【内容简介】
加州大学洛杉矶分校（UCLA）电影学院的影视写作专业在全美国排名No.1，而本书作者理查德·沃尔特是这个专业的主席。他讲授的影视写作课被《纽约时报》《华尔街日报》《洛杉矶时报》一致评价为富有传奇色彩，不仅桃李天下，还有学生接二连三地获得了奥斯卡、金球奖等奖项。《剧本》作为这门课程的内容大纲，涵盖了标准的剧本格式、剧本修改方法、真实的业界环境，三十多年来被全世界一百多所大学当作教科书使用。通俗易懂，手把手教你写出一部专业的影视剧本。
【编辑推荐】
在美国排名前三的影视类院校中，南加州大学（USC）以校友发达、设备先进著称，纽约大学（NYU）擅长培养作者导演、独立制片人，位于好莱坞中心的加州大学洛杉矶分校（UCLA）则掌握着最优质的编剧专业。
在一个春暖花开的季节，我于洛杉矶西木区一栋教学楼的三层见到了专业主席理查德・沃尔特教授。他坐在被剧本堆满的办公室里，带着UCLA棒球帽，身穿休闲运动服，头发银白，笑容温和，镜片后面的双眼干净有神——典型的学者风格，让人瞬间产生了信赖。
在好莱坞前沿写作、执教近四十年，这位亲切随和的老师，有着业内的高度评价和学术权威。在两年收费五十五万人民币的硕士学位课程中，他的高级创意写作课每期只招收八名学生，以至于有编剧说“能在他的课上觅到一个席位，才算真正敲开了好莱坞的大门。”
在编辑这本书的过程中，我不时被书中的幽默风趣和谆谆教导所打动，仿佛真的坐在了UCLA的课堂里，看着沃尔特教授在眼前为我们全面、细致地讲解这个行业和这门艺术的基本规则。无论技巧、规范，还是美国电影行业的真实业态，对准备进入影视行业的我们来说，都具有启发意义。
【名人推荐】
理查德·沃尔特是业内最好的编剧老师。——《侏罗纪公园》《蜘蛛侠》《碟中谍》《夺宝奇兵》编剧大卫·凯普
身兼编剧一职，理查德·沃尔特是唯一一个知道自己在说什么的剧作指导。——《本能》编剧乔·埃泽特哈斯
在写作的淘金热中，理查德·沃尔特教你走的是正道。——《脱衣舞娘》《马龙·白兰度传》导演安德鲁·伯格曼
了解电影奥秘的专家。——《Final Cut》图书作者史蒂文·巴赫
这本书综合全面且富于启发，以清晰、智慧、幽默的方式讲授了剧本创作要素。——奥斯卡、金球奖、英国电影学院奖获奖者，《杯酒人生》《后人》编剧、导演亚历山大·佩恩
【媒体评论】
编剧教母。——美国权威影视杂志《Variety》
卓越的电影专家。——《纽约时报》
好莱坞年轻编剧天才的最佳经纪人。——《华尔街日报》

Television has conditioned us to tolerate visually entertaining material measured out in spoonfuls of time, to the detriment of rational public discourse and reasoned public affairs. In this eloquent, persuasive book, Neil Postman alerts us to the real and present dangers of this state of affairs, and offers compelling suggestions as to how to withstand the media onslaught. Before we hand over politics, education, religion, and journalism to the show business demands of the television age, we must recognize the ways in which the media shape our lives and the ways we can, in turn, shape them to serve out highest goals.

《虚实之间》对20世纪50年代（及前后）在中国大陆暴发的一些较大规模的谣言现象作了深入剖析。这些谣言包括“毛人水怪”谣言、“割蛋”谣言、“仙水”“神药”谣言以及投毒的谣言。作者李若建指出，谣言是社会环境投射的影子。谣言也与民众的集体记忆紧密相关。“谣言往往是在把真实成分重新建构的过程中出现了位置错配”。作者认为，制止谣言最根本的方法是信息的公开、真实、及时。《虚实之间》在今天仍然具有启迪和警示意义。

