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————♦上野千鹤子说♦————
or China to trust that even though America had made grave mistakes throughout its history
數碼取代膠卷，手機變成攝錄機，電影不再專屬銀幕，那麼何謂好電影﹖12 位八十後新晉導演，以小製作、低成本闖入「獨立電影」世界。在有限的資金，小眾市場的生存形態下，他們往往與主流思想與創作方式背道而馳，在社會文化中割裂出一道獨特的風景。《蜜糖不壞：華語 80 後導演訪談》乃作者走訪兩岸四地的訪談結集，同樣出身八十後的創作者，帶著創作與社會的疑問與 12 位新晉導演進行對話，是平起平坐，也相互借鏡，所謂的「獨立精神」不在於分辨一部電影屬於商業還是地下製作，而是導演到底在創作過程中「獨立於什麼」，並對布爾迪厄的文化理論作出反省。每個作者都有一個創作的進程，隨時日成熟，也可以隨時止步。12 篇對談，代表 12 位年輕導演的初衷。蜜糖不會腐壞，卻是對新生代電影浪潮的期許。
these texts and cultural experiments were lively and inventive attempts to determine what a different
1949 年是一个划分时代的关键年份，不是一个平平常常的时间标记，在这一年做出的选择要决定一个人将来的命运。
The Writer as Migrant Amazon ————♦上野千鹤子说♦————National Book Award winner Ha Jin raises questions about language, migration, and the place of literature in a rapidly globalizing world. Consisting of three interconnected essays, The Writer as Migrant sets Ha Jins own work and life alongside those of other literary exiles, creating a conversation across cultures and between eras. He employs the cases of Alexander Solzhenitsyn and Chinese novelist Lin Yutang to illustrate the obligation a writer
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