从学步到奔跑:新世纪青春电影转变的审视

新世纪以来的华语青春电影在电影题材、叙事策略、跨媒介改编、宣传发行等个方面呈现出明显的转变。基于社会文化环境,分析了新世纪华语青春电影从饱受诟病到未来可期的转变。这种转变是多年电影教育与产业革新的成果显现,是粉丝经济与女性经济助力年轻人消费群体的成长,是年轻影人的成长与责任担当,是主流文化对青年亚文化的整合与收编。     

Between the Living and Undead: How Zombie Cinema Reflects the Social Construction of Risk,the Anxious Self,and Disease Pandemic

The zombie film has become an important component of contemporary popular culture. The sociological nature of the themes addressed by these films reflect prominent social concerns, and lend themselves to sociological analysis as texts themselves. This article examines the zombie film genre, its history, predominant themes, and its illustration of sociological dynamics related to identity, collective behavior, disease, contagion, and the privileges that come from social inequality. Particular attention is placed on what the zombie films, themselves, can tell us about society and how they illustrate sociological principles. First, we examine the origins and history of zombie cinema. Next, we move to a discussion of the central narrative devices around which zombie films are organized. In particular, we focus on two narratives in zombie films: those that emphasize zombie possession; and those that focus on the sociological risks of zombie pandemics. The discussion then moves to an analysis of zombies as selves, and how zombie films express cultural anxieties about selfhood, loss of autonomy, and threats of de‐individualization. We then explore the roles of power and privilege in the social epidemiology of zombification, paying particular attention to how those who succumb to zombiedom illustrate the sociological dynamics of health disparities in the real world. Finally, the sociology of infectious disease is used to address how zombiedom correlates with real disease outbreaks, what we know about the social aspects of infectious disease transmission, and the sociology of pandemics.     

Cinematic Terrorism: Deleuze,ISIS and Delirium

This paper will use the concept of time-image discussed by Gille Deleuze in Cinema 1 and Cinema 2 as a heuristic tool for thinking about the Internet films of the Islamic State (ISIS). By considering that ISIS films primarily operate on two different axes: a time-image that presents a recollection of a mythic past, and a movement-image that reverses roles of power and sovereignty with a Western antagonist through mimesis, I discover that although we are unable to consider the ISIS films strictly as documentary, they are nonetheless not representational either. Within this context, I will argue that ISIS films may be experienced as actualizations of a global schizophrenic delirium. The ISIS films demonstrate what Deleuze describes as the “powers of the false.” They show a reality that is unbearable to witness. In the same way that the Marquis de Sade exhibited in life and fiction a physical violence and perversion that were symptomatic of the chaotic and brutal realities of the French Revolution, ISIS itself, and not only its film productions, becomes the foci of a symptomatic and cinematic realization of the failures of our globalized society in the post-Cold War/Arab Spring era. We experience the unbearable violence in the form of schizophrenic delirium, as if this violence is being performed somewhere else, by someone else, to someone else. These forms of spatial and temporal shifts, detachments, and interchanges are emphasized by the arrival of war refugees to the Western world from Syria, Iraq, and Afghanistan. In this process of becoming the Other, there is no escaping the delirium of Otherness.     

“Sober encounters”: the neoliberal logics of human rights documentary and Indian feminist documentary filmmakers

“Sober encounters” examines the market-defined encounters between Indian feminist documentary filmmakers and global humanitarian and media commissioning and funding agencies. Drawing from interviews conducted with Indian filmmakers, the essay looks closely at the seemingly sober aesthetic and ethical imperatives of these agencies and their impact on the production and distribution of rights-based feminist documentary film in India. Further, I present the figure of the “transient subject” and posit that it is one apprehended by market-friendly representational regimes to legitimate a neoliberal rights discourse. I argue for a deeper examination of these representational regimes and their attempts to de-radicalize the visual cultures of women’s rights.     

基于“钻石模型”的横店影视文化产业竞争力分析

横店影视文化产业经过18年的发展,已经拥有500多家影视企业,年营业额近百亿（不包括旅游）并形成了自己的特色。在当今众多新老影视基地的夹击下,横店影视的先发优势正在逐渐消失,横店影视文化产业该如何保持竞争优势？本文运用美国学者迈克尔·波特的“钻石模型”理论,从生产要素,需求状况,相关产业和支持产业,企业战略结构和同业竞争,政府和机遇等方面,围绕核心竞争力、基础竞争力、环境竞争力的提升,对横店影视文化产业竞争力的优劣进行分析研究,认为要提升竞争力,必须适应市场,调整战略,增强核心竞争力;必须集聚要素,完善产业,夯实基础竞争力;必须抓住机遇,争取政策,拓展环境竞争力。     

基于目的论的影视名译入探究与实践

片名是影视产品的商标和广告载体,其译入质量直接影响到目标观众对其接受度.以实现影视信息的信息传递,激发观众的观看欲等功能为目的,选取部分传播良好的影视作品作为实例,实践了直译译入、意译译入、补译译入和创译译入四种不同翻译策略.     

Incomplete Resistance

The purpose of this essay is to examine the contradictions between narrative and filmic technique that result in conflicting messages in Karim Aïnouz's film O Céu de Suely. Although the film demonstrates the hardship and isolation that drive its northeastern Brazilian protagonist to raffle herself in order to buy a bus ticket out of town, it simultaneously sensualizes and encourages the audience to take pleasure in the female body by displaying it erotically. I call this tension between message and form incomplete resistance. The questions of how prostitution relates to patriarchy and the success of the protagonist's scheme in selling sex while refusing the label of prostitute are central to this analysis.     

论全球化语境下中国电影的跨文化传播策略

在全球化浪潮的冲击下,跨文化传播日益频繁.作为大众传播媒介和意识形态载体的中国电影,必须以积极的姿态应对竞争,广泛参与世界范围内的跨文化传播.全球化语境对中国电影的跨文化传播既是一种挑战,也是一种机遇.中国电影要取得跨文化传播的成功,必须在"国际化"与"本土化"的结合中找到一个"契合点",实行"国际化"与"本土化"的"双重编码",在电影传播的文化策略、题材策略、艺术策略以及运作策略上广泛借鉴,大胆创新,以"和而不同"的目标作为跨国传播的文化诉求,开创中国电影新局面.     

作为文化解释的人类学影视片--人类学影视片发展走向探析

人类学影视片是人类学家观察和思考人类社会的有效方法.根据人类学影视片的拍摄内容,大致可分为作为研究资料的素材片、作为文化描述和文化解释的影视片三种类型.在今后的发展过程中,人类学影视片除了发挥对文化进行记录的传统优越性以外,还可以其独特的影视表达方法和视角,对人类文化进行深入的解释.     

“渝派”纪录片：站在人类学的高度喊一声川江号子

近几年,“渝派”纪录片在纪录片界异军突起,成为后起之秀,成为一种耐人寻味的文化现象。而“渝派”纪录片人之所以敢举旗称派,正是因为“渝派”纪录片已具备自己独特的创作风格和精神气质,其部分作品还在人类学视野中绽放奇葩,具有一定的影视人类学意义。