高校影视制作实验室开放存在的问题及对策

实验室开放是应时代发展要求而对实验教学进行改革的一项重要举措。介于当前缺少专职实验指导教师,多校区管理不到位的现状,影视制作实验室开放存在着实验内容相对单一、评价体系不尽合理等问题。因此,要从思想上进一步认识开放实验的重要性,加强实验教师的专业化发展,协调多校区开放实验的运行,构建科学合理的评价体体。     

东北农村题材影视剧的文化价值探究

当下东北农村题材影视剧以其浓郁的地域色彩和鲜明的艺术特质呈现出独有的文化价值。东北农村题材影视剧获得空前的繁荣,有其深厚的历史、地域、时代原因,并表现出不可替代的存在价值与文化价值。但是它也缺少沉潜到灵魂深处的博大与厚重,缺少一个民族史诗般的气魄,远没有达到现当代文学中农村题材影视剧的高度、广度与深度。东北农村题材影视剧应该按照现实主义原则,体现出入文关怀,抒写伟大时代背景下广大农民的真正的心灵史。     

在拟像中安放无根的青春——论网络怀旧视频的类型、本质与功能

 随着视觉文化进入数字和视频时代,国际影像研究界对于“电影之死”的争论愈演愈烈。以中国本土网络现象--蔚为大观的“怀旧视频”为分析对象,呼应了国际影像研究界的热点主题。在后现代语境中,首先探讨了“素材重构型”和“网络原创型”两类视频截然不同的影像呈现方式;其次分析了图片集锦等视频的电影性,透视网络这一特殊的空间场域引发的观众对视频的深度参与、影像接受与记忆的关系,并分析了这种“关注力”如何在网络空间中得以渗透与蔓延,从而在特定人群中沉淀“集体记忆”、营造集体怀旧的氛围。最后,将关注“80 后”一代的代际特征,把网络怀旧影像视作一种现代性压力下,失去安全感和归属感的群体合理且必要的符号化的情绪消费。     

Use of Contemporary Film as a Medium for Teaching an Online Death and Grief Course

Online education is becoming commonplace in the academic world. Schools now offer totally online degree programs or provide a hybrid of face-to-face and online courses for fulfilling academic requirements. Developing courses and teaching online requires instructors to rethink the educational paradigms they have relied upon in the past. The Net Generation of learners brings a different set of expectations, styles, and needs to the classroom than those of previous generations; this mandates that instructors redesign courses and use contemporary teaching modalities. This article describes how film was successfully used as the primary medium to teach a graduate online Social Work course, Death and Grief.     

论抗战电影知识分子“被大众所化”的“原罪”意蕴

与戏剧、诗歌、小说等艺术样式的创作者所遭遇的情景不完全相同——在电影和电影知识分子＂被大众所化＂的语境中,蕴含着很深的原罪意识。电影在中国民族文化和民族艺术的谱系中,其地位就显得十分尴尬——它不是民族文化艺术的＂亲子＂,最多只能算作一个外来的＂养子＂,而且是＂来路不正＂!只是因为,电影不仅是西方现代文明的产物,而且从一开始就是商品经济＂唯利是图＂的产物,其原罪之深重可想而知。     

论西方“吸血鬼”影视作品的题材问题

“吸血鬼”是西方影视作品中最常见的创意题材之一,“吸血鬼”小说与“吸血鬼”影视密切相关,后者通常以前者为基础,通过改编和影视拍摄,使虚构的吸血鬼形象走向了世界。这些“吸血鬼”影视作品往往主动发挥影视艺术的特点,强化作品的视觉效果;广泛借鉴文学、动漫和游戏等创意元素,自主创新;反哺其他文化创意,催生新的文学艺术作品或动漫游戏。同时,它们的题材不断演变,其形象逐渐去鬼怪化而走向人化;不再是个体的,而有家庭或群体性的;并在人们的虚构中混迹于人类社会,与人类有密切的关系。     

析新浪潮导演徐克电影艺术创作思想

20世纪70年代,受法国“新浪潮”运动的影响,香港电影开始变革,出现了一批区别于传统的电影创作思想,带领大众进入这个历程的是一群当时从国外电影学院毕业后在香港工作的电影人.徐克是其中最有影响的人物之一.香港电影在80年代终于实现了现代化和国际化.至今他的艺术创作思想还影响着我们.     

Media Production as Therapy: A Systematic Review

Abstract

The rapidly changing communication environment of the digital age has generated needed discussion regarding implications of media technologies for social work practice. Yet scarce research has considered the therapeutic value of media technologies for social work practice. This systematic review explores how media production is used as a therapeutic intervention in human services to identify the therapeutic value and potential challenges of its application in the field. Media Production as Therapy (MPT) affords a range of therapeutic outcomes, including self- and community-awareness, self-reflection and self-correction practices, self-expression and story-sharing, and processing trauma. Challenges confronted through MPT include time and resource constraints, logistical difficulties, issues of authenticity, and dissemination concerns. Despite limited research, this review provides needed guidance for social workers to harness technology for social good, operating in the digital space to implement MPT interventions that afford a range of therapeutic benefits to clients in an increasingly mediated world.     

接受美学视域下的汉英电影翻译

接受美学扬弃了＂文本中心论＂,确立了读者的中心地位,倡导把文学作品与读者的关系放到研究的首位,肯定读者对作品的意义和审美价值的建构意义。电影是一种属于大众化的传播媒介。任何高水平的译者在翻译过程中不仅需要具备很好的语言驾驭能力、文化理解力和艺术理解力,还要预见译语观众的期待视野,考虑他们的情感需求、语言和文化审美习惯等,让译语观众与原语观众的审美体验融为一体,而这些正是接受美学理论的核心魅力。     

Feminism and women's film criticism in post-war Britain, 1945–1959

Feminist film criticism is widely thought to have started in the late 1960s and early 1970s when the “Images of Woman” debate associated with critics such as Marjorie Rosen provided the foundation for later developments in feminist film theory. Antonia Lant has recently claimed the immediate post-1950 period to be a barren time for female-authored publications on film and cinema. This article argues that, contrary to received wisdom, the post-war period (1945–1959) in Britain was a time when women's film criticism flourished, with writers such as Dilys Powell, C.A. Lejeune, Catherine de la Roche and E. Arnot Robertson enjoying high-profile careers. Moving beyond a simple recovery of women's “hidden histories,” this article highlights the points of connection between the post-war period and later film criticism informed by second wave feminism. Through a case study of de la Roche and Robertson this article explores how women critics in this period were similarly preoccupied with screen representations of women and women's roles within the film industry, anticipating the later concerns of Rosen and others. I argue that a cross-media focus is a productive method for generating insights into women's critical agency at this time, and conclude that women's film criticism demonstrates something of the wider shifts taking place in gender relations in British society.