论中国电影作品著作权的保护

电影作品传播方式的多样化使得权利人难以有效地许可和转让权利,从而限制了电影作品的广泛传播和使用。而设立著作权集体管理组织可以为使用者发放"一揽子"许可,从而有效地实现权利人的合法权益,促进电影作品的广泛传播和使用。     

Diversity,rights or privileges? Denunciation of multiculturalism, ‘political correctness’ and anti-racism of the ex-Commander of Scotland Yard Ali Dizaei

The widely disseminated court verdict on the former Scotland Yard commander, Ali Dizaei, as a violent bully and a liar at the end of his first trial in February 2010, brought about a noted denunciation of multiculturalism as ‘political correctness’. The jury's decision on the abuse of power by the Iranian-born officer was used by the denunciators to condemn the politics of rights that aligned multiple ethnic and racial identities as equal. The denunciation is looked at as a contingent mobilisation of the apolitical subject that is loitering on the boundary of politics calling for the ‘end of politics’ marked by the exclusion of the Other. At the same time the trial revealed that by advocating a policy designed to subsume particular ethnic and cultural belongings within a universal exercise of rights Dizaei had been able to resume his cultural differences as a source of privileges among his compatriots. Drawing on the incident as a result of which Dizaei had to stand trial and later a re-trial, using various sources, the paper examines the tension between the exercise of rights and privileges built into multiculturalism. The pertinence of the sources used to highlight the tension remains largely unaffected by the questioned reliability of the main witness of the prosecutor and the Appeal Court judges’ decision to order Dizaei's re-trial. The paper argues that multiculturalism sets in motion the incompatible agencies of the citizen, the member of a political community, and Man whose role is inscribed within civil society. Thus, the exercise of equal rights calls for dis-identification of the subject as a social and cultural agent. Such dis-identification, however, is displaced when the subject asserts his identity as Man, the bearer of unequal relations based on class, gender and race. In making provision both for the exercise of rights as well as the assertion of identity multiculturalism becomes instrumental in the subsumption of cultural differences within rights and the resumption of these differences in the articulation of privileges. The mediation of multiculturalism in the realization of rights and privileges accounts for the Iranian-born officer's oscillation between subsuming his cultural differences within British citizenship and resuming these differences in asserting his identity as an Iranian among the diasporic community. Using the notion of cultural diversity Dizaei was able to keep at arm's length the two spheres of rights and identity that allowed him to claim ‘not to be one of them’ thus oscillating between claiming the rights of a British citizen and the privileges of an Iranian magnate. The noted disruption in his power game that brought Dizaei to sit in the dock was the result of a failed attempt by the Iranian-born officer to contain the growing tension in his advocated multiculturalism arising from his simultaneous resort to rights and privilege.     

Relighting the Fire: Visualizing the Lesbian in Contemporary India

This article revisits the controversy surrounding Deepa Mehta's Fire (1996), India's first publicly released film depicting female same-sex desire. The film has become a touchstone for discussions of the representation of queer and lesbian, gay, bisexual, and transgender (LGBT) lives in India. While the majority of critical accounts of the film have rejected the use of “lesbian” on the basis of its Anglo-American specificity, this article seeks to recast lesbians at the heart of Fire by filtering them through the lens of transnational protest, and by offering a close reading of the film's own play on religious and cultural symbolism. Viewed almost two decades after its release, in the light of the Delhi rape case of December 2012 and subsequent events, including the upholding of a law criminalizing gay sex in November 2013, the film now more than ever seems to offer a fantasy of the future, rather than a viable reality in the present day. Within Fire, the circumnavigation of heteronormative power and desire is certainly queer, but the film's labeling as “lesbian” subsequent to its release in India opened up an important public forum for a debate about female desire and independence that continues to resonate today. This article does not attempt to offer a conclusive argument about the use of the term “lesbian” to label the relationship between women that is depicted within the film, but it does examine the way in which the film itself visualizes desire between women, and in particular the use of Hindu narratives, imagery and motifs. The film's interpellation into lesbian politics is facilitated by the strong emphasis on a female-centered desire that is not defined by motherhood, that cannot be contained, and that demands to be seen.     

论灾难片的美学价值

灾难片作为好莱坞电影的一种类型,通过影像表现人类生存的永恒主题——灾难、死亡与生命。本文从三重生命美学角度出发,着重分析好莱坞灾难片受欢迎的原因:在灾难中体验死亡,在死亡中唤醒生命,从而追问生命的意义,并传达对当今社会问题的终极思考。     

论电影在戏剧文学改编中的时间问题——以日本影片《蜘蛛巢城》对莎士比亚戏剧《麦克白》的改编为例

自电影诞生以来,由著名戏剧文学改编而成的电影作品不计其数。更有许多电影将其他民族的戏剧文本改头换面,成功地搬上了本国银幕。然而这两门时间艺术的本体又是截然不同的。以日本影片《蜘蛛巢城》对莎士比亚戏剧《麦克白》的改编为例,它的成功建立于创作者对戏剧时间与电影时间的深刻理解,以及对不同民族时间观的深入认识。正是有了这样的创作基础,才使得这样一部跨文化、跨艺术门类的改编之作,既保存了原剧作的艺术精华,同时又被赋以独具魅力的本土文化特色。     

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.     

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。     

压强和温度对薄膜折射率的影响模型

基于膜分子和气相分子在沉积时竞争的观点,得到压强和温度对薄膜折射率影响的理论模型.模型的研究表明,薄膜折射率随真空压强的增加而降低;并随沉积温度的增加而增加.在不同真空压强和不同沉积温度下制备了氧化锆薄膜,计算了样品的折射率,结果显示的规律和理论模型的规律基本一致.     

浅层的喧嚣和深层的呐喊——浅析电影《无穷动》的台词艺术

自有声影片发韧以来,台词日渐成为电影诸元素中的重要一元。精心设计的台词往往具有独特的审美价值,成为影片诸艺术元素中值得单独关注的审美对象。文章借助文化研究的视点,通过对中国都市电影先锋导演宁瀛作品《无穷动》台词的细读,揭示其表面辐射出的丰富审美意味和内里蕴藏着的浓重女性书写色彩。