《电影语言学导论》为《电影学新论丛书》之一种。作者在《电影语言学导论》中从语言学的角度切入电影艺术创作实践的各个领域，涉及了包括电影观赏心理、明星机制等方面在内的课题，力图建构起某种有中国特色的电影语言学体系。 作者基于对艺术各门类语言问题的了解，基于本世界中后期兴起的符号学等理论体系，对电影语言的诸范畴、方法提出了较有独特性和独立研究见地的理论观点。 《电影语言学导论》语言流畅，文字表述清晰。

香港影人口述歷史叢書之三：楚原 目錄 前言 楚原談楚原 出生和家庭背景 入行 當副導演和編劇的日子 從光藝到邵氏 選談早期作品 談創作黃金期──玫瑰、浪子及其他 加入國泰轉拍國語片 談邵氏工作點滴 從《愛奴》到《七十二家房客》 拍古龍作品的緣由 離開邵氏後 拍片心得 談香港電影的製作條件和限制 漫談香港影人 總結：時勢造英雄 影評摘錄 石琪 楚原風格試論 楚原：玫瑰的文藝與武俠 楚原：跨界的浪漫導演 羅卡 楚原的青春 訪問摘錄 記者眼中的楚原 編導作品簡介 附錄：演出電影作品年表 楚原與香港影事對照年表 鳴謝

《张艺谋说》介绍了：从黄土地上走出的电影路《秋菊打官司》内情种种；我何以看好姜文，偏爱红色；从来没想过要迎合外国人；《活着》是部大悲剧；拍一部风格化的电影；面临新的选择的思考；把《有话好好说》当处女作来拍；谈演员 谈自己 谈摄影；一部小制作电影和由此引发的大话题。

～從風之谷到輝耀姬物語，敘說吉卜力的30年～ 一本觸及連鈴木敏夫自己都沒意識到的鈴木敏夫真實面貌的書。 這可列入我做過的所有訪談中的前三名。──訪談人　澀谷陽一 進行到一半我才意識到，這採訪根本把我剝得一絲不剩，但為時已晚。──鈴木敏夫 鈴木敏夫是何方神聖？ 鈴木敏夫到底在做什麼？ 推動宮崎駿、高畑勳這兩位天才前進的引擎──鈴木敏夫。讓我們經由深入訪談，沿著鈴木敏夫的生活足跡，探究他的想法，了解除表面的光鮮外，許多不為人知的辛勞，及業界能說與不能說的祕密。 自稱是最不了解宮崎電影的鈴木敏夫，在訪談中，說出吉卜力的成立秘辛及電影製作的點滴。 ‧宮崎駿、高畑勳只要拚命完成作品，製作公司就肯定倒閉的傳說！？ ‧「龍貓」和「螢火蟲之墓」上映票房爛透了，與超級商業化的「魔女宅急便」。 ‧宮崎駿發怒，成就超賣座電影「兒時的點點滴滴」。 ‧「紅豬」原本只是用來發洩悶氣的15分鐘小品。 ‧為了勝過「貓的報恩」，「霍爾的移動城堡」因而誕生。 ‧把米林宏昌導演與宮崎駿完全隔絕，造就出令人激賞的「借物少女艾莉緹」。 ‧宮崎吾朗的成長，從「地海戰記」到「來自紅花坂」。 ‧近期新作「風起」及今年新推出的「輝耀姬物語」製作祕話……。

The acclaimed director of Mishima, American Gigolo, Hard Core, Blue Collar, Cat People also the screenwriter for Taxi Driver , Paul Schrader here analyzes the film style of three great directors—Yasajiro Ozu, Robert Bresson, Carl Dreyer—and posits a common dramatic language by these artists from divergent cultures. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This important book is an original contribution to film analysis and a key work by one of our most searching directors and writers.

《全电影谍战•一生要看的300部电影系列之间谍电影》主要内容简介：最精彩的：西北偏北、无间行者、第三人、美人计、谍网迷魂、谍影重重三部曲、对话、卡萨布兰卡、特工绍特、碟中谍三部曲、风声、极限特工、007全系列点评、全民公敌、变脸、特务风云、超级女特工、谎言之躯、辛瑞那、慕尼黑惨案、史密斯夫妇、谍海计中计……最值得期待的：锅匠，裁缝，士兵，间谍＼谍影重重4＼碟中谍4。

The private collections of longtime Japan resident Donald Richie capture the personalities of certain Japanese people--some famous, some unknown--with insight and humor. Richie, who considers himself a foreigner despite living in Japan for over 53 years, is a keen observer of human nature. In "Japanese Portraits, " he provides an elegant and perceptive vision of Japan through precise, intimate portraits of ordinary and extraordinary Japanese people. Portraits include such notable Japanese as acclaimed filmmakers Akira Kurowasa and Yasujiro Ozu, famed novelist Yukio Mishima, and celebrated actor Toshiro Mifune.

