浅析电视综艺晚会的导演取向

处于大数据时代下,无论是国政大事,还是日常生活,方方面面都被纳入了无形而浩瀚的网络空间。电视综艺晚会是活跃于大众视野的重要娱乐形式之一,为了紧跟时代步伐,满足大众需求,进行了多方面的转变与改进。本文以当下一些反响较大的电视综艺晚会为例,分析其导演取向,试图为促进电视综艺晚会节目及其他相关电视栏目的长期良好发展提供新思路。     

浅析电视综艺晚会的导演取向

处于大数据时代下,无论是国政大事,还是日常生活,方方面面都被纳入了无形而浩瀚的网络空间。电视综艺晚会是活跃于大众视野的重要娱乐形式之一,为了紧跟时代步伐,满足大众需求,进行了多方面的转变与改进。本文以当下一些反响较大的电视综艺晚会为例,分析其导演取向,试图为促进电视综艺晚会节目及其他相关电视栏目的长期良好发展提供新思路。     

西藏电视事业及发展战略

西藏电视作为一个区域性的电视事业,从无到有,从小到大,以其惊人的速度,迅速架构起了自己的电视网,进入新世纪的西藏电视已建成2座电视台,4个频道,其中2个上星频道,六地区都建成了电视转播站,但同全国相比还有一定的差距.跨入新世纪的西藏电视应客观分析自身的生存环境,认清自身发展的优势,抓住发展的机遇,以跨越式的思维来实现跨越式的发展,实现做大做强西藏电视,使其立足西藏、面向全国、走向世界,获得社会效益和经济效益的双赢.     

浅谈电视舞蹈对中国舞蹈事业发展的影响

舞蹈的基本要素主要体现在以下几个方面:人物表情、舞蹈节奏、人物动作姿态、队形的变化和舞台的装备;电视最基本的部分不仅包括镜头运动——镜头组接(蒙太奇)也包括长镜头和画面的转变等.对电视舞蹈来说,就是要把这两种要素结合起来使其相互融合.通常电视上播放的舞蹈就是指电视舞蹈,其可以说是由舞蹈肢体语言与电视镜头语言相融合的一种电视艺术类型.其实电视舞蹈也是一种大众传播艺术,其主要是通过借用电视语言,用人体的表情、节奏和动作来反映生活.越来越多的人知道电视舞蹈,越来越多的观众去认识舞蹈、深入了解舞蹈并去学习舞蹈,这样由原来少数人才有机会接触到的这种艺术变为大众化了,最终也对舞蹈的传播和发展起到了重大的作用.电视传媒在增加舞蹈观众方面和扩大舞蹈艺术影响方面,都起到了任何媒介都无法比拟的作用.     

电视与西藏乡村日常生活——以曲水县茶巴朗村为例

在现代社会,电视对人们日常生活的影响广泛而深刻,人们通过电视获取生活信息、模仿生活样式,电视藉此促使人们的消费、闲暇、交往以及家庭生活不断发生变化。文章以曲水县茶巴朗村为例,以电视与西藏乡村日常生活为基本研究内容来探究电视在西藏乡村日常生活变迁中的作用。     

电视仪式:电视人类学研究发展

相较于其他艺术现象,电视及其传播、接受、反应行为具有更多的人类学涵意。对电视仪式的揭示与探索是电视人类学研究的核心。本文指出,电视节目的策划制作与收视实践,是一种仪式的现代性表征。电视仪式就是以电视为媒介中心组织起来的结构性行为。人类学仪式借助电视这一现代传媒技术已经深刻地切入到人们的日常生活之中,发挥着重要的结构性作用。对电视仪式的研究既可以展示古代仪式的现代表征,亦可以揭示当代电视人类学的深刻意义与广阔前景。     

雪域文苑竞芬芳

"一唱雄鸡天下白,万方乐奏有于阗".在新中国文苑里,我们最早从新疆歌舞领略到边疆民族文艺迷人的姿颜.那时,西藏尚未解放.这里的文学艺术是什么样子?又将如何迎接新时代的曙光?对外界来说还是一个谜.40年过去了.伴随着巨大的社会变革和经济建设的发展,高原的古老文艺也获得了新生.而今,人们对西藏的文学、歌舞、戏剧、美术,乃至书法艺术都已经不再陌生.它们成了西藏悠久历史、灿烂文化和     

温志波,献身预科教育 服务民族学生

吉首大学民族预科教育学院,是湖南省唯一的少数民族预科教育基地,承担着包括新疆、西藏在内的全国16个省、市、自治区及全国10所高校的少数民族预科学生培养任务。目前该学院有少数民族预科学生1425人,涵盖38个少数民族,其中西藏籍少数民族学生85人,新疆籍少数民族学生305人。在新疆籍、西藏藉学生中,不少学生汉语水平较低,日常交流大多用本民族语言。     

