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Madly, Deeply: The Diaries of Alan Rickman

為了解決Emma 電影的問題，作者 這樣論述：

　　他曾是《哈利波特》系列電影裡的石內卜教授、《理性與感性》中的布蘭登上校、《終極警探》裡的反派格魯伯，演技精湛的艾倫．瑞克曼，私下也以魅力和親和力，征服了不少圈內人，他在2016年因病辭世的消息，讓眾多影迷與好友因此心碎。   　　如今，瑞克曼投注多年心力撰寫的日記終於問世，這部動人的作品，記錄了這位演員對於生活和表演的熱愛，也讓這些珍貴的情感與見解，以幽默、真誠、充滿智慧的文字，繼續陪伴所有懷念瑞克曼的讀者。(文/博客來編譯) Madly, Deeply is a rare invitation into the mind of Alan Rickman--one of the mos

t magnetic, beloved performers of our time. From his breakout role in Die Hard to his outstanding, multifaceted performances in the Harry Potter films, Galaxy Quest, Robin Hood: Prince of Thieves, and more, Alan Rickman cemented his legacy as a world-class actor. His air of dignity, his sonorous voi

ce, and the knowing wit he brought to each role continue to captivate audiences today. But Rickman’s ability to breathe life into projects wasn’t confined to just his performances. As you’ll find, Rickman’s diaries detail the extraordinary and the ordinary, flitting between worldly and witty and gos

sipy, while remaining utterly candid throughout. He takes us inside his home, on trips with friends across the globe, and on the sets of films and plays ranging from Sense and Sensibility, to Noël Coward’s Private Lives, to the final film he directed, A Little Chaos. Running from 1993 to his death i

n 2016, the diaries provide singular insight into Rickman’s public and private life. Reading them is like listening to Rickman chatting to a close companion. Meet Rickman the consummate professional actor, but also the friend, the traveler, the fan, the director, the enthusiast; in short, the man be

yond the icon. Madly, Deeply features a photo insert, a foreword by Emma Thompson, and an afterword by Rima Horton.

Emma 電影進入發燒排行的影片

《曼蘿王后》劇本創作論述

為了解決Emma 電影的問題，作者馬驍駒 這樣論述：

《曼蘿王后》講述了中國歷史上五胡十六國時期西秦與南涼政權一段虛構的故事，同時身為西秦王后與南涼公主的禿髮曼蘿在時勢的不斷逼迫下，由清靜無為的修佛者逐漸變成謀劃殺夫的復仇者，體現了在大的時代背景下被命運所擺佈的個人的掙扎。《曼蘿王后》的創作，從微觀層面希望能夠探討個人與原生家庭/家族之間的關係，從宏觀層面希望藉此來思考更深入的族群、戰爭與和平、國際關係等宏大議題，期待今日小到個人大到國家都能找到屬於自己的正道。本文包含創作論述與劇本創作。創作論述為劇本創作的基礎，包含故事的創作動機、主題和類型探討等。最後在完成劇本後進行回饋與反思，以待進一步完備。

Experiencing Cinema: Participatory Film Cultures, Immersive Media and the Experience Economy

為了解決Emma 電影的問題，作者Pett, Emma 這樣論述：

Film is often conceived as a medium that is watched rather than experienced. Existing studies of film audiences, and of media reception more broadly, have revealed the complexity of viewing practices and cultures surrounding cinema-going and its exhibition spaces. Experiencing Cinema offers the f

irst in-depth study of participant engagement with a range of experiential media forms derived from cinema culture. From sing-a-long screenings to theatrical extravaganzas, a broad spectrum of alternative film-going practices and immersive spaces are explored and analysed in this original audience s

tudy. Moving from intimate community gatherings to blockbuster urban venues, from isolated farmhouses to Olympic stadia, Experiencing Cinema considers the lure and value of these popular events. Often attracting a diverse, intergenerational range of participants, from early-adopter urban hipsters to

DIY rural communities, the growing demand for participatory cinema within the contemporary marketplace is analysed alongside broader debates circulating around the move away from traditional tiered seating and increased audience mobility and the de-centring of the film text.

共同著作法制之比較研究──以我國及英國法為中心

為了解決Emma 電影的問題，作者賴怡蓁 這樣論述：

隨著現代社會在藝術創作、科學研究等各領域的合作模式愈加多元與細緻化，造就了更多人際間合作或跨組織合作之機會，並大幅增加「共同著作」產生的可能性。複雜的分工與存在於私人間之非正式合作關係，也會提升共同著作人認定以及合理分配共有著作財產權應有部分比例之困難度，此對於經濟收益高度仰賴著作權利用之影視、藝文產業而言，可能將造成重大影響。然而，共同著作之法律議題在我國並未受到足夠的關注，與該主題相關的文獻及理論探討較為缺乏，恐已不敷實務需求。有鑑於此，本文將剖析臺灣現行與共同著作有關的法律規範、學說與實務見解進展，並找出共同著作及共有著作財產權制度在我國法下所面臨的種種困境和爭議，例如：共同著作人間之

合作與主觀要件、共同著作情境中思想與表達的區分、各著作人參與創作程度之認定……等，都是有待深入討論之領域；再藉由比較、研究發展久遠的英國共同著作法制，囊括英國成文法、判例法及學者意見，尤其是英國上訴法院於2019年所做成之Kogan v Martin案指標性判決見解，從中琢磨英國關於共同著作之思維與做法是否有值得我國參照之處，並援引一部分的德國、日本法見解為輔佐，以探討最適合臺灣共同著作立法及實務的調整建議方向。