门口的野蛮人
2
0.0
门口的野蛮人
更新:08月12日
简介:位于美国北卡罗莱纳州温斯顿沙兰市(Winston Salem)的RJR纳贝斯克饼干公司股 东们,虽然受到全球瞩目,金钱不断涌入,光是在2月底的邮件中,就收到总数达20 亿美圆的支票,但很少有股东对公司的高级执行总裁罗斯.强生(Ross Johnson)心存 感激。现在,温斯顿沙兰市也变成前所未有的百万富翁市。所有与RJR公司有关的华尔街 大亨都想从中分到一点好处,于是罗斯找来财务专家亨利和彼得来为他效力。接下来上演的便是一出充满贪婪、背叛、尔虞我诈和高风险赌注的华尔街风云。  根据布莱恩.巴勒和约翰.海勒撰写的《Barbarians at the Gate: The Fall of RJR Nabisco》中文译名:《门口的野蛮人:RJR纳贝斯克的陨落》改编。  该书描写了1988年美国第二大烟草公司RJR融资收购饼干生产商Nabisco的交易。即使如今看来,这笔总额达250亿美元的收购也十分惊人,不禁让人对有关人物的行动产生 疑虑。当时,这也是华尔街历史上最大的收购资金。而1989年美国Kohlberg KravisRoberts 公司又以314亿美元的价格刷新了此纪录,其收购对象就是RJR Nabisco公司。  读过此书,你会惊奇地发现网络和个人对世界商业和经济的操纵力有多大。它向我 们揭示了CEO被给予的巨大权利和机会,从中你会懂得谁才是真正的"玩家"。 该书被《福布斯》杂志评选为20年来美国最具影响力的20本商业书籍之一。也被选择摘编到里奥·高夫的投资经典著作《一次读完25本投资经典》中。
2
1993
门口的野蛮人
梅岭星火
0
0.0
梅岭星火
更新:08月12日
简介:1934年秋,由于左倾机会主义路线的错误,第五次反围剿失败了,红军主力被迫撤出江西根据地,开始了两万五千里长征。当时,敌人从四面八方向中央根据地扑来,中央苏区沦陷了。陈毅同志因腿部受伤,没跟随主力撤离,和留下的同志一起上山打游击。他们历尽艰险,辗转到达赣南梅岭山区时,这支队伍已是兵不满百了。他们隐蔽在深山密林之中,风餐露宿,过着野人般的生活。他们在极端艰苦的条件下,坚持开展游击战争。此时,地下党组织遭到破坏,他们与党中央完全断绝了联系。环境越来越恶劣,斗争越来越艰难,战士们情绪低落,有的竟离队下山。但是,陈毅同志始终充满信心。坚持正确对待官兵,正确对待犯错误的同志,团结一切可以团结的力量,终于度过了困难的三年,保存了革命火种。时值日本帝国主义侵占东北三省,蒋介石实行卖国政策,中华民族的灾难日益深重。对此,陈毅义愤填膺,他在山林中,高举抗日旗帜,宣传发动群众,进行着不懈的斗争。1936年冬,西安事变和平解决,蒋介石不顾国家与民族的利益,对我南方游击队发动猖狂进攻。由于叛徒出卖,梅岭被困,在几乎葬身火海之时,陈毅同志视死如归,写下了著名诗篇《梅岭三章》,慷慨高呼:"此去泉台招旧部,旌旗十万战阎罗!""七七"事变后,国共两党再次合作。陈毅同志虽远离党中央,可凭着他的政治远见,毅然下山与国民党进行谈判。从此,结束了艰苦的游击战争,为以后召集南方的游击队,组成浩浩荡荡的新四军,开赴抗日战场,创造了有利的条件。
0
1982
梅岭星火
拉莉萨
2
0.0
拉莉萨
更新:08月12日
简介:A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.  Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first: accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.
2
1980
拉莉萨