一次意义非凡的合作——记中国第一部音乐电影的诞生

有人曾说:电影当真是一门遗憾的艺术:今日大红大紫,易成明日黄花。而对于诸如:《都市风光》等经典影片来说,却是例外。在本文中,笔者结合自己所学的知识和领悟,首先分析了该音乐电影中配乐的艺术特色,而后又着重对音乐与画面的完美融合进行了阐析。     

言与不言之间——以《小城之春》为例谈中国的艺术电影

费穆导演的《小城之春》被誉为电影界的经典.影片通过兰花、古城墙等意象,并运用长镜头、慢镜头等拍摄技巧,充分地呈现出中国电影中少见的古典之美.古典的意境、古典的文化思想,再加上现代的电影叙事,使得《小城之春》成为中国艺术电影的代表作,而它的所得,同时也是当下中国电影亟待反思的地方.     

道德在“左”情感在“右“——谈王小帅电影《左右》

21世纪以来，中国独立电影逐渐形成了它一套特有的语境，以描摹中国当代社会中所出现的社会矛盾为主，刻画人们在社会变革中所面临的冲击、无助和人性在此中的扭曲变形。在这样的刻画中，中国形象继“文革”的书写之后再次变异，影片无不笼罩着矛盾、虚假、道德低下，价值观混乱，麻木不堪，贫富失衡，腐败贪婪，底层边缘……随着这类影片在国际上频频获奖，追随者众，其也当然地成为建构中国当代文化的不可忽视的一股力量。然而，在肯定这些影片的人文价值之前，需要剖解一下的是，为何在新独立电影中会呈现出这样的“中国形象”？其背后又隐含怎样的“东方主义”？ 以下的一组文章意在思考这些问题。     

镜头里的社会——来自“垃圾王国”的报道

城镇里总有一些人靠捡垃圾来维持生计，他们处理着居民每天丢弃的成百上千吨废弃物，客观上帮了政府环卫部门很大的忙。当然，这也带来了不少新问题，诸如流动人口的管理、计划生育、社会治安等。     

思政课“ICG”三维教学模式的评估、推广及完善——以《中国近现代史纲要课程》为例

《中国近现代史纲要》课程的"ICG"三维教学模式主要包含独学、对学和群学三个维度。探究这种实践教学模式的绩效评估、实践推广及丰实完善过程中所需注意的问题,并有针对性地提出科学可行的解决方案,对推动高校思想政治理论课实践教学改革,提高思想政治教育的针对性和实效性具有重要意义。     

An alternative discourse of modernity in a Chinese monster film: The Great Wall

ABSTRACT

The rapid development of Chinese cinema in the twenty-first century has witnessed a blossoming of genre films with frequent references to Hollywood. The Great Wall (2016), the monster blockbuster by the Fifth Generation auteur Zhang Yimou, tells a peculiar story of a westerner helping the valiant army to defeat the ravenous hordes of Tao Tie and save humans from annihilation in medieval China. Compared to the western cinematic tradition in which monsters incarnate popular concern of the impacts of techno-scientific development, the Chinese film bestows the ancient monster with allegorical meaning of greediness. The bending of Hollywood genres into the Chinese context illuminates the intricate dynamics between the local and the global in cross-cultural encounter. By tracing the development of monster films and the changing notions of modernity in Chinese historiography, the paper examines the re-invention of Hollywood vernaculars in The Great Wall to construct an alternative vision of modernity.     

EBRI research highlights: health benefits

The Employee Benefit Research Institute (EBRI) is a nonpartisan, nonprofit public policy research organization based in Washington, DC, that has been researching economic security issues for almost 25 years. Founded in 1978, its mission is to contribute to, encourage, and enhance the development of sound employee benefit programs and sound public policy through objective research and education. EBRI does not lobby and does not take positions on legislative proposals. EBRI receives funding from individuals, employers of all types, unions, foundations, and government. EBRI's research work has focused on retirement- and health-related issues, particularly involving pension/retirement plan coverage and health insurance coverage in the employment-based benefits system. EBRI is a major source of unbiased data on the uninsured and current trends involving 401(k), IRA, and traditional pension-type retirement plans. EBRI research programs also include economic modeling of Social Security reform proposals and development of the EBRI/ICI 401(k) database, the largest and most detailed of its kind. This EBRI Special Report/Issue Brief (May 2003) synthesizes highlights of recent EBRI research on health issues. The next Issue Brief (June 2003) will present recent EBRI research on retirement benefits. It should be stressed that this document contains only highlights of EBRI's collection of research and analysis; for greater detail and information, visit EBRI's Web site (www.ebri.org) or contact EBRI directly.     

人人需要安全感——公共安全凸显下的反思——公共安全：永恒的诉求

孟德斯鸠在《论法的精神》中有一段名言：“一个公民的自由是一种心境的平安状态,这种心境的平安状态是从人人认为他本身是安全的这个角度出发的,要想享有这样的自由,就必须建立一个这样的政府：在它的统治下,一个公民不惧怕另一个公民。”     

The anxiety of affect: melodrama and South African film studies

This paper argues that the realist approach typically adopted in South African film studies reduces films to message‐bearing narratives in a way that ignores the specificity of the medium. Conversely, melodrama both as cinematic genre and as expressive register explicitly draws our attention away from issues of right representation to other neglected but essential dimensions of cinema. We argue that, far from being morally reductive or politically quietist, melodrama is a representational mode wholly appropriate to understanding the South African context including the painful stories of its apartheid past. To illustrate this broader critical point we offer an analysis of two films (of 2004) about the Truth and Reconciliation Commission (TRC) – In My Country and Forgiveness – which, we argue, can only be adequately understood if their uses of the visual and affective strategies of melodrama, which are consonant with aspects of the TRC itself, are acknowledged.