Waris Dirie (the name means desert flower) lives a double life - by day she is a famous model and UN spokeswoman on women's rights in Africa, at night she dreams of her native Somalia. Waris, one of 12 children, was born into a traditional family of desert nomads in East Africa. She remembers her early childhood as carefree- racing camels and moving on with her family to the next grazing spot - until it came her turn to meet the old woman who administered the ancient custom imposed on most Somalian girls: circumcision. Waris suffered this torture when she was just five years old. Then, aged 12, when her father attempted to arrange a marriage with a 60 year old stranger in exchange for five camels - she took flight. After an extraordinary escape through the dangerous desert she made her way to London and worked as a maid for the Somalian ambassador until that family returned home. Penniless and speaking little English, she became a janitor in Mc Donalds where she was famously discovered by a fashion photographer. Her story is a truly inspirational and extraordinary self-portrait of a remarkable woman whose spirit is as breathtaking as her beauty.

《我心中的少林》内容简介：这是一位引起争议的人物，同时也是一位富有个性的人物，他，不是哲学家，却比一般哲学家想得更多，他，不是社会活动家，却比社会活动家走得更远，以出世的精神，做入世的事情，他就是少林寺第三十代方丈——释永信。《我心中的少林》是释永信以自述的形式，向你描述他心中的少林，从中可以体会他“天人合一”的大智慧：既有对佛教坚定不移的信仰，也有对师父行正方丈的精神继承，更有对佛教在现代社会生存与发展模式的探索。

THE DEFINITIVE WORK OF AMERICAN TRUE CRIME FROM "AMERICA'S BEST TRUE-CRIME WRITER" (Kirkus Reviews) Utterly unique in its astonishing intimacy, as jarringly frightening as when it first appeared, Ann Rule's The Stranger Beside Me defies our expectation that we would surely know if a monster lived among us, worked alongside of us, appeared as one of us. With a slow chill that intensifies with each heart-pounding page, Rule describes her dawning awareness that Ted Bundy, her sensitive coworker on a crisis hotline, was one of the most prolific serial killers in America. He would confess to killing at least thirty-six young women from coast to coast, and was eventually executed for three of those cases. Drawing from their correspondence that endured until shortly before Bundy's death, and striking a seamless balance between her deeply personal perspective and her role as a crime reporter on the hunt for a savage serial killer -- the brilliant and charismatic Bundy, the man she thought she knew -- Rule changed the course of true-crime literature with this unforgettable chronicle.

《梦书》是意大利电影导演费里尼从20世纪60年代末到1990年8月期间的梦境日记。伟大的导演毫无保留地将他的梦境，甚至夜间的梦魇和盘托出，用绘画或他自己说的“小标小记、匆忙潦草的手写记录和不合语法的句子”来诠释他的梦。内容荒诞离奇、百无禁忌，全面暴露造梦大师的梦境人生和隐秘思想。这也是费里尼亲自执笔的唯一图书作品。 这是一个天才在其广阔无垠的幻想世界中经历的色彩斑斓的旅程；这是一名电影工作者为其创意灵感之源打下的坚实木桩。这本独一无二的书，由已故导演最亲密的朋友和专业人士图利奥·凯兹奇（Tullio Kezich）撰写导语，文森佐·莫利卡（Vincenzo Mollica）做注释，并由里米尼市的费里尼基金会促成出版。 ◆ 太吸引人了！《梦书》就像是导演遗留给世人的最佳电影底片。它是一部大师神秘环球旅行的指引书、一座浩瀚的宝库，蕴藏了各种超现实的假设、无法实现的幻想和先知预言。 ——图利奥·凯兹奇 ◆ 费里尼是这般做梦的，如此的情感泛滥、妙不可言、惹人遐思、纵情享乐，甚至是极度绝望。如今这些梦终于从深锁重重的银行地库中重见天日了……这本书非常棒，我认为它就是一部讥讽版的《神曲》。 ——安东尼奥·多利科，《晚邮报》 ◆ 20世纪最伟大的导演之一，不可思议的内心世界全记录。 ——《艺术新闻》 ◆ 梦占据了舞台的中央……梦足以让拥有最深沉睡眠的人也想记住发生在夜晚的一切。 ——《高谈》 ◆ 人们通常认为他人的梦是无聊的。费里尼的梦荒诞奇谲，混合了太多内容，打破了这种老生常谈。和他的电影一样，费里尼的梦是异想天开的，尖锐刺激的，怪诞滑稽的，也是富有启示意义的。 ——《好莱坞生活》 ◆ 这本有趣的书表明，潜意识决定了艺术家的创作意识。 ——《哨兵日报》

诞生，ISBN：9787800398155，作者：姜文

《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。