录片奖”，《战争迷雾》获“第76届奥斯卡金像奖最佳纪录长片奖”，《标准流程》获“第58届柏林电影节评审团银熊奖”。 英国《卫报》在“史上四十佳导演”专题中将其排在第七位。《细细的蓝线》因成功推翻了一名死刑犯的判决，在全美引起巨大反响，也为纪录片史添上了浓墨重彩的一笔。 【译者简介】 周仰 摄影师、译者，英国伯明翰城市大学艺术学院博士生在读。2015—2022年，任上海外国语大学新闻传播学院（外聘）摄影课程教师。作品曾在多个国际摄影年展展出，并获集美·阿尔勒-Madame Figaro女性摄影师奖提名、徕卡奥斯卡·巴纳克摄影奖提名。 近...(展开全部)

Already in the late nineteenth century, electricians, physicists, and telegraph technicians dreamed of inventing televisual communication apparatuses that would “see” by electricity as a means of extending human perception. In Seeing by Electricity Doron Galili traces the early history of television, from fantastical image transmission devices initially imagined in the 1870s su...(展开全部)

In a masterly synthesis of history, law, and technology, Pool analyzes the confrontation between the regulators of the new communications technology and the First Amendment. (Technology)

伊锡尔·德·索拉·普尔（Ithiel de Sola Pool），20世纪著名的政治科学家、传播学专家，曾任美国国家科学院院士，多次出任美国和其他国家政府顾问。1952年于芝加哥大学取得博士学位，随后先后任教于斯坦福大学和麻省理工学院，参与创办麻省理工学院国际研究中心及政治科学系。普尔的研究成果几乎涉及了政治科学的各个分支，他在传播技术对全球政治、社会通信及大众文化的影响领域的研究牢牢树立了其学术声誉，代表作有：《传播学手册》（The Handbook of Communication，编著，1973）、《电话的社会影响》（The Social Impact of the Telephone，编著，1976）、《自由的技术》（Technologies of Freedom，1983）等。 译者简介： 胡泳，北京大学新闻与传播学院教授，政治学博士，国内...(展开全部)

How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. "Seeing comes before words. The child looks and recognizes before it can speak." "But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the s...(展开全部)

How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. "Seeing comes before words. The child looks and recognizes before it can speak." "But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the s...(展开全部)