温志波,献身预科教育 服务民族学生

<正>吉首大学民族预科教育学院,是湖南省唯一的少数民族预科教育基地,承担着包括新疆、西藏在内的全国16个省、市、自治区及全国10所高校的少数民族预科学生培养任务。目前该学院有少数民族预科学生1425人,涵盖38个少数民族,其中西藏籍少数民族学生85人,新疆籍少数民族学生305人。在新疆籍、西藏藉学生中,不少学生汉语水平较低,日常交流大多用本民族语言。     

论西藏民族艺术研究的思路

西藏民族艺术历史悠久、形式多样、瑰丽多彩、成能卓著,在中国各民族艺术的百花园中,占有很重要的地位,是中华民族艺术不可缺少的重要组成部分。我认为,西藏民族艺术,可分为古代传统艺术(1951年和平解放西藏以前)和当代社会主义艺术(1951年和平解放西藏以后)两个大的历史时期。自然,解放前的西藏还应划分若干个时期,解放后的西藏还可划分为几个阶段,这里就不详述。虽然当代社会主义艺术,只有三十多年的短暂历史,但它是在西藏悠久的传统艺术基础上发展起来     

散论电视专题片解说

解说是电视专题片的重要环节,甚至在有些片中还是主要环节,是全片成败的关键因素.解说者在解说中必须有很好的把握度,既不能有过度的自我表现;也不能"千人一腔"、"千篇一律",太无自我,使人们感觉不到专题片本身和解说者的个性特色.解说者必须把握解说对全片整体的从属性,服从服务于全片的整体表达与效应,使解说与画面达到和谐统一、完美融合.     

Renovating ethnic identity on Restaurant Makeover

Food can be a novel way of understanding and explaining some of the pointed paradoxes of multiculturalism and the ‘management’ of ethnicity. Many studies of culinary culture are attentive to the exoticization of ethnicity in and through food media, which now includes a vertiginous array of cookbooks, travel literature, magazines and, most important for our purposes here, television series. Among various programs is Restaurant Makeover, a popular Canadian reality series broadcast on Home and Garden Television (HGTV) as well as the Food Network Canada. In each episode, dining experts are hired by struggling restaurateurs (often ethnic) to ‘spice up’ the existing menu, ‘modernize’ the décor and, by extension, ensure the welfare of the (immigrant's) family. While the series is not explicitly directed at ethnic restaurants, it seems to be increasingly interested in ‘non-white’ establishments (i.e., Mexican, Chinese, Thai, etc.). This participation in culinary multiculturalism may be symptomatic of wider political changes in immigration and ‘diversity’ in Canada. Based on the authors analyses of specific episodes this paper argues, firstly, the growing interest in ethnic cuisine on Restaurant Makeover can be read as a (neo)liberal response to an emerging conservative ‘multicultural’ agenda that recognizes migrants predominantly as laborers (as opposed to citizens) and, secondly, that behind its rehearsal of liberal benevolence is a skewed set of power relations that authorize the experts’ (re)construction, cultivation and containment of ethnicity.     

Television and the making of a transnational Alevi identity

ABSTRACT

Satellite broadcasting technologies contribute a great deal to interaction across national boundaries, and in this regard satellite television is significant in the construction of a transnational public sphere for the Alevi community in Turkey and abroad. This paper addresses the role of television in the making of that transnational Alevi identity. In particular, it focuses on the flow and the programme contents of Cem TV and Yol TV, two leading Alevi channels, to demonstrate how the transnational imagination of Alevi identity corresponds to different political understandings of Aleviness.     

藏语广播电视新闻的"播"与"说"初探

"播"新闻并非有些人所说的那样是"明日黄花".在这个人们日常审美观念多样化发展的时代,广播电视新闻播音的形式必然呈现出多样化的态势."播"新闻具有权威性、鼓舞性、规范性等特点;"说"新闻具有贴近性、灵活性、缓冲性等特点."说"与"播"各有所长,同时也各有不足.具体的实践中,应根据不同的新闻内涵、栏目设置及频道特点,体现不同的播音风格.     

Using Cultivation Theory to Understand American College Students’ Perceptions of Arabs in the Media

Research has shown that Arab portrayals on television have an effect on viewers’ beliefs about Arabs in general. Based on questionnaire responses from 429 undergraduate students, this study sought to examine perceptions of Arabs on television. Results revealed that college students have predominantly antagonistic views about Arabs in general and on television. These findings suggest that television can affect the way college students view reality regarding Arabs and how these perceptions can perpetuate negative stereotypes.     

