Whitewashing the nation: racist jokes and the construction of the African ‘other’ in Greek popular cinema

This article explores representations of race in three Greek popular films of the 1970s and 1980s. The portrayal of African characters in these films is antagonistically positioned in relation to the dominant, ‘whitewashed’ Greek national narrative which relies on the nineteenth century idea that Greece is the progenitor of European civilization. Often masquerading itself as ‘just a joke’, the discourse of these films narrates the African Other as lacking in terms of culture, intelligence and beauty – the three central categories upon which the idea of the ‘white supremacy’, according to Cornell West, is historically constructed in modernity. Tightly woven with this idea (largely introduced in Greece by the leading European powers), these films enunciate explicitly colonial viewpoints in a country that was neither a colonial power nor at the geopolitical center of the European project. The article argues that the racialized representations of these films are an effect of appropriating the Eurocentric idea of historicism, where the ‘progress’ and ‘backwardness’ of groups and nations are measured according to how effectively they perform the values of modernity.     

Documentarians,fair use,and free expression: changes in copyright attitudes and actions with access to best practices

This study, based on a survey of 489 documentary filmmakers, is a case study in copyright policy in and through practice. It assesses the changes in documentary production practice around clearance of copyrighted material since the creation of the Documentary Filmmakers' Statement of Best Practices in fair use in 2005. Fair use, an exotic and occasional feature of documentary film in 2004, has become well known and commonly employed. Creative options for filmmakers concerning the use of third-party material have dramatically improved with changes in norms after the issuing of the Statement. Attitudes about fair use are strongly associated with free expression and creative opportunity, and vary with experience. Where filmmakers have changed work because of copyright concerns, they themselves rather than any gatekeeper have made the decision to do so. Where change is associated with fair use, risk is a common concern. Newer filmmakers are more likely to support the use of copyrighted material to make new work, but less likely to know about fair use, and also more likely to have experienced takedowns online. Both education about and experience with fair use appear to have an effect on practice. Filmmakers continue to lack reliable information on the actual risk landscape, and about fair use on digital platforms.     

Whatever Happened to Drama? A Configurational–Comparative Analysis of Genre Trajectory in American Cinema, 1946–2013

Although usually conceived of and studied as individual types, genres are frequently combined in practice. This research examines how genres are combined in popular American films, and how the popularity of particular combinations changed between 1946 and 2013. Distinguishing between “contextual genres” (which identify a film's subject matter) and “affective genres” (which identify a film's intent), we find marked differences between the postwar and blockbuster eras of the Hollywood film industry. The blockbuster era exhibits less generic diversity than the earlier postwar era. Furthermore, the popular postwar‐era films dealt with serious subjects and were set in realistic settings. The blockbuster era replaced these with intense, nonrealistic films. We also find that the relationship between contextual and affective genres changes within industry eras, with affective genres dominating at the beginning of new periods and the popularity of contextual genres growing as the period progresses.     

论艺术史的影视形状

艺术史纪录片开启了学术界与大众之间的知性之窗和审美之窗。优秀的艺术史纪录片是触及艺术本质的,是可以引发人对艺术与人生进行深刻思考的,并非只是赏心悦目的,光鲜亮丽的,甚至冠冕堂皇的。一个好的艺术史纪录片不论从立意、拍摄还是主持,都应该是率性的,是发自本真的情感流露。     

当下中国电影公司全产业链经营模式的问题和对策

谋求全产业链布局,已成为当下国内有一定实力的电影公司的集体选择.这些电影公司的全产业链经营模式主要表现为,在传统电影产业链范围内布局,开始向大电影产业链推进,并逐步拓展电影产业链关联业务.但这种全产业链经营模式,无论对于电影公司还是电影产业来说都存在着一定的问题和风险,因此,本文提出了建设专业化电影公司、实施差异化竞争、营造健康产业发展环境等对策性建议.     

介电可调薄膜材料及压控微波器件研究

利用介电可调薄膜材料的调谐特性研制的介质压控微波器件高频特性好、功率容量大、响应速度快,还有易集成、功耗小、成本低、可靠性高的特点,相比半导体管、铁氧体以及MEMS器件有明显的优势。该文系统介绍了近年来国内外介电可调薄膜材料及压控微波器件的研究进展,并结合作者的工作评述了介电可调薄膜材料和压控微波器件的应用情况。除研究最为集中的钛酸锶钡BaxSr1-xTiO3(BST)材料,还介绍了具有较高调谐率的铋基焦绿石铌酸铋镁Bi1.5MgNb1.5O7(BMN)薄膜材料,该材料介电损耗低(约0.002),介电常数适中(约86),温度系数小,是一种极具发展前景的微波介电可调材料。     

Beyond High School

Abstract

This study examined interpersonal heterosexist discrimination by examining self-reported anti-gay behaviors of heterosexual college students. Respondents were 226 college students; 94.9% had perpetrated some form of discriminatory behavior and 32.7% had committed a behavior that was rated as moderately harmful or higher. A higher amount of self-reported discriminatory behavior was associated with being male, having more homophobic attitudes, and having lower GPAs. Discriminatory behaviors were not related to political ideology, religious influence, or interaction with gay men and lesbians. Neither discriminatory behaviors nor homophobic attitudes were related to academic year, age, membership in a social fraternity/sorority, or membership on an intercollegiate athletic team.     

对氯偶氮氯膦分光光度法测定血清中的镁

本文利用对氯偶氮氯膦(CPAPCI)与镁的显色反应,测定了血清中镁含量。与 AES、AAS 法比照,本法简便,结果满意。     

原版电影听说教学中交际法的渗透

就交际法理论而言,把文化因素和社会因素融会到交际情景中去是外语教学的一个难题.利用真实的视听材料如原版电影安排教学活动,较好地解决了师生教与学中部分教材学习情境的创设问题,丰富了学习情境,为师生教学提供了强有力的支持和服务.由某一话题入手,对影片中出现的语言信息加工处理,用交际性任务来组织课堂教学,使电影、语言素材、教学活动以及涉及到的文化知识、情感态度等有机地融合于教学的整个过程.     

Exploring Gay Male Erotic Art: An Interview with Edward Lucie-Smith

The last twenty-five years have seen the emergence of a transnational gay/lesbian/bisexual/transgender (GLBT)/queer cultural movement unprecedented historically in its scope and openness. This interview with British art historian and critic Edward Lucie-Smith examines the role of gay male erotic art and film within that movement. Taking its start from the centrality of same-sex sexual orientation to the sense of gay identity and the importance of erotic art in validating that identity, it explores the historical, psychological, and social significance of a branch of visual art that until recent decades was not even acknowledged to exist, much less considered an appropriate subject of scholarly interest. By discussing gay male erotic art within a serious art-historical context, the article aims at providing a framework for examining the topic more systematically within the GLBT/queer studies domain.