These two gentlemen dedicated 20 years to collecting the best/worst, unintentionally appalling videotapes ever produced. The kind of thing that makes Ed the Duck look highbrow. This handsome compendium brings all the covers together into one place. 272 pages, nearly every page is full-color and ridiculous.

In Obsession, John Douglas once again takes us fascinatingly behind the scenes, focusing his expertise on predatory crimes, primarily against women. With a deep sense of compassion for the victims and an uncanny understanding of the perpetrators, Douglas looks at the obsessions that lead to rape, stalking, and sexual murder through such cases as Ronnie Shelton, the serial rapis...(展开全部)

人人有罪，无人幸免。

几起离奇的谋杀案，揭开内心深藏的丑陋欲望 无论如何克制、逃避、抗拒 谁都可能着魔 有人为了爱，有人为了恨，有人为了权力，有人为了野心 我为你着魔，你却为谁着魔？

Paul Nicklen's bold expeditions take him underwater to deliver close-up, first-ever documentation of the lives of leopard seals, whales, walruses, polar bears, bearded seals, and narwhals. And he travels over the ice to look at muskoxen, grizzly bears, caribou, foxes, wolves, and much more. Scenes are bathed in polar light, surreal and breathtakingly beautiful. National Geograp...(展开全部)

Otto Penzler’s collection of mystery, crime, suspense, espionage, and detective fiction was generally regarded as the best in the world. The result of decades spent obsessively acquiring the best and rarest books in the field, its unique contents and immense scope will never be replicated. In late 2018, this magnificent library was disassembled and sent to auction, scattering i...(展开全部)

1977年生於愛知縣，畢業於福島大學。2002年以小說〈槍〉獲得新潮社新人獎，從而躋身文壇。2004年以《遮光》獲得野間文藝新人獎，2005年以〈泥土裡的孩子〉獲得芥川獎，2010年又以《掏摸》奪得大江健三郎獎。已出版中文作品有《泥土裡的孩子》（台灣東販出版）、《掏摸》、《槍》、《王國》、《邪惡規則》（以上皆為台灣商務出版）。其中《掏摸》英譯本榮獲美國《華爾街日報》所選2012年十大最佳小說，《邪惡規則》英譯本同樣榮獲《華爾街日報》所選2013年十大最佳推理懸疑類作品。此外2014年更榮獲美國文學獎「大衛．古迪斯獎（David Goodis Award）」，表彰其對黑色小說（Noir Fiction）的貢獻，成為首位獲獎的日本作家。 官方網站：http://www.nakamurafuminori.jp

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiou's account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value ...(展开全部)