An innovative and accessible guide to doing social research in the digital age
In just the past several years, we have witnessed the birth and rapid spread of social media, mobile phones, and numerous other digital marvels. In addition to changing how we live, these tools enable us to collect and process data about human behavior on a scale never before imaginable, offering entirely new approaches to core questions about social behavior. Bit by Bit is the key to unlocking these powerful methods―a landmark book that will fundamentally change how the next generation of social scientists and data scientists explores the world around us.
Bit by Bit is the essential guide to mastering the key principles of doing social research in this fast-evolving digital age. In this comprehensive yet accessible book, Matthew Salganik explains how the digital revolution is transforming how social scientists observe behavior, ask questions, run experiments, and engage in mass collaborations. He provides a wealth of real-world examples throughout, and also lays out a principles-based approach to handling ethical challenges in the era of social media.
Bit by Bit is an invaluable resource for social scientists who want to harness the research potential of big data and a must-read for data scientists interested in applying the lessons of social science to tomorrow’s technologies.
Illustrates important ideas with examples of outstanding research
Combines ideas from social science and data science in an accessible style and without jargon
Goes beyond the analysis of “found” data to discuss the collection of “designed” data such as surveys, experiments, and mass collaboration
Features an entire chapter on ethics
Includes extensive suggestions for further reading and activities for the classroom or self-study

An essential introduction to a rapidly growing field of study, The Fan Fiction Studies Reader gathers in one place the key foundational texts of the fan studies corpus, with a focus on fan fiction. Collected here are important texts by scholars whose groundbreaking work established the field and outlined some of its enduring questions. Editors Karen Hellekson and Kristina Busse provide cogent introductions that place each piece in its historical and intellectual context, mapping the historical development of fan studies and suggesting its future trajectories.

Organized into four thematic sections, the essays address fan-created works as literary artifacts; the relationship between fandom, identity, and feminism; fandom and affect; and the role of creativity and performance in fan activities. Considered as literary artifacts, fan works pose important questions about the nature of authorship, the meaning of “originality,” and modes of transmission. Sociologically, fan fiction is and long has been a mostly female enterprise, from the fanzines of the 1960s to online forums today, and this fact has shaped its themes and its standing among fans. The questions of how and why people become fans, and what the difference is between liking something and being a fan of it, have also drawn considerable scholarly attention, as has the question of how fans perform their fannish identities for diverse audiences.

Thanks to the overlap between fan studies and other disciplines related to popular and cultural studies—including social, digital, and transmedia studies—an increasing number of scholars are turning to fan studies to engage their students. Fan fiction is the most extensively explored aspect of fan works and fan engagement, and so studies of it can often serve as a basis for addressing other aspects of fandom. These classic essays introduce the field’s key questions and some of its major figures. Those new to the field or in search of context for their own research will find this reader an invaluable resource.

Well known for coining the term 'Global Village', Marshall McLuhan's thinking was, and still is, revolutionary. His theories, many of which are illustrated in this astonishing 'inventory of effects', force us to question how modes of communication have shaped society. This is an astonishing work by a truly astonishing man. The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. This is one of four books in that series.

Robert McKee's screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting careers back on track. Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni.Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story , McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.

本书是对25位欧美新闻传播学领域知名学者的深度访谈录。这25位学者或提出过影响深远的原创理论，或在原有学科版图内开辟了新的领域，他们的思想和成果基本代表了欧美新闻传播学研究的典范，在不同的维度上拓展了新闻传播学学科的边界，搭建了整个学科体系的骨架。
本书作者耗时三年，从中国本土新闻传播学发展的立场出发，以这种独特的方式对学术史进行了可贵的记录，有助于对新闻传播学有兴趣的读者全面把握本学科的思想脉络和前沿动态。

What exactly are the ‘weird’ and the ‘eerie’? In this new essay, Mark Fisher argues that some of the most haunting and anomalous fiction of the 20th century belongs to these two modes. The ‘weird’ and the ‘eerie’ are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The ‘weird’ and the ‘eerie’ both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling.
Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie.
These two modes will be analysed with reference to the work of authors such as H. P. Lovecraft, H. G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Daphne du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christopher Nolan.

