女主视角：21世纪华夏打工人重生20世纪中叶美国，但17岁才在一场意外事故后恢复上辈子记忆。好消息，这时代不坏，除了少数高科技，她基本能过上现代生活坏消息，为了不再寄人篱下和上大学，她要和刚刚认识3天的男人结婚了啊...这...男主视角：一见钟情@￥%%*（……&￥！！！！！【恋爱脑是男人最好的嫁妆】嗯，不用被男女主角视角迷惑，主要还是日常生活和搞事业，女主会在20世纪60年代美利坚大展身手的。一直觉得美国20世纪60年代很有趣，是带着滤镜的旧时光，电视媒体、消费主义、人权、女权、垮掉的一代、学生运动、嬉皮士...粉墨登场。另外也很适合用来写女性向小说，一方面，那是最后的保守时代，此前50年代的美国甚至比40年代更保守，战后男性回归，社会丰裕，女性只能回归家庭，平权退潮。另一方面，新世界已经触手可及，将女性角色放在在这个时代，让她们突破时代的藩篱，又是那样顺理成章。

During the 1960s and '70s in Japan, the photobook—through a combination of excellence in design, printing, and materials—overtook prints as a popular mode of artistic dissemination. This process has expanded to an extent where any discussion of Japanese photography now has to include the book work. Today, the most famous works—such as Nobuyoshi Araki’s Sentimental Journey and E...(展开全部)

During the 1960s and '70s in Japan, the photobook—through a combination of excellence in design, printing, and materials—overtook prints as a popular mode of artistic dissemination. This process has expanded to an extent where any discussion of Japanese photography now has to include the book work. Today, the most famous works—such as Nobuyoshi Araki’s Sentimental Journey and E...(展开全部)

简介：方圆穿越到三国，把三国美女全收，然后结交历史谋士，武将，最后完成统一大业。

简介：方圆穿越到三国，把三国美女全收，然后结交历史谋士，武将，最后完成统一大业。

In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiven...(展开全部)

In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiven...(展开全部)

"Graphic Assembly traces recent ineluctable change in the DNA of architecture with compelling force. Connecting media construction to construction on building sites, Craig Buckley convincingly argues that print-based montage shared conceptual ground with metallic assembly after WWII in a critical historical intersection. By tying together a range of activities heretofore only n...(展开全部)

Intermedia and Expanded Cinema, both as critical approach and artistic practice, left an indelible mark in a period of Japanese art history that is broadly considered to be one of its most dynamic moments in the wake of its postwar reemergence. Despite the burgeoning interest in academic and curatorial circles in this segment of Japanese art history, the paucity of readily avai...(展开全部)

Out of a background of war, occupation and the legacies of Japan's post-defeat politics there emerged a dissentient group of avant-garde filmmakers who created a counter-cinema that addressed a newly constituted, politically conscious audience. While there was no formal manifesto for this movement and the various key filmmakers of the period (Oshima Nagisa, Imamura Shohei, Yosh...(展开全部)