Patterns of criminal threat in television news coverage of ethnic minorities in Flanders (2003–2013)

Despite a strong cognitive association in the minds of native citizens between ethnic minority presence and crime, compelling evidence demonstrating a real-world relationship between crime and ethnic diversity is limited. This study adopts a media-based approach to contribute to the debate on the origin of the perception of criminal threats. By means of a content analysis of 11 years of crime news (2003–2013) in Flanders (the northern, Dutch-speaking part of Belgium), portrayals of ethnic minority and majority perpetrators are systematically compared to assess whether ethnic minorities are portrayed in a significantly more threatening way. Moreover, building on ethnic hierarchy theories, comparisons are made between various outgroups. Findings demonstrate that ethnic minority perpetrators are depicted in a more threatening manner: they are more likely to be associated with violent, property, and gang-related crime. Additionally, they are more likely to be anonymised and to be associated with explicit manifestations of threat. Group differences exist, however, as the most distant outgroup (i.e. North Africans) is covered in a more threatening way than the other outgroups. Implications for intergroup relations are discussed.     

少数民族影视铸牢中华民族共同体意识的多重逻辑

少数民族影视是生产、培育、传播并塑造各个民族共同心理的重要载体，也是构筑中华民族共有精神家园的有机要素，更是铸牢中华民族共同体意识的主要阵地之一。本文主要从少数民族影视与铸牢中华民族共同体意识的关系视角进行分析得出：少数民族影视生产、发展、传播、创新是铸牢中华民族共同体意识的有效路径，并在理论与实践逻辑两个方面都具有高度的一致性。具体来说，理论上主要表现为少数民族影视生产、发展与铸牢中华民族共同体意识在本质逻辑上的紧密相连与结构逻辑上的相辅相成；实践上主要表现其传播、创新在功能逻辑上的相得益彰与选择逻辑上的殊途同归。正确认识少数民族影视生产、发展、传播、创新层面与铸牢中华民族共同体意识的多重逻辑，才能促进少数民族影视与铸牢中华民族共同体意识协调发展。     

Meeting / Derrida

In August 1999, Jacques Derrida gave a number of lectures and seminars in Melbourne and Sydney. The seminar of 13 August, held at Sydney's Seymour Centre Theatre, was open to the public. It consisted of a question-and-answer session with Genevieve Lloyd, David Wills, Paul Patton and Penelope Deutscher. Its title, 'Themes from Recent Work', reflected interests in the work from Specters of Marx (1994) onwards which some, including Paul Patton, have referred to as deconstruction in its affirmative phase. What follows is a by-no-means verbatim record of the event. Rather it is but one member of the audience's account of what transpired in the seminar – an account which is therefore necessarily selective and pressed through the grid of my own quasi-philosophical interests. Following this account of the seminar, I offer some marginal notes on the open discussion following the seminar, then, finally, some reflections on a particular matter discussed at the dinner which followed that – madness.     

Defining ‘real India’: representations of authenticity in independent travel

As an alternative to the stereotypical mass tourism, independent travellers – travellers who travel for extended periods on low budgets while ostensibly avoiding formalized tourist activities and locales – are invested in constructing ‘authentic’ travel experiences. Practices such as ‘off-the-beaten-track’ travel and cultural engagement provide the means by which independent travellers are able to make claims to such authenticity. Authenticity is constructed by travellers through idealizations of intimacy and non-commodification. These idealizations are tangled in narrative representations of ‘real’ India and ‘real’ Indians, their ‘real’-ness typified by an absence of other travellers, tourists and, more generally, Western contamination. In these ways, ‘authentic’ travel is dependent upon actively constructed binaries of Western travelling subjects and exotic Indian objects. Yet travellers' fantasies of the Other are fragile and subject to collapse at moments in which so-called Others articulate their subjectivity in a way that is inconsistent with travellers' expectations. Through a focus on travellers' narratives of their experience, both the requirement for an Orientalist dichotomy as well as the ruptures that continually challenge this dichotomy, will emerge.     

The changing configurations of self-(m)other dialogue in North Cyprus

This paper deals with issues of identity, nationalism, postcolonialism, and self-other relations with a focus on a period of transformative events in North Cyprus. It notes how nationalism has been the dominant means of identification for Cypriots in their modern history, and argues that unless weakened and supplanted by a radically pluralist democracy, nationalism imagines one's identity as an indivisible unity and has no place for different others within the nation. However, a pressing relationship with others and otherness is no stranger to Cypriots either, which makes it clear that the border that defines the ‘we’ of such nationalism is, at the same time, the line that divides the self intrinsically, indicating the otherness of the self or its alterity. Subjectivity involves subjection to the other.