本书是传播学领域的经典著作，论述了舆论的形成过程和机制。作为传播学的基础理论之一，沉默的螺旋理论被相关学科广泛应用并不断发展。作者在新版本中加进了对舆论学理论最新进展的研究，更加切合实际生活。本书也是德文原版的首本中文译本

In Urban Horror Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal post-socialist China. Drawing on Marxist phenomenology, geography, and aesthetics from Engels and Merleau-Ponty to Lefebvre and Rancière, Huang traces the emergence and mediation of what she calls urban horror—a sociopolitical public affect that exceeds comprehension and provides the grounds for possible future revolutionary dissent. She shows how documentaries, blockbuster feature films, and video art from China, Hong Kong, and Taiwan made between the 1990s and the present rehearse and communicate urban horror. In these films urban horror circulates through myriad urban spaces characterized by the creation of speculative crises, shifting temporalities, and dystopic environments inhospitable to the human body. The cinematic image and the aesthetics of urban horror in neoliberal post-socialist China lay the groundwork for the future to such an extent, Huang contends, that the seeds of dissent at the heart of urban horror make it possible to imagine new forms of resistance.

《媒介世界：人类学的新领域》人类学家研究媒介及相关现象的一本文集。全书一共收录了20个研究文本，涉及印度尼西亚、埃及、北美、中国、拉美、西亚、玻利维亚、尼日利亚、赞比亚、泰国、巴厘岛等国家和地区，对媒介行为主义、表征、国家主义、技术的社会安排、文化认同、公共领域等问题进行了谈论。被认为是对早期的传播人类学（或视觉人类学）范式的批判性修正。三个编者Faye D. Ginsburg是纽约大学媒介、文化与历史研究中心主任、人类学教授。Lila Abu-Lughod是哥伦比亚大学人类学教授，目前主要从事妇女研究。Brian Larkin是哥伦比亚大学Barnard学院助理教授。

Individuals all over the world can use Airbnb to rent an apartment in a foreign city, check Coursera to find a course on statistics, join PatientsLikeMe to exchange information about one's disease, hail a cab using Uber, or read the news through Facebook's Instant Articles. The promise of connective platforms is that they offer personalized services and contribute to innovation and economic growth, while bypassing cumbersome institutional or industrial overhead.
In The Platform Society, Van Dijck, Poell and De Waal offer a comprehensive analysis of a connective world where platforms have penetrated the heart of societies-disrupting markets and labor relations, circumventing institutions, transforming social and civic practices and affecting democratic processes. This book questions what role online platforms play in the organization of Western societies. First, how do platform mechanisms work and to what effect are they deployed? Second, how can platforms incorporate public values and benefit the public good?
The Platform Society analyzes intense struggles between competing ideological systems and contesting societal actors-market, government and civil society-raising the issue of who is or should be responsible for anchoring public values and the common good in a platform society. Public values include of course privacy, accuracy, safety, and security, but they also pertain to broader societal effects, such as fairness, accessibility, democratic control, and accountability. Such values are the very stakes in the struggle over the platformization of societies around the globe.
The Platform Society highlights how this struggle plays out in four private and public sectors: news, urban transport, health, and education. Each struggle highlights local dimensions, for instance fights over regulation between individual platforms and city governments, but also addresses the level of the platform ecosystem as well as the geopolitical level where power clashes between global markets and (supra-)national governments take place.

In Climatic Media, Yuriko Furuhata traces climate engineering from the early twentieth century to the present, emphasizing the legacies of Japan’s empire-building and its Cold War alliance with the United States. Furuhata boldly expands the scope of media studies to consider technologies that chemically “condition” the Earth’s atmosphere and socially “condition” the conduct of people, focusing on the attempts to monitor and modify indoor and outdoor atmospheres by Japanese scientists, technicians, architects, and artists in conjunction with their American counterparts. She charts the geopolitical contexts of what she calls climatic media by examining a range of technologies such as cloud seeding and artificial snowflakes, digital computing used for weather forecasting and weather control, cybernetics for urban planning and policing, Nakaya Fujiko’s fog sculpture, and the architectural experiments of Tange Lab and the Metabolists, who sought to design climate-controlled capsule housing and domed cities. Furuhata’s transpacific analysis offers a novel take on the elemental conditions of media and climate change.

