Sadistic scopophilia in contemporary rape culture: I Spit On Your Grave (2010) and the practice of “media rape”

This article revisits earlier theorisations of cinematic voyeurism and gender-based violence in considering the cross-media connections between cinema and non-consensual pornography online. In particular, it looks at how the remake of a significant rape-revenge film, I Spit On Your Grave (1978/2010), explores the role of technology in the perpetuation of female victimisation. By making a visible connection between the female character’s physical rape and the violation of her subjectivity performed through filming her without her consent, the film raises a larger social/media issue, which I call media rape. In offering a theorisation of this phenomenon, the article analyses the operation of the website creepshots.com, which distributes non-consensual photos of women. The comparison between these two texts promotes an understanding of the visual and discursive continuities between cinema and online spaces in relation to media rape and rape culture more generally. At a time when the distinction between the creators of and audiences for media content is less straightforward within the context of online media, sadistic scopophilia needs to be reconsidered in relation to medium specificity. Although it is already problematic in the cinematic context, when it extends to online media sadistic scopophilia becomes a human rights violation.     

The uses of stance in media production: A study in embodied sociolinguistics

While many conversation analysts and scholars in related fields have used video recordings to study interaction, this study is one of a small but growing number that investigates video recordings of the joint activities of media professionals working with, and on, video. It examines practices of media production that are, in their involvement with the visual and verbal qualities of video, both beyond talk and deeply shaped by talk. The article draws upon video recordings of the making of a feature‐length documentary. In particular, it analyses a complex course of action where an editing team are reviewing their interview of the subject of the documentary, their footage being intercut with existing reality TV footage of that same interviewee. The central contributions that the article makes are, firstly, to the sociolinguistics of mediatisation, through the identification of the workplace concerns of the members of the editing team; secondly, showing how editing is accomplished, moment by moment, through the use of particular forms of embodied action; and, finally, how the media themselves feature in the ordering of action. While this is professional work, it sheds light on the video‐mediated practices in contemporary culture, especially those found in social media where video makers carefully consider their editing of the perspective toward themselves and others.     

媒介难忘——电影媒介的美学分析

媒介本质论将艺术形式与艺术媒介本质地连接在一起,认为创作、欣赏与评价等活动都应该立足于媒介的特性来进行;经典电影研究自觉地继承和发扬了以上命题。以卡诺尔为代表的后来者,主张在电影研究中“忘掉媒介”,认为媒介只是工具,它不能限制艺术。但也有研究者并未放弃对艺术媒介的理论维护,例如高特,他将媒介的理论价值用三个媒介特殊论命题系统地呈现了出来,我们在认识、解释、评价和创造艺术品时,应立足于其特殊的媒介特性。而如果站在更为宽广的大众媒介的理论视野来理解电影与媒介,认识到电影作为大众艺术代表的地位,则能够合理地融汇卡诺尔与高特之间的二律背反。     

共同体美学视域下的中国电影跨媒体叙事

近年来,中国电影研究领域涌现出了“共同体美学”理论这一重要成果,其作为一种强调协作、互动和共享的理念,为跨媒体叙事提供了深厚的理论基础和实践指导。“跨媒体叙事”理论与“共同体美学”理论交相呼应,一致强调整体性、互动性和共同性,但也呼唤独立性、个体性和差异性。将中国电影的跨媒体叙事置于“共同体美学”的视野下,从“叙事共同体”“想象共同体”和“参与共同体”三个方面进行概括分析,阐述了中国电影跨媒体叙事的策略取向和发展路径。这些策略取向包括以故事世界构建为叙事表征、将故事消费视为产业基础、以泛娱乐的参与文化为传播策略等。这不仅反映了跨媒体叙事的可实践价值,也凸显了“中国经验”在共同体美学中的指导意义。通过对共同体美学和跨媒体叙事的研究,揭示了中国电影跨媒体叙事的发展趋势,并呼吁中国电影回归本土实践和需求,以应对新时代用户对故事消费的高追求,实现共赢和共享的目标。     

论左翼电影意识形态话语的建构策略及其现实困境

左翼电影文本指左翼作家及其同路人参与制作的进步电影。为了实现其意识形态话语,左翼电影采取了一系列的话语建构策略：采用暴露性的策略直接宣扬阶级意识与民族解放斗争;通过探索女性命运来达到社会批判或者意识形态规劝的目的;以电影歌曲来传达政治观念。但左翼电影在建构其意识形态观念时也遇到了诸多的现实困境,之所以出现这种情况,除了复杂的社会政治环境和文化语境外,与左翼作家本身的唯物机械论、庸俗社会学的左倾观念有着重要关系。政治上的急功近利使得大部分左翼电影颠倒了艺术与政治功用的关系,忽视了电影的娱乐功能。     

“Sober encounters”: the neoliberal logics of human rights documentary and Indian feminist documentary filmmakers

“Sober encounters” examines the market-defined encounters between Indian feminist documentary filmmakers and global humanitarian and media commissioning and funding agencies. Drawing from interviews conducted with Indian filmmakers, the essay looks closely at the seemingly sober aesthetic and ethical imperatives of these agencies and their impact on the production and distribution of rights-based feminist documentary film in India. Further, I present the figure of the “transient subject” and posit that it is one apprehended by market-friendly representational regimes to legitimate a neoliberal rights discourse. I argue for a deeper examination of these representational regimes and their attempts to de-radicalize the visual cultures of women’s rights.     

欧美人类学电影发展史论

发端于十九世纪末的人类学电影肇始于“文化救险”和保护文化“活化石”的目的,后来同应用人类学一起,服务于人类学和文化研究的各个领域,为人类学和比较文化思想的传播作出了巨大贡献。人类学电影滥觞于法国,后流行于欧洲,在美国最后成熟并获极大发展。人类学电影不仅是学术电影,而且影响到了艺术影片,商业影片甚至故事影片的内容与风格。不论对人类学理论的发展和电影理论的发展,它都有着无可比拟的推动力和影响。     

中国电影创作文化的历史形态与嬗变轨迹

中国电影发端于向大众文化倾斜的创作文化形态,在经历了短暂的宣传与商业本位并存的格局后转变为泛政治化一元格局,及至新时期艺术本位逐步确立、商业传统艰难复归之后,才真正形成了多元并存相互融合的创作文化格局。不同时期中国电影创作的兴衰得失告诉我们,只有与时俱进,在顺应社会历史文化趋向的基础上,从时代性角度确立正确的创作文化意识,才能繁荣创作,取得艺术与商业的双丰收。     

论全球化语境下中国电影的跨文化传播策略

在全球化浪潮的冲击下,跨文化传播日益频繁.作为大众传播媒介和意识形态载体的中国电影,必须以积极的姿态应对竞争,广泛参与世界范围内的跨文化传播.全球化语境对中国电影的跨文化传播既是一种挑战,也是一种机遇.中国电影要取得跨文化传播的成功,必须在"国际化"与"本土化"的结合中找到一个"契合点",实行"国际化"与"本土化"的"双重编码",在电影传播的文化策略、题材策略、艺术策略以及运作策略上广泛借鉴,大胆创新,以"和而不同"的目标作为跨国传播的文化诉求,开创中国电影新局面.