苏童作品中的电影元素探析

苏童是当今文坛上一位颇有才气的作家,他以变幻莫测的先锋叙事技巧、颓靡浓郁的抒情风格以及伤感唯美的语言书写等艺术特色引起了文坛的广泛关注。他作品中呈现出的丰富的电影因素———色彩斑斓的画面感、多变动炫的镜头感以及悦耳动听的音乐感使其作品更耐人寻味,具有表现生活之张力。     

Video/Filmography on Single Parenting

The purpose of this video/filmography is to provide potential users with a sampling of recent videotapes that deal with various aspects of single parenting. Titles were gleaned from film and video directories, distributor catalogues, and video review publi- cations which are identified in Appendix A. Date of release, running time in minutes, address and telephone number of distributors are given with each title along with purchase/rental prices. The titles presented are organized into the following five categories: (1) The Single Parent Experience, (2) The Childs Experience, (3) Teenage Single Parenting, (4) General Interest, and (5) Feature-Length Tele- vision and Film Releases. Awards received are noted at the end of each synopsis and intended audience levels are provided.     

论我国的电影审查制度——以WTO合规性为视角

中国严格的电影审查制度在WTO框架中受到其他成员的多次指控,2011年12月公布的《电影产业促进法(征求意见稿)》提高审查标准,更是引起舆论哗然.从WTO合规性的视角,基于维护公共道德,中国享有对电影进行内容审查的权力,具体审查标准也属于中国有权自主立法的范围.但是,基于公共道德进行内容审查后,WTO成员对违禁作品的控制权应限定为作品的传播权项,国家基于公共道德的控制权不能剥夺作品的所有著作权利.此外,中国现行法律中指定电影进口单位的规定,其存在作用更多是为维护电影进口发行的垄断权,这与促进电影产业繁荣的要求相抵触.     

Flicks of government flacks: The sequel

This supplements the analysis of cinematic depictions of government public relations professionals published in PRR in 2001. Of seven additional films, the government PR professional is white, male, and an employee of the federal government or a police department. Sometimes their work was of questionable truthfulness or helpfulness.     

以影视业带动文化旅游业 促进河南沿黄地区经济发展——以焦作、登封、巩义为例

以沿黄两岸的焦作、登封、巩义为例,应在开发文化遗存的同时,充分利用各自的资源优势,着力发展以影视城建设与经营为主的影视文化产业,使两者相辅相成,互惠互利,以实现冲破瓶颈、科学发展、提升效益的三重目标。     

八十年代先锋诗的生存境遇及演变态势透视

中国大陆当代的先锋诗运动始于年代末年代初的朦胧诗。年代是百年新诗中最具有先锋品质的时期,708080经历了从先锋的草创(年代初期朦胧诗为代表)到先锋的勃兴(年代中期第三代诗为代表)两大过程。朦胧诗的8080先锋既有诗艺上的先锋,更有诗意上的先锋。第三代诗人更重视语言诗艺,但也不得不面对现实生活的生存境遇,整个年代先锋诗人的生命意识和生活情怀时常多于文体意识和审美情趣。80     

‘A Geography of Racism’: Internal Orientalism and the Construction of American National Identity in the Film Mississippi Burning

This article examines the contribution of the film Mississippi Burning to the construction of American national identity within the context of the discourse of internal orientalism. This discourse consists of a tradition of representing the American South as fundamentally different from the rest of the United States, and an important strand of this tradition involves construing ‘the South’ as a region where racism, violence, intolerance, poverty and a group of other negative characteristics reign. In contrast, ‘America’ is understood as standing for the opposite of these vices. Mississippi Burning continues this tradition by creating a ‘geography of racism’, juxtaposing the brutality of white Southerners with the morality of two FBI agents sent to Mississippi to investigate the disappearance of three civil rights workers. A variety of the film's devices, including the comparison between the racist white Southerners and the FBI agents, reproduces an American national identity that stands for tolerance, justice and peace.     

原型理论分析下的灾难电影——以《后天》和《2012》为例

《后天》和《2012》两部电影是美国导演罗兰·艾默里奇的代表作,作为21世纪最有影响力的灾难电影,两部影片作为可解读的文本,其中蕴含的大量具有原型的意象也寄托了文本营造者的时代情感。本文通过运用诺思洛普·弗莱的神话一原型批评理论重释影片中出现的意象及其背后的文化内涵。     

20世纪30年代中国电影历史叙述的再认识

20世纪30年代的中国电影具有复杂的生态环境和发展态势,"发展期中国电影"是对这一时期的中国电影进行历史叙述最准确的概念.这一名称和理念的确立有利于对此阶段的历史分期问题做出判断,是我们回归30年代电影本身的重要依据;"新兴电影运动"是描述30年代中国电影运动的基本出发点,但是其自身还应该有更为全面的内涵和外延;"发展期中国电影"始终具有鲜明的商业成色,经济因素在"新兴电影运动"中扮演着异常重要的角色.     

循环的冥想——评析新纪录电影《轮回》

纪录片《轮回》是美国电影导演和摄影师罗恩·弗里克继纪录片《天地玄黄》之后的突破性力作。作为一部新纪录电影,《轮回》既没有对白和旁白,也没有字幕,甚至连人声都被去除。尽管没有语言叙事,但画面却意蕴观点,且层次清晰。在生与死的循环往复之间,映射出三重命题:人的自身价值、人类文明发展以及人与自然的关系,并一一作出真实的表达。透过延时摄影、移轴摄影、人像摄影的表现手法,糅合超现实主义的艺术风格,《轮回》以独特的构图视角和美学张力诠释了“生命如同不停旋转的车轮流转循环。”