利用影视手段保护和开发“非遗”的启示

在大众文化传播的语境下,非物质文化遗产的活态保护和传承面临困境。一方面,利用民俗影视进行忠实记录是可行的方法,但其中凸现的问题仍值得我们思考。另一方面,影视民俗抽取了民俗的符号,在一定程度上对＂非遗＂的保护和传播起推动作用。＂非遗＂的保护要借助影视手段面向大众,走出困境。     

色噪声作用下耦合神经元网络的相干共振

研究了色噪声作用下耦合(FHN)神经元模型的相干共振现象。运用改进的四阶随机龙格-库塔法,计算了神经元膜电压分布和神经元点火峰峰间隔的变差系数。结果表明,神经元点火峰峰间隔的变差系数是色噪声强度、色噪声相关率和耦合神经元个数的非单调函数;存在最优的色噪声强度、色噪声相关率和耦合神经元个数,使得神经元点火峰峰间隔的变差系数出现极小值(即为相干共振)。讨论了色噪声强度、色噪声相关率和耦合神经元个数对系统相干性的影响。     

现代汉语被动标记的事实分布及标题类型与标现形式的研究

首先关注现代汉语被动标记的类别划分及其相应的标记事实,就现代汉语被动标记的标记事实从不同的角度提出了五个问题;根据文献调查对汉语被动标记的数目进行了清理并对其地域分布特征进行了分析,提出要重视被动标记的标体类型的研究,应该从多与少、单与复、古与今、合与转几个方面进行被动标体分析;就被动标记在方言与普通话中的不同的标现形式及相关比较问题进行了比较,主张以被动观念的标现路径作为被动标记研究的重要基础。     

三机无源定位二维布阵优化研究

针对三机无源定位二维布阵优化问题,提出了基于有效定位区面积最大准则的最优布阵方法.文中以三机时差定位、频差定位及时频差定位为例,描述了三机无源定位模型,接着基于克拉美-罗限引入了有效定位区的概念,并以其面积最大作为布阵优化准则,通过仿真研究了二维布阵优化问题.仿真结论反映了三机时差、频差及时频差定位体制的不同特性,具有较强的实际指导意义.     

论琼瑶电影的中国性与台湾图像

琼瑶电影对台湾电影史的影响一直未被评论界给予充分的肯定。在华语电影研究中,研究者对台湾电影史的关注点往往也是从早期的台语片、健康写实主义电影直接跳到台湾新电影,忽略了在20世纪六七十年代曾经创造票房奇迹的琼瑶文艺片。事实上,琼瑶电影的意义不仅在于它有助于台湾电影开辟富有特色的文艺片类型,并继承了自中国电影诞生以来不断发展的通俗文化色彩浓重的商业电影传统;同时,琼瑶电影还运用通俗情节剧的模式演绎了中国的传统伦理观念,并在社会中产生教化、抚慰的作用。追溯中国电影的发展历史,将通俗剧模式与中国的道德伦理、政治问题、文化反思等联系在一起,一直是中国电影历来的传统。琼瑶电影对通俗情节剧模式的运用,不仅表明了它与中国电影传统的深厚渊源,也表明了它与中国文化传统血浓于水的关系。另外,琼瑶电影在表现爱情王国的浪漫时,也折射了一个时代的台湾图像。琼瑶电影在台湾影史上共掀起了两次为时较长的观影热潮,在这先后两个时期里,影片的故事背景、人物关系、情节设置等方面也相应地有着一定的变化,这也反映出了台湾社会的时代变迁和台湾民众在思想观念上的转变。     

一种油罐车无源静电消除器的研究与设计

本文从固体液体之间静电起电的机理入手,并对固液起电的影响因素做了研究,根据油罐车带电的物理模型,提出一种无源静电消除装置的思想。然后对这种无源静电消除装置的等效电路进行建模,根据装置的基本工作原理,设计出无源静电消除器的电子线路图。     

Area Agencies on Aging and the Prevention of Elder Abuse:

This study reports findings from a 1989 survey of a national sample of directors of Area Agencies on Aging. The survey provided data on the structure of those agency activities which are intended to prevent elder abuse and on the perceptions of key decision makers with regard to the status of current efforts to prevent abuse. In addition, relationships between the population characteristics of planning and service areas (size, distribution) and program structures and perceived effectiveness were also examined.     

当下乡村题材电影的创作倾向及其现实缺失的原因

在近年来的中国电影文化版图中,乡村题材的影片不仅数量越来越少,而且在表现主题与审美价值上也存在着明显的创作误区,即以喜剧化、浪漫化或寓言化的影像呈现,遮蔽或置换了当下中国农村的真实社会状况和农民的生存体验。导致这一问题出现的原因较为复杂,其中既牵涉到电影创作者们乡村生活经验的缺失和认识上的隔膜,也有中国社会发展中一些客观因素的制约以及更深层面上的,整个消费主义时代文化语境的潜在影响。     

Patriarchy and the Horror of the Monstrous Feminine

This paper compares the gender politics expressed in Ringu and The Ring, paying particular attention to specific and noteworthy distinctions and crucial underlying cultural differences that structure and shape the gender politics articulated in the two films. While highlighting the divergences in the films' narratives and examining how their depictions of female characters reveal the fundamental historical, cultural, social and ideological forces that structure Eastern and Western views of femininity, women, and their roles in society, this paper argues that although both films reflect a misogynist patriarchal perspective in their depiction of evil, violent, destructive females, it is the American remake that is ultimately more conservative and reactionary in its simplistic alignment of women, the feminine and maternity with evil and monstrosity. In comparison, the Japanese original offers a more ambiguous treatment of a key female character, the mysterious and deadly Sadako, allowing her to emerge as a potential figure of resistance against conservative patriarchy, an element that is distinctly absent in the American remake.     

Sofia Coppola

Sofia Coppola is currently one of the most discussed female filmmakers in Hollywood and one of the most prominent “indie” directors working over the last decade. Coppola has also divided critics, especially with her third and fourth features, Marie Antoinette and Somewhere both drawing heavy criticism. This article draws on a range of popular and scholarly sources in order to chart the different narratives that construct Coppola's public image, including the style of her filmmaking. I focus on perspectives of Coppola's work, investigating how the director's biographical details have become bound up with the reception of her films in ways that dismiss her films as too preoccupied with frivolity and privilege. Coppola's important position as a female director of independent features, specifically her unique position as a successful woman working in the masculinized arena of independent Hollywood, and her place within a lineage of women's cinema, is frequently elided in discussions of her success and style. It is the question of Coppola's status as a female director, the ambivalent process by which this status is acknowledged and disavowed in the reception of her work, that is most compelling for feminist film theory.