「わたしは噂の写真屋、謎の影さらいです！」 ふつうなら＜真＞を写すのが写真というものなのに、寺山は人間の、わざとらしさ、虚構、仮面、修辞、空々しさといった＜虚＞に惹かれて写真を撮りつづけた。限りなく「私」から遠ざかっていく人々――「変わることのない彼らの微笑みは、永遠の百年の中の死を生きてゆくのである」 寺山修司没後25周年 フィルムアート社創立40周年記念出版 ■主な目次■ ・寺山修司の写真作品 「眼球譚」 「悪魔の囁き」 「千夜一夜アラビアンナイト」 「ヨーロッパ版＜犬神家の人々＞」 「摩訶不思議な客人」 ・寺山修司の写真論考 アルル・写真ワークショップに関する覚え書き 「実在しない怪奇映画のスチール写真」の撮り方 冩眞屋不器男氏の冒険 影を盗む男 暗室の迷宮世界――イメージの狩人たち ・寄稿 ★写真と寺山修司　四方田犬彦 ★るぅんるぅんで過激写だったりして　荒木経惟 ★寺山修司の写真撮影史　菊池 裕 ★噂の写真屋、謎の影さらい　田中未知

During the pandemic, Sheung Yiu started digitising everything on his desk at home, the inevitable confined space to which he was bound during lockdown. He created 3D models of scores of items and added texture details using a technique known as projective texturing. His physical desktop transformed into a 3D digital world. The process produced a dataset of digital objects that reflected his everyday life – intimate, yet strangely generic. The book explores one of many visual systems that form the basis of virtual reality and gaming, exposing the inner mechanisms of computer graphics that are shaping our world. With an interview with Jaakko Lehtinen, head researcher at NVIDIA.

2022這個冬天， 《Being Hong Kong就係香港》首次送上重新編訂的「復刻珍藏版」。 408頁內容，7個來自早已售罄、2018創刊號至2020冬季號之間的專題故事， 圍繞香港城市、自然、文化及宗教等珍貴遺產。 REvisit REthink REcreate，演述過去現在未來的香港故事。 REedit REdesign REprint，由季刊化作歷久彌新的書籍。 曾經如此一路走過來， 未來，就讓我們一起走過去。

Assessing Autoethnography provides readers with multiple ways to analyze autoethnographies and other forms of personal narrative writing. Given the proliferation of such forms across academic contexts, the book offers a guide of what autoethnography is, why it matters, and how to do it. Taking each of the three parts of auto-, ethno-, and -graphy in detail, Herrmann, and Adams, provide criteria and points of discussion to ensure robust assessment of an autoethnographic work as a whole. Every chapter is accompanied with exemplars and considers issues such as ethics, storytelling, and good writing. The book discerns the kinds of personal experiences that often work best for autoethnographic projects and provide ways to evaluate fieldwork, interviews, and representations. Written by two experts in the field, Assessing Autoethnography offers guidance to scholars and dissertation advisors, across diverse disciplines, in producing autoethnographic work and utilizing autoethnographic methods. The book will be of interest to researchers in the fields of Communication Studies, Education, Sociology, Women’s and Gender Studies, Critical Race Studies, Mass Communication, English, and other related disciplines.

謝曉虹最新短篇小說集《無遮鬼》，題材指涉時事，作者以獨特的想像力，結合魔幻寫實手法描寫城市的現象及人的心態情緒。本書中的小說詩意迷離同時想像奔放，再加上如幻似真又荒誕的情節，必定能讓讀者一氣呵成地讀畢全書，喚起強烈共鳴。 「於是小說成為了一場法事，祭那些被邪惡巨靈委於路塵的無遮鬼。」─董啟章 「它是倖存者的巷戰裝備，時代天秤上的計量單位，一端維繫著詩的尊嚴，一端面向如同深淵般的世界。」─言叔夏

Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his subsequent global acclaim as a director, Wenders has doggedly maintained his life as a photographer. In fact, the two careers have served each other well, as many of his photographs are created while location-scouting for films. His image repertoire of neglected industrial buildings, vacant lots, cemeteries, dilapidated urban niches and courtyards expresses a mixture of bemusement, melancholy and dislocation. “When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots,” Wenders says. “It must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” These strange and quiet color photographs are accompanied by poetic captions, some of which elucidate what is depicted while others lightly supplement with an anecdote. This new edition of Places, Strange and Quiet features seven new photographs taken in Germany and Fukushima as well as an essay by Wenders on analogue and digital photography.

Poverty, in its universality, seems immediately understandable and yet, as a global problem, its dissolution remains highly complex.To illustrate what it means to live at the poverty line, Stefen Chow and Huiyi Lin visited thirty-six cities on six continents, and examined poverty with regards to food. From the local markets, they bought vegetables, fruits, cereal products, proteins and snacks – the amount of food they could afford per day based on the respective poverty line definition set by each government. They photographed the resulting pile of food, placed on a page of a local newspaper from that day. Using visual typology and artistic research as their guiding principle, they carefully calibrated lighting and shooting distance to ensure uniformity and comparability. In this visual reader, the photography of Chow and Lin is enriched by texts that shed light on issues around the poverty line as a global phenomenon. The authors relate to the challenges of our society and the UN 2030 Agenda for Sustainable Development whose first of seventeen goals is to end poverty in all its forms.