Cinema and the Cultural Cold War explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. Sangjoon Lee adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. By taking a closer look at the cultural realities of this tumultuous period, Lee comprehensively reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War.
Lee elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. Cinema and the Cultural Cold War demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony.
Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. Cinema and the Cultural Cold War reanimates this almost-forgotten history of cinema and the film industry in Asia.

MP3: The Meaning of a Format recounts the hundred-year history of the world's most common format for recorded audio. Understanding the historical meaning of the MP3 format entails rethinking the place of digital technologies in the larger universe of twentieth-century communication history, from hearing research conducted by the telephone industry in the 1910s, through the mid-century development of perceptual coding (the technology underlying the MP3), to the format's promiscuous social life since the mid 1990s.MP3s are products of compression, a process that removes sounds unlikely to be heard from recordings. Although media history is often characterized as a progression toward greater definition, fidelity, and truthfulness, MP3: The Meaning of a Format illuminates the crucial role of compression in the development of modern media and sound culture. Taking the history of compression as his point of departure, Jonathan Sterne investigates the relationship between sound, silence, sense, and noise; the commodity status of recorded sound and the economic role of piracy; and the importance of standards in the governance of our emerging media culture. He demonstrates that formats, standards, and infrastructures - and the need for content to fit inside them - are every bit as central to communication as the boxes we call "media."

《论戏剧性》内容简介：为什么一些戏剧作品引人入胜，一些作品却乏善可陈？什么才是戏剧性？作者围绕“戏剧性”这个审美概念，从美学的角度阐释戏剧艺术自身的规律，从戏剧艺术的手段入手，进入戏剧艺术的构成要素，诸如戏剧冲突、戏剧情境、戏剧悬念、戏剧场面等等，逐一探讨戏剧性与非戏剧性的界限。全书建构了一种新的阅读视野，将戏剧文本从意识形态中剥离出来，使其获得了独立存在的价值。

What was cinema in modern China? It was, this book tells us, a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code. It was, in Weihong Bao’s term, an affective medium, a distinct notion of the medium as mediating environment with the power to stir passions, frame perception, and mold experience. In Fiery Cinema, Bao traces the permutations of this affective medium from the early through the mid-twentieth century, exploring its role in aesthetics, politics, and social institutions.
Mapping the changing identity of cinema in China in relation to Republican-era print media, theatrical performance, radio broadcasting, television, and architecture, Bao has created an archaeology of Chinese media culture. Within this context, she grounds the question of spectatorial affect and media technology in China’s experience of mechanized warfare, colonial modernity, and the shaping of the public into consumers, national citizens, and a revolutionary collective subject. Carrying on a close conversation with transnational media theory and history, she teases out the tension and affinity between vernacular, political modernist, and propagandistic articulations of mass culture in China’s varied participation in modernity.
Fiery Cinema advances a radical rethinking of affect and medium as a key insight into the relationship of cinema to the public sphere and the making of the masses. By centering media politics in her inquiry of the forgotten future of cinema, Bao makes a major intervention into the theory and history of media.

Reddit hails itself as "the front page of the Internet." It's the third most-visited website in the United States--and yet, millions of Americans have no idea what it is.
We Are the Nerds is an engrossing look deep inside this captivating, maddening enterprise, whose army of obsessed users have been credited with everything from solving cold case crimes and spurring tens of millions of dollars in charitable donations to seeding alt-right fury and landing Donald Trump in the White House. We Are the Nerds is a gripping start-up narrative: the story of how Reddit's founders, Steve Huffman and Alexis Ohanian, rose up from their suburban childhoods to become millionaires and create an icon of the digital age--before seeing the site engulfed in controversies and nearly losing control of it for good.
Based on Christine Lagorio-Chafkin's exclusive access to founders Ohanian and Huffman, We Are the Nerds is also a compelling exploration of the way we all communicate today--and how we got here. Reddit and its users have become a mirror of the Internet: it has dingy corners, shiny memes, malicious trolls, and a sometimes heart-melting ability to connect people across cultures, oceans, and ideological divides.