In this daring reexamination of the connections between national politics and Hollywood movies, Lary May offers a fresh interpretation of American culture from the New Deal through the Cold War--one in which a populist, egalitarian ethos found itself eventually supplanted by a far different view of the nation. "One of the best books ever written about the movies." --Tom Ryan, "The Age ""The most exhilarating work of revisionist film history since Pauline Kael's Citizen Kane. . . . May's take on what movies once were (energizing, as opposed to enervating), and hence can become again, is enough to get you believing in them again as one of the regenerative forces America so sorely needs."--Jay Carr, "Boston Globe" "A startling, revisionist history of Hollywood's impact on politics and American culture. . . . A convincing and important addition to American cultural criticism."--"Publishers Weekly" "A controversial overview of 30 years of American film history; must reading for any serious student of the subject."--"Choice " "A provocative social history of Hollywood's influence in American life from the 1930s to the 1950s. May argues persuasively that movies in the period offered a good deal of tough criticism of economic and social conditions in U.S. society. . . . May challenges us to engage in some serious rethinking about Hollywood's impact on American society in the middle of the twentieth century."--Robert Brent Toplin, "American Historical Review"

Encyclopedia of French Film Directors identifies every French director who has made at least one feature film since 1895. Nearly 3,000 directors are cited here, and each director's entry contains a brief biographical summary, including dates and places of birth and death; information on the individual's education and professional training; and other pertinent details, such as real names (when the filmmaker uses a pseudonym). The entries also provide complete filmographies, including credits for feature films, shorts, documentaries, and television work. Some of the most important names in the history of film can be found in this encyclopedia, from masters of the Golden Age_Jean Renoir and RenZ Clair_to French New Wave artists such as Fran_ois Truffaut and Jean-Luc Godard.

林晓霞主编的《影视市场以案说法——影视市场法律要义及案例解析 》共分13章，首先从规范影视市场主体、客体和内容的基本法律 原理入手探讨影视民事法律关系、影视民事法律行为和影视代理与影视 行业相关的时效制度；其次研究与影视市场联系最为密切的影视合同、 影视公司、影视版权、影视商标、影视业不正当竞争、影视劳动合同、 影视税收及影视行政许可等的法律保护；最后探讨了影视法律救济即影 视纠纷的法律解决途径。本书的结构虽跨越公法、司法和程序法，但自 成一体，形成了一个完整体系，立足点在于对影视市场全方位的规范与 保护。 《影视市场以案说法——影视市场法律要义及案例解析》既可以作为 教科书，供非法律专业的电影艺术类大专院校学生 及研究人员使用，又可作为专业影视工作者的参考书。

    本书收集了作者从40年代到现在所写出的部分短文，有记录从影经过和一些影片拍摄情况的追忆，有抒写情怀的散文，也有出游几个国家的随感等。

François Truffaut (1932-1984), perhaps the most respected member of the New Wave group of French moviemakers, left a legacy of beloved and influential films that include The 400 Blows, Jules and Jim, Stolen Kisses, Day for Night, and The Story of Adele H. Equally fascinating is the very large body of film criticism Truffaut wrote over many years for Cahiers du Cinema and other leading film journals. Wonderfully varied, personal, and informal, these reviews all communicate unabashed love for and an enormous excitement about the movies. The Films in My Life is Truffaut’s own selection of more than one hundred essays that range widely over the history of film and pay tribute to Truffaut’s particular heroes, among them Hitchcock, Welles, Chaplin, Renoir, Cocteau, Bergman, and Buñuel.

本书是加拿大最知名的戏剧导演、视觉艺术家罗伯特•勒帕吉的主要艺术论著，由德国自由戏剧和舞蹈批评家芮内特•克尔特发问，罗伯特•勒帕吉作答。在二人的对谈中，勒帕吉讲述了自己的艺术之路和成长中的心路历程。这位加拿大最伟大导演兼制片对于艺术始终如一的追求，对于戏剧中各种可能的探索在书中展露无遗。 勒帕吉把戏剧创作上的高科技与最古老的讲述故事的艺术结合起来，其导演创作手法把二维空间的绘画远远地抛在后面。从他的作品里，我们可以清晰地看到文化概念中的典型例子：我们和周围世界的关系，以及我们和生活环境中所产生的艺术的关系。