绝望深处的笑声——论余华的《在细雨中呼喊》

作为余华的第一部长篇小说,《在细雨中呼喊》带给人们的并不仅仅是历史的沉重和悲凉,也不仅仅是成长的恐惧和绝望,还有一幕幕滑稽与荒诞的反抗、一次次幽默与夸张的嘲解。正是这些浸满泪水的“笑声”,使它摆脱了对历史苦难的简单控诉,并呈现出“黑色幽默”的审美特质。文本分别从其精神意蕴、叙事方式以及语言等方面,分析了它所具备的黑色幽默之特征,并进而指出了这种审美追求在余华后期创作中的重要意义。     

论杨绛喜剧精神的人生与艺术资源

主要阐释杨绛喜剧精神的内涵 ,探讨其喜剧精神的人生与艺术资源 ,包括家学渊源、中国传统世情文学的教化和英法世态喜剧的影响三方面内容。     

近代中国电影文化传播刍议

近代中国政府将电影看作是“通俗教育”的重要形式,对它的管理是硬性和严厉的,更多的是从文化防犯、控制等硬性措施上对它进行调整,这种调整反映出近代中国电影发展长期处于一种不理想的状态中。     

From humor to horror: genre and narrative purpose in abortion stories on American television

A recent increase in the number of comedic films and television programs that include abortion stories has prompted a cultural conversation about whether this is an appropriate treatment for such a topic: Can abortions be funny? Are there any genres that should not include plotlines about abortion? Indeed, most prior examinations of abortion on television have focused on dramas and their impact, without explicitly exploring the ways different genres offer a range of types of stories and creative opportunities. Using a comprehensive data-set of abortion plotlines on American television, this analysis provides a historical overview of how varying genres have addressed abortion in the past, as well as closer case studies within each of five genres: drama, soap opera, horror, science fiction, and comedy. This paper provides insight into the different narrative functions of abortion stories, with consideration of how such narratives support (in)accurate and (de)stigmatizing cultural ideas about abortion.     

Olympic Films and Public Memory

How is our memory of mega‐events structured? This article investigates the relationship between cinema and the Olympic Games. To this end, it first unravels the historical origins of the strong link between the two, as both are symbolic products of the 20th century. The Olympics reaffirm the image of the modern nation‐state; the cinematic medium visually represents the Games as spectacle. Leni Riefenstahl's film, Olympia (1938), recorded at the 1936 Berlin Olympic Games, supplies the most enduring imagery of this type. In addition to Riefenstahl's thoughts and methods, this study delves into Kon Ichikawa's Tokyo Olympiad (1965), which was influenced by Olympia. Ichikawa's film, which reflects his artistry and showcases his various skills, won critical acclaim and, intriguingly, precipitated the “document or art” controversy that involved the Japanese state and the mass media. Whether document or work of art, this film has supplied the public with imagery for the 1964 Tokyo Olympic Games—various images that most of us recognize—and thereby played a key role in constituting our memory of them. Therefore, our experience of the Games is a mediated experience through the construction of our public memory. Our memory culture is composed of “prosthetic memories” that are technologically assembled through cinema and act as Freudian “screen memories.”     

论冲突在影视剧中的叙事特质

冲突是叙事体影视剧的精髓,既包含了叙事内容,又是叙事手段和叙事技法.冲突的构成和起固都源于生活,为冲突提供了广阔的仅事背景.冲突以其构成的双方贯穿全剧的动作与反动作,为叙事的呈现状态,并且有其自身的审美特征.无论传统的非传统的影视剧,事实上都凭借冲突的展开推动着叙事过程.     

论李安电影的“性”和谐

对李安导演的电影文本剖析,认为李安电影呈现了多元文化下的"性"和谐特征:在"性"与伦理的冲突与调和中,呈现了人与自然、人自身、人际关系的和谐,并借生命的逝去达到"性"与伦理的调和,以包容、妥协及理智达到"性"与伦理的和谐。     

影视作品对构建大学生社会主义核心价值观的影响分析

优秀影视作品的影响力是非常深远的，一部好的作品可以影响人的一生。近年来，国内外影视作品的数量越来越多，题材越来越丰富，制作效果越来越精良，在大学生中引起了很大反响。本文通过调查研究，了解最受大学生欢迎的影视作品及其剧中的人物，以及这些影视作品对大学生价值观的影响，并提出加强大学生核心价值观建设的对策。     

Negotiating race in stand-up comedy: interpretations of ‘single story’ narratives

This paper explores how narratives of personal experiences among audience members in Midwestern comedy clubs shape their receptivity to the racial discourses deployed by stand-up comedians. Conducting a Midwest-based ethnography of comedy clubs located across three states, I collected data through a variety of methods, which included: live stand-up performance observations; interviews of comedians and audience members from the same shows to better situate their respective strategies and reactions; and audience surveys. My analysis reveals how the subtlety and art of stand-up performance styles combine with the pleasurable medium of humor to alternately reinscribe, challenge, or proudly celebrate audience understandings of race. The accounts shared by comedians and audience members at these clubs demonstrate the potential for stereotype humor – contingent on presentation styles and audience experiences – to foster ethnic solidarity or complicate racial-behavioral associations through repeated encounters with comedians who either indirectly challenge or actively critique familiar types.     

Code-Switching or Bahasa Gado-Gado in Discussion of Homosexuality in Indonesian Films

ABSTRACT

The article offers insights on how code-switching (CS) as a linguistic device and mechanism has served as an act of empowerment for the bilingual filmmaker to challenge government domination. Bahasa gado-gado, an Indonesian-English CS, is normatively unfavorable language use in Indonesia. The negative sentiment toward CS has been expressed by many Indonesians and the government. This article investigates the English switches in otherwise Indonesian popular cinematic texts: two films released after 1998, a critical political moment in Indonesia. Since the collapse of the New Order era in 1998, the use of bahasa gado-gado has been significantly visible in public spaces. Using a textual interpretive analysis, I show how CS is a tool used by characters to express “non-normative” sexual orientations in a liberating and open manner; by extension, CS in this context serves to expand monolithic definitions of Indonesianness.