“Ancient Volscian Border Dispute Flares”

Reception of the 2012 film adaptation of Shakespeare's Coriolanus, directed by and starring Ralph Fiennes, dealt with two particular themes: the homoerotic relationship between Fiennes' Coriolanus and the rebel leader Aufidius whose forces he eventually joins, and the choice to shoot the film in Serbia and Montenegro. While south-east Europe has become an increasingly popular location for Anglophone filmmaking, the promotion and reception of Coriolanus foregrounded the significance of Belgrade and the Balkans as a site of recent conflict. Moreover, the film constructs the world of Coriolanus and Aufidius through simulating or even re-using images of “Balkan” space with which viewers have already become familiar through news media, and it therefore draws on and contributes to representative practices that constitute the Balkans as a violent and warlike zone. Yet Aufidius' rebel force resembling militias from the Yugoslav wars is opposed to a highly disciplined “Roman” military equipped for urban warfare in 2000s Iraq. This article contends that the film achieves this contrast primarily through evoking different military masculinities associated with each force, which have been widely disseminated through still and filmed war photography, and secondarily through its use of specific ex-Yugoslav landscapes and cityscapes. The complex relationship between images of the Balkans, masculinity and military discipline in Coriolanus shows that images of military masculinities juxtaposed with a post-Yugoslav material environment continue to operate as symbolic resources in a contemporary western imaginary of war.     

On not really being there: trans* presence/absence in Dallas Buyers Club

Recently more trans characters, even as main protagonists, star in film and media representations, perhaps in tandem with an increased recognition of trans rights globally. In this article we argue that the visual and aural grammars of cinema perform a double movement of inclusion and elision, making for a fascinating if utterly frustrating uptake of trans presence that is at once, perforce, also an absence. Our case study of the Rayon character in Dallas Buyers Club is an example of a recent sexualized representation of trans femininity. Our textual analysis will deconstruct this character’s presence and absence on the level of the film’s aesthetical and technical aspects demonstrating how cinematic grammar implicates cisgenderism.     

全球金融危机下中国电影产业的发展

当前各国的电影产业都不同程度地受到全球金融危机的影响，本次金融危机对电影业的冲击主要表现在电影融资困难、影片数量减少、电影收入减少等方面。面对金融危机，各国电影界纷纷出招应对。以金融危机影响电影产业的逻辑路径为基础，针对我国电影行业发展现状，提出我国电影业积极应对金融危机实现跨越式发展的思路与措施。     

短篇小说《过桥》的电影化技巧探析

格雷厄姆·格林是20世纪重要的现实主义作家，其作品的基本特色表现为惊险的小说情节同严肃的道德主题的完美结合和独特的电影技巧的运用。格林把电影化技巧不着斧痕地化用进短篇小说《过桥》中，使他的文字组合带有浓郁的视像性和表现力，使他的小说的艺术层次与思想内涵都得到了极大的提高。     

影视欣赏和大学英语教学中的文化习得

本文对影视欣赏和大学英语教学中的文化习得的相关问题加以论述。     

当文学嫁给影视——文学新桂军“触电”现象探究

广西文学的边缘崛起引起了国内文坛的广泛关注,同时作家们频频进军影视界,也成为了广西文学的一大亮点。在与影视的亲密接触中,广西文学显示出独特的优势并形成了巨大的影响力,这将进一步推动广西文学的长足发展。     

The Legal Trial And/In Documentary Film

This article proposes to extend the work of law and film scholars, such as Carol Clover and Jennifer Mnookin, by looking at how juridically themed documentary films use the legal trial as both a platform and a structuring device to contest the evidentiary value of testimony, bear witness to the performance of law in our culture and engage in a social debate about flaws in contemporary jurisprudence. Because non-fiction film – with its presumed indexical relationship to reality and its attendant claims to authenticity – is often seen as having a privileged relationship to truth, the ethical and epistemological stakes of these visual representations are heightened. Consequently, the expectations we bring to the juridical documentary (in terms of its truth-telling responsibilities) make it a particularly loaded space for analysing the ethical and epistemological responsibilities of documentary representation as well as for revealing truths about the legal process and the ordering of a just society. Thinking through the ways in which contemporary trial documentaries differently approach the question of their subjects' guilt allows us to reflect on how the juridical documentary refracts the legal trial's own truth claims. These documentary films demonstrate that, while the documentary and the legal trial might share an epistemological affinity based on shared principles of evidence, narrative and argument, the way in which the trial itself is thematized as both a discourse and a practical purveyor of justice in documentary influences how we come to understand the law in action.     

膜反转板式降膜再生过程研究

结合板式降膜技术与膜反转技术的优势,提出了一种新型膜反转板式降膜再生器.通过建立和求解其再生过程传热传质数学模型,得到液膜内的浓度、温度分布特征.揭示了再生过程蒸汽发生的特点,比较了不同倾斜角度、反转次数和分段位置的降膜板布置下再生过程的再生效果,确立了设计条件下一次反转的最佳膜反转板式降膜再生器结构.研究结果表明,膜反转板式降膜再生器比竖板降膜再生器更加高效紧凑.     

起舞在商业社会--浅析20世纪90年代以来中国主旋律电影和艺术电影的商业化倾向

20世纪90年代以来中国主旋律电影和艺术电影的发展出现了明显的商业化倾向,这种倾向表现在影片的制作和运作两个方面,即影片的题材选择、情节架构、价值判断以及发行、放映的商业化。而主旋律和艺术电影在90年代出现这种发展倾向则是由改革开放和市场经济建设的大背景、电影学界关于电影本质的论争的小环境,以及主旋律电影和艺术电影自身原因共同导致的。     

视像时代:命名及特征

如果从人类文化传播载体形式的特征来看,迄今为止的人类文明史主要可分为图画时代、文字时代、印刷时代及视像时代四个阶段。在视像时代,个人文化规范的传承、社会组织形态的构建、信息的传播与交流,以至于文化创造的具象表现、文明发展的外在表征,都莫不以视像为其重要的传播手段与存在形式。