论中国早期电影的自由精神

中国早期电影突破传统模式、打破封建牢笼,善于吸收西方先进文化中所体现的自由价值取向.从电影的选题、创作、以至宣传发行都是独立自由、勇于创新的.早期电影深受多元文化的影响,直接倡导自由精神,鞭笞落后反动的旧式习俗思潮,这一切为早期中国电影的发展注入了无限活力,对整个社会也产生了深远的影响.     

大数据驱动下的影视文本创作 和生产模式变革

大数据正以其对规律和趋势的分析预测功能,对人们生活和影视内容生产产生日益深刻的影响。数据化思维是贯穿当下影视生产创作的重要思维形态,延承的正是传统数据化思维的基本认知过程。大数据驱动下的互动参与生产模式主要体现在,借助于受众行为数据分析,可以对导演、故事、表演、影像、剪辑和声音等影视元素进行选择,并在此基础上进行生产或再生产。这些将推动影视内容生产在技术和观念上不断变革。     

建构区域文化认同的“影视叙事综合体”——以“京津冀协同发展”为视角

“京津冀区域协同发展”的历史机遇已然到来,而长期以来各成气象的文化形象影响了三地之间的融通和发展。打通文化根脉,营造共通的文化空间,建构区域文化认同,消解隔膜与屏障,是推动区域协同发展的当务之急。在大众传播时代,影视艺术是蕴藉文化,构建形象,传播共识的主要媒介类型。“影视叙事综合体”以影视艺术为传播载体,通过叙事行为、叙事故事、叙事话语、叙事反应等影视叙事功能建构区域文化认同的影像文化空间,提升区域文化形象,促进区域文化的融通和协同发展。     

论艺术史的影视形状

艺术史纪录片开启了学术界与大众之间的知性之窗和审美之窗。优秀的艺术史纪录片是触及艺术本质的,是可以引发人对艺术与人生进行深刻思考的,并非只是赏心悦目的,光鲜亮丽的,甚至冠冕堂皇的。一个好的艺术史纪录片不论从立意、拍摄还是主持,都应该是率性的,是发自本真的情感流露。     

Rape culture,misogyny, and urban anxiety in NH10 and Pink

One of the most pervasive aspects of Delhi’s post-liberalization psychopathology has been everyday violence against women. The city’s rape culture was given an exceptionally sharp global focus after the horrific gang rape of Jyoti Singh on December 16, 2012. Recent Hindi cinema has begun to engage with some aspects of the capital’s misogynist urban ethos. In this paper, I look at how the Delhi subgenre of the “multiplex film” has engaged with rape culture, misogyny, and urban anxiety through a close textual and discursive analysis of two recent films—NH10 (Navdeep Singh, 2015) and Pink (Aniruddha Roy Chowdhury, 2016). Specifically, I identify how the December 16 “trigger event” and Delhi’s notorious misogyny are finding newer modes of representation through the interplay of genre and exhibition space. In what ways do these films position and imagine the “multiplex viewer”? New engagements with the figure of the consuming middle-class woman and the public discourses that surround her sexual safety and navigation of space have taken a central position in understanding the present urban psychosis of the capital. I suggest that these films and the forms of spectatorial identification that they privilege are intricately linked to the gendered spatial politics of the multiplex.     

Whitewashing the nation: racist jokes and the construction of the African ‘other’ in Greek popular cinema

This article explores representations of race in three Greek popular films of the 1970s and 1980s. The portrayal of African characters in these films is antagonistically positioned in relation to the dominant, ‘whitewashed’ Greek national narrative which relies on the nineteenth century idea that Greece is the progenitor of European civilization. Often masquerading itself as ‘just a joke’, the discourse of these films narrates the African Other as lacking in terms of culture, intelligence and beauty – the three central categories upon which the idea of the ‘white supremacy’, according to Cornell West, is historically constructed in modernity. Tightly woven with this idea (largely introduced in Greece by the leading European powers), these films enunciate explicitly colonial viewpoints in a country that was neither a colonial power nor at the geopolitical center of the European project. The article argues that the racialized representations of these films are an effect of appropriating the Eurocentric idea of historicism, where the ‘progress’ and ‘backwardness’ of groups and nations are measured according to how effectively they perform the values of modernity.     

影视文化与和谐文化的构建

和谐文化是构建社会主义和谐社会建设的精神支柱和道德保障,影视文化则在促进和谐文化的形成、推动和谐文化的发展、确保和谐文化的传播中发挥着极为重要的作用.面对当前全球金融危机,影视文化可以潜移默化地增强受众战胜困难的勇气和信心,用暖心来暖经济.     

类型电影与类型批评

无论在传统电影批评还是现代电影批评的领域,类型批评都是重要的不可或缺的批评方法之一。它的研究对象类型电影的产生是大工业生产和艺术审美合力的产物;类型电影的本质内涵是模式化,它的创新是在模式基础上的破格;类型批评的历史和类型电影的创作并不同步,在经历了现代批评理论的洗礼后,类型批评呈现出综合化的跨学科的研究趋向。     

功能派翻译理论与中文电影片名的英译

德国功能派翻译理论认为,翻译的策略和方法与文本类型相关,并由译文预期的目的或功能决定。电影片名属于呼唤型文本,其主导功能就是通过某种特定的方式为观众提供信息,达到吸引观众的目的。中文电影片名翻译成英语时,必须考虑中英电影片名各自的命名特点以及电影片名的感染功能,恰当运用音译、直译、增减译法、改译、重新拟定等各种翻译方法,以达到吸引英语观众的最佳效果。     

叙事的创造与受众的接受——论中国都市电影的叙事特质

从叙事的创造与受众的接受这个角度分析中国都市电影的叙事特质 ,中国都市平民电影时刻关注社会现实 ,与观众的审美心态一直保持着不同程度的同步状态 ,采取的是面对观众的叙事策略 ,即尊重观众的欣赏习惯 ,迎合和满足观众的情感期待及心理欲望。中国电影与好莱坞相抗衡的力量正缘于此