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。     

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.     

论新世纪武侠电影视觉中心的美学取向

新世纪武侠电影注重影像造型,更多挖掘电影的视听元素,充分调动色彩和道具的作用,选取极度唯美的场景,运用数字化特技设计的武打场面,表现了视觉中心的关学取向。客观上说,这对于吸引观众对武侠片的热情起到了一定的积极作用。但以视觉快感为导向的创作倾向,也在某种程度上导致了有些电影的晦涩难解,影响武侠电影中侠文化的弘扬,从而导致人文关怀和人文精神的匮乏。     

中国新时期电影与文学的互证——兼评刘再复《驳顾彬》

对当代文学尤其是新时期文学的评价,已成为中国新文学评价中的热点与焦点问题。仅从传播方式而言,对中国新时期文学的海外传播做出最大贡献的是以第五代导演为代表的新时期电影。张艺谋认为第五代导演的成功与新时期的文学繁荣分不开,正是中国新时期文学成就了新时期电影。实质上,中国新时期文学经历文学现代化洗礼后已逐渐进入成熟期,取得了较高的文学成就。然而,从传统向现代转型的中国社会,长期处于价值取向的茫然与混乱中,导致无法建立起公正的文学与电影评价系统和体系。只有冷静分析中国新时期电影和文学,才能真正发现新时期电影和文学的价值所在。     

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.     

Documentarians,fair use,and free expression: changes in copyright attitudes and actions with access to best practices

This study, based on a survey of 489 documentary filmmakers, is a case study in copyright policy in and through practice. It assesses the changes in documentary production practice around clearance of copyrighted material since the creation of the Documentary Filmmakers' Statement of Best Practices in fair use in 2005. Fair use, an exotic and occasional feature of documentary film in 2004, has become well known and commonly employed. Creative options for filmmakers concerning the use of third-party material have dramatically improved with changes in norms after the issuing of the Statement. Attitudes about fair use are strongly associated with free expression and creative opportunity, and vary with experience. Where filmmakers have changed work because of copyright concerns, they themselves rather than any gatekeeper have made the decision to do so. Where change is associated with fair use, risk is a common concern. Newer filmmakers are more likely to support the use of copyrighted material to make new work, but less likely to know about fair use, and also more likely to have experienced takedowns online. Both education about and experience with fair use appear to have an effect on practice. Filmmakers continue to lack reliable information on the actual risk landscape, and about fair use on digital platforms.     

Whatever Happened to Drama? A Configurational–Comparative Analysis of Genre Trajectory in American Cinema, 1946–2013

Although usually conceived of and studied as individual types, genres are frequently combined in practice. This research examines how genres are combined in popular American films, and how the popularity of particular combinations changed between 1946 and 2013. Distinguishing between “contextual genres” (which identify a film's subject matter) and “affective genres” (which identify a film's intent), we find marked differences between the postwar and blockbuster eras of the Hollywood film industry. The blockbuster era exhibits less generic diversity than the earlier postwar era. Furthermore, the popular postwar‐era films dealt with serious subjects and were set in realistic settings. The blockbuster era replaced these with intense, nonrealistic films. We also find that the relationship between contextual and affective genres changes within industry eras, with affective genres dominating at the beginning of new periods and the popularity of contextual genres growing as the period progresses.     

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。     

当下中国电影公司全产业链经营模式的问题和对策

谋求全产业链布局,已成为当下国内有一定实力的电影公司的集体选择.这些电影公司的全产业链经营模式主要表现为,在传统电影产业链范围内布局,开始向大电影产业链推进,并逐步拓展电影产业链关联业务.但这种全产业链经营模式,无论对于电影公司还是电影产业来说都存在着一定的问题和风险,因此,本文提出了建设专业化电影公司、实施差异化竞争、营造健康产业发展环境等对策性建议.     

介电可调薄膜材料及压控微波器件研究

利用介电可调薄膜材料的调谐特性研制的介质压控微波器件高频特性好、功率容量大、响应速度快,还有易集成、功耗小、成本低、可靠性高的特点,相比半导体管、铁氧体以及MEMS器件有明显的优势。该文系统介绍了近年来国内外介电可调薄膜材料及压控微波器件的研究进展,并结合作者的工作评述了介电可调薄膜材料和压控微波器件的应用情况。除研究最为集中的钛酸锶钡BaxSr1-xTiO3(BST)材料,还介绍了具有较高调谐率的铋基焦绿石铌酸铋镁Bi1.5MgNb1.5O7(BMN)薄膜材料,该材料介电损耗低(约0.002),介电常数适中(约86),温度系数小,是一种极具发展前景的微波介电可调材料。