"The Tactile Eye" expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile - a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the s...(展开全部)

阿加·博伊科（Aga Bojko） 美国北卡罗来纳大学夏洛特分校心理学学士、德保罗大学人机交互硕士、伊利诺伊大学香槟分校人机交互硕士；GfK北美定制研究公司用户体验副总裁、《用户体验》（UX）杂志执行编辑，曾经就职于User Centric公司、Indiegogo公司和谷歌等多家著名的用户体验和IT公司，有着丰富的用户体验研究经验，在各种类型的眼动仪方面拥有十多年的经验，擅长用软件、网站、日用消费品等进行用户体验研究。

New developments occur when boundaries are crossed. Today, the most progressive designers are working at the intersection of various creative disciplines. They are challenging existing design principles and defining them anew. Many designers from different areas are choosing to no longer work exclusively in two dimensions and are instead dealing intensively with space...(展开全部)

This is the only book that combines conceptual and practical instruction on creating polished and eloquent images for film and video with the technical know-how to achieve them. Loaded with hundreds of full-color examples, The Filmmaker's Eye is a focused, easy-to-reference guide that shows you how to become a strong visual storyteller through smart, effective choices for y...(展开全部)

Not since "The Thorn Birds" has Colleen McCullough written a novel of such broad appeal about a family and the Australian experience as "The Touch." At its center is Alexander Kinross, remembered as a young man in his native Scotland only as a shiftless boilermaker's apprentice and a godless rebel. But when, years later, he writes from Australia to summon his bride, his Scotti...(展开全部)

Spanning nearly fifty years, from the 1860s through to the turn of the century, "The Touch" tells the story of Alexander Kinross, who flees from a childhood of poverty in Scotland to make his fortune in the Australian and the American gold fields. In the process, he meets the woman he loves but can never marry - and marries a woman who can never love him. When Alexander Kinross...(展开全部)

Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's...(展开全部)

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical ...(展开全部)

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical ...(展开全部)