在若即若离之间寻找真实——纪录片拍摄中主客体之间的关系透视

纪录片是以真实性表达生活感受的一种方式。这种真实性既要表达拍摄者的思想和观点,又要尊重被拍摄者尊严和感受。在纪录电影的发展历史上,这二者的关系彼此交织互相影响,共同形成了纪录片真实性的二维空间。纪录片的编导们一直在努力探索怎样最大限度地接近"真实",然而随着时代的变迁、社会语境的变换,"真实"的涵义也不断地改变着。在当下的社会环境下,编导们所应恪守的是真实性这一纪录片与生俱来的特性,以及尊重被拍摄者的感情与尊严。在这样的双重维度下,纪录片的真实是可以无限逼近却无法真正触及的。     

Double Jeopardy in Hollywood: Age and Gender in the Careers of Film Actors, 1926–1999

There have been few studies of the concept of double jeopardy as it pertains to the effects of gender and aging on occupational outcomes. This research examines the utility of this concept in the field of film acting, traditionally a gender-integrated occupation. The results confirm significant negative effects of being female and being older on the number of film roles received by actors and their average star presence. Moreover, the gendered effects of aging on the career opportunities of actors have diminished somewhat over time with respect to number of film roles but not with respect to star presence.     

西部影视文化研究说略——代“西部影视文化研究”栏目开篇语

"西部影视"是相对于"中国影视"外延而言略小的一个概念,"西部影视文化研究"则包容了电影电视艺术研究的所有命题与范畴,研究重点在于涉及西部影视文化艺术现象的所有对象,突出地探讨电影电视创作和理论发展中的新现象、新经验。栏目的学术定位为影视艺术的专业性研究园地,刊发在当今中国影视艺术研究领域具有前瞻性、指导性、独创性学术观点的论文。     

论迪士尼动画对民间文学的继承与创新

迪士尼的动画电影在全世界拥有众多的观众,其中一个重要的原因是迪士尼在影片题材上大量借鉴了世界各民族的民间文学元素。迪士尼电影作品在对民间文学的改编中,主要以塑造具有激情与灵性的人物为核心手段,所以在每一部高口碑、高票房的动画电影中都会有一个极富影响力的人物形象。复杂与丰满的情节也是其对民间故事改编的主要着力点;当然,对美国的文化内涵表达也是其改编民间文学的重要依据之一。     

清真寺与霍梅尼革命及其影响:伊朗核问题新解

从霍梅尼对清真寺的基本认知、坚守、支持和利用等进一步解读伊朗伊斯兰革命,旨在强调清真寺管道与伊朗内政外交的关联性,进而凸现精神领袖在解决伊朗核问题中的深远影响,尤其是国际社会更应正视围绕伊朗核问题而形成的四种话语阻障了彼此的沟通与对话。因此,国际社会必须在畅通沟通与对话的前提下,不断拓展外交解决此问题的空间与途径,以期采取行之有效的解决措施。     

Sadistic scopophilia in contemporary rape culture: I Spit On Your Grave (2010) and the practice of “media rape”

This article revisits earlier theorisations of cinematic voyeurism and gender-based violence in considering the cross-media connections between cinema and non-consensual pornography online. In particular, it looks at how the remake of a significant rape-revenge film, I Spit On Your Grave (1978/2010), explores the role of technology in the perpetuation of female victimisation. By making a visible connection between the female character’s physical rape and the violation of her subjectivity performed through filming her without her consent, the film raises a larger social/media issue, which I call media rape. In offering a theorisation of this phenomenon, the article analyses the operation of the website creepshots.com, which distributes non-consensual photos of women. The comparison between these two texts promotes an understanding of the visual and discursive continuities between cinema and online spaces in relation to media rape and rape culture more generally. At a time when the distinction between the creators of and audiences for media content is less straightforward within the context of online media, sadistic scopophilia needs to be reconsidered in relation to medium specificity. Although it is already problematic in the cinematic context, when it extends to online media sadistic scopophilia becomes a human rights violation.     

Hamjensgara belongs to family; exclusion and inclusion of male homosexuality in relation to family structure in Iran

This paper looks at current struggles of Iranian gay men to form new sexual identities that are directly tied to family structure and based on values of emotional bond and commitment to a same-sex partner. Based on fieldwork conducted among Iranian gay men in 2012–2014 and through looking at Iranian gay men’s terminologies, Hamjensgara and Gay in particular, I will clarify how Iranian gays, in a way different from that of Western LGBT activists, are trying to portray a positive image of their sexuality in relation to local family standards so they can be integrated into the Iranian family structure, which is the central space of regulating identities in Iran.     

The uses of stance in media production: A study in embodied sociolinguistics

While many conversation analysts and scholars in related fields have used video recordings to study interaction, this study is one of a small but growing number that investigates video recordings of the joint activities of media professionals working with, and on, video. It examines practices of media production that are, in their involvement with the visual and verbal qualities of video, both beyond talk and deeply shaped by talk. The article draws upon video recordings of the making of a feature‐length documentary. In particular, it analyses a complex course of action where an editing team are reviewing their interview of the subject of the documentary, their footage being intercut with existing reality TV footage of that same interviewee. The central contributions that the article makes are, firstly, to the sociolinguistics of mediatisation, through the identification of the workplace concerns of the members of the editing team; secondly, showing how editing is accomplished, moment by moment, through the use of particular forms of embodied action; and, finally, how the media themselves feature in the ordering of action. While this is professional work, it sheds light on the video‐mediated practices in contemporary culture, especially those found in social media where video makers carefully consider their editing of the perspective toward themselves and others.     

媒介难忘——电影媒介的美学分析

媒介本质论将艺术形式与艺术媒介本质地连接在一起,认为创作、欣赏与评价等活动都应该立足于媒介的特性来进行;经典电影研究自觉地继承和发扬了以上命题。以卡诺尔为代表的后来者,主张在电影研究中“忘掉媒介”,认为媒介只是工具,它不能限制艺术。但也有研究者并未放弃对艺术媒介的理论维护,例如高特,他将媒介的理论价值用三个媒介特殊论命题系统地呈现了出来,我们在认识、解释、评价和创造艺术品时,应立足于其特殊的媒介特性。而如果站在更为宽广的大众媒介的理论视野来理解电影与媒介,认识到电影作为大众艺术代表的地位,则能够合理地融汇卡诺尔与高特之间的二律背反。