Inhabiting her space

Reflecting on interview-narratives and exilic poetry, this article is focused on the lived experiences of Iranian-American women in the context of migration and exile after the incursion of the Iranian Islamic revolution of 1979. Iranian women in the USA have experienced the challenging geo-cultural journey that eventually, and at times significantly, distanced them from the culture of their place of birth and prepared them to embrace new multi-layered and composite spaces of identity and belonging. The article is based on in-depth interviews with twenty-five Iranian women immigrants. The focus of the inquiry is on developing a theoretical framework to understand the physical, psychological and emotional challenges of exile and displacement for this population, grounded in the exilic narratives of the women interviewed, as well as in the expression of three Iranian-American women poets. The analysis emphasizes the narrative and poetic passages as repositories of identity and belonging, and deconstructs these texts as epitomes of in-betweenness in the light of post-colonial and feminist theories.     

Out of the Blue: the dark side of creative enterprise

This paper draws on an archive of media texts that document the making of the film Out of the Blue. Within these media accounts are statements made by a group of residents resisting the film project, and the film‐makers responding to this resistance. We employ a Foucauldian informed discourse analysis to read these statements of resistance as a starting point to examine the power relations within contemporary knowledge generation processes of creative industries. We theorise creative industries as a discursive object located at the intersection of three discursive formations: ‘creativity’, ‘enterprise’ and ‘place’. Through analysing the particular place–identities of Aramoana engaged by the resisting residents and the film‐makers, we are able to suggest how this film project came to be discursively constituted as creative enterprise. In so doing, we find that the resisting residents’ statements work to disrupt the taken‐for‐granted ‘goodness’ of film enterprise, and creative industries more generally.     

The work of art in the age of hip hop reproduction: Ice-T and the cultural capital of keeping it real again in Kings of Vice (2011) and Something from Nothing: The Art of Rap (2012)

In turning his talents to fiction in his 2011 debut novel, Kings of Vice, gangsta rapper Ice-T has faced a particularly intricate challenge in “keeping it real”. At this point in the twenty-first century, the credibility of hip hop’s harder core seems to have been undermined by the distance gangsta rap has travelled from the street realities that gave it birth in the 1980s to the millionaire enterprises that have emerged since. A “rapocracy” of incredibly successful rappers and producers, most of them associated with gangsta rap (such as Diddy, Dr Dre, Jay-Z and Russell Simmons), has taken the gangsta ill-logic of exploiting the street for maximum profit to the extreme. Ice-T’s intervention in this dynamic has been to try to remind us of hip hop’s more “auratic” origins while acknowledging that the past is indeed a different country. The turn to authorship of books and making of documentary films in the context of a post-2008 economic meltdown environment constitutes an imaginative way to revivify the creative possibilities of the gangsta. The very title of Ice-T’s 2012 documentary film, Something Out of Nothing: The Art of Rap, betrays an almost nostalgic yearning for a purer age and the form that erupted out of it. This same retrospective paradigm for thinking a better way forward for gangsta aesthetics is also at the heart of Kings of Vice. Ice-T’s inventive return to origins shows us how even at a moment of its maximum commodification, gangsta culture (precisely because of its contradictory relationship to capitalism) can provide a uniquely critical perspective on a deregulated world.     

试论电影的深度空间观念

人类获得视觉深度的途径主要有四种,但只有以双目方式才能获得统一的视觉深度观念。电影具有独特的深度空间观念。电影的深度空间观念形成机制非常复杂,它是人的视觉深度、影像的运动和声音等因素共同作用的结果,并与人的相应心理幻觉和后天观影经验有关。正是因为观念的介入,电影才成为一种艺术,具有文化的意义。     

叙述合法性诉求——当代影视的“新纪实“倾向的文化分析

当代影视创作中出现了一股声势浩大的纪实倾向,它表现在被吕新雨命名的“新纪录运动”纪录片创作中;在一些“纪实”性电影故事片;更多的体现在许多电视台制作的大量“纪实”类电视节目中。这些作品体裁样式、表现形式、手法、内在规律各个不同。但是它们却共有一种“纪实”观念:那就是对过于明显建立在观念上的主观真实的否定,希望去除人的主观介入;对原生态生活本身的强调和重视,力求忠实表现原生生活本来的状态和流程;并在技术上充分利用摄影机(摄像机)记录客观现实的能力和一些具体的纪实手法试图达到一种对原态生活的“纯记录”;实现对“真实”的承诺。但是如果我们深入分析这种纪实倾向就可以发现,它实际上是在宣称其具有一种不可能获得的特质,以期获得一种普遍的叙述合法性,这反映了一种普遍的后现代文化的怀疑倾向。在这个分析的基础上,我们就可以瓦解“真实”和普遍合法性的迷雾,不但在影视具体的制作手法上,而且在“真实”和“纪实”观念认识上获得了解放,进入了一个更加开放的认知领域。     

C60膜的制备及其特性

在实验基础上 ,详细阐述了碳的同质异构体 C6 0 的 L B膜的制备过程及其特性     

中国电影在进步文化运动中的历史嬗变--兼与中国现代文学比较

中国电影产生以来即成为中国进步化运动的重要组成部分，但其鲜明的工业生产属性(资本主要由官僚买办把持)和广泛的群众性，使其与中国现代学比较起来，行进的步伐要滞后一些。1931年后，左翼电影运动的开展及时代的呼唤，进步电影逐渐发展壮大起来，成为表现反帝抗日主旨的重要艺术形式。     

当代中国大陆及港台影视广告与受众心理研究

在市场经济占主导地位的社会中 ,商品已经不仅仅是商品 ,更是某种形象的象征 ,当你买进一件商品的时候 ,也就意味着你接受了一种观念、一种形象 ,而影视广告是塑造这种商品形象的重要手段。大陆、香港、台湾三地的影视广告与受众心理接受状况 ,既有明显的差异 ,却也有殊途同归的地方     

论海派影论之兴

中国海派电影理论话语兴起于20世纪20年代的上海,主要有4个动因,4个依托,并显现着4个方面鲜明特色。在旧海派电影文化的积淀中升华、创新的新海派电影文化,既应“海纳百川”,又应“百川归海”,既葆有地域文化的鲜明特色,又相融相合于中国整体文化之中。     

早期中国电影“陡转现象”解析

"陡转现象"是中国电影史上一个非常特殊的历史坐标,关于这个现象的分析对于研究早期中国电影产业和市场,以及中国电影发展的脉象有极其重要的意义."陡转现象"的发生给中国电影的发展造成了巨大的影响,正面的商业效应使中国电影从业者看到了国产电影的巨大潜力,负面的恶性竞争也使人们看清了产业结构上的重大缺陷.它所带来的国产商业类型电影的发展和与之相伴的负面效应为中国电影业和中国电影人提出了一个严肃的课题