Risk Perception and Movies: A Study of Availability as a Factor in Risk Perception

Media effects on risk perception have often been explained by Tversky and Kahneman's availability principle, but research has not consistently supported it. What seem like media effects based on availability may be effects of new information. In an experimental study, entertainment movies depicting dramatic risk events were shown. They were found to produce no average effects on perceived risks in spite of large mood effects and being perceived as credible. We found, however, evidence of idiosyncratic effects of the movies, that is, people reacted immediately after the movies with enhanced  or  diminished risk beliefs. These reactions had faded after 10 days. Implications for the availability heuristic and risk perception are discussed.     

What Does Hollywood Think Nonprofit CEOs Do All Day? Screen Depictions of NGO Management

This article explores the cinematic image of chief executive officers (CEOs) of nonprofit organizations in the U.S. Movie CEOs head a broad range of the nongovernmental organizations, including hospitals, colleges, social service agencies, prep schools, labor unions, legal aid, faith-based and youth-serving. They are predominantly white males. Their professional backgrounds include medicine, teaching, union organizing, social activism, clergy, law and environmental activism. Movie audiences see nonprofit CEOs involved in the mundane and inspirational elements of day-to-day management. One of their primary responsibilities consists of overseeing line functions, including fund raising, media relations, managing volunteers and board relations. But, nonprofit managers are also responsible for broader concerns, such as protecting the organization's values and equilibrium. Some movie nonprofit CEOs are shown multitasking and trying to balance competing demands from multiple stakeholders.     

Talk Show节目在大学英语专业视听说课堂中的应用

本文分析了当前大学英语专业视听说课程中教材使用存在的问题。结合课程的需要,本文提出将Talk Show节目应用在视听说课程中能够提供真实的语境,促进学生的跨文化交际能力,并提高学生的沟通能力。     

浅谈国际影视的翻译

影视传播不仅是一种的娱乐活动,还是一种文化交流。在国际影视交流过程中,在影视语言的运用方面,翻译工作者起着举足轻重的作用,同时也面临着由于各国文化与语言差异所带来的各种困难。国际影视的翻译显然不同于其他文体的翻译,译者需具备语言、社会文化、民俗等多方面的知识,在进行国际影视的翻译中,应充分考虑到影视中的跨文化因素,并结合语法、语义和修辞习惯的不同,结合影视即时性、图像声音同步进行的特点,进行口语化、个性化的再创作     

Lights,camera, action: The images of foster care in the movies

Movies often reflect public perceptions. The portrayal of foster care in movies provides insight regarding beliefs and attitudes children, parents, and others bring with them as they interact with the foster care system. The study focus was to identify images of foster care portrayed in 37 nondocumentary movies produced in the United States and Canada between 1921 and 2012. Using Framing Theory, an iterative review process was used to derive three dominant images presented to audiences: child entrance into foster care, a broken foster care system, and life in foster care. Movie images generally misrepresented the realities of foster care in the United States, highlighting the importance of those involved in child custody and providing a more realistic image of foster care.     

论市场需求与中西电影美学的嬗变

好莱坞类型电影市场成功的重要保证是戏剧电影美学,而在现代主义电影理论影响下的欧洲艺术电影创作中,故事性和戏剧性常常是被弱化或消解了的,这也导致其在市场上遭受冷遇、最终不得不向戏剧美学皈依的现状.好莱坞戏剧电影美学与中国历史悠久的戏剧理论通过市场的整合,产生了中国早期的电影美学——“影戏观”.中国新生代贫困人生电影既蜕变于传统的“影戏观”,但是在市场的压力下又有策略性的背离,可名之为“新纪实影戏观”.     

电影符号品牌的市场力分析

电影作为一种消费产品,已具有品牌的独特市场力。电影是一种具有整体性的视听文化符号,对电影符号独有的要素进行分析旨在展示电影符号品牌的市场拓展力。从电影文本的叙事层面、影像层面、意义层面、启示层面等四个层面探讨电影符号品牌的市场建构,从而有助于不同电影符号品牌中主流消费群体消费需求的整体提升。     

论湘西题材电影的文化冲突

湘西题材电影并不满足于对湘西奇异风光的展示,而是挖掘人物的性格特征,寻找文化冲突的根源。现代理念与传统观念的碰撞和融合、城市文明与乡村文化的冲突和交融、物质欲望与精神追求的矛盾和平衡,均是湘西题材电影文化冲突的具体体现。     

论徐克电影中的上海想像

不少香港导演借异地故事构作香港寓言,其中徐克尤其值得重视。根据詹姆逊的看法,怀旧电影借助非历史地拼凑各种有关过去的形象,创造出一种新的过去,传达一种非关历史的“过去性”。在这种定义下的怀旧电影中,徐克的怀旧电影是一个例外,其中的上海想像包含各种来自不同文本的元素,体现了后现代怀旧电影拼凑的特点。徐克着重言志的风格,使他关于上海的怀旧电影,呈现出某种独特的双向性———在追寻过去的同时,指向现在与未来;在虚饰、拼凑的历史性中,产生历史反思。正是这种在后现代主义里追寻历史的坚持,使徐克关于上海的怀旧电影,在同类的电影中展现出与众不同的维度。     

影视文化特征论——以影视艺术存在为例

在文化与影视文化作为种属概念的前提下,以影视艺术存在为例,阐释了影视文化的主要特征,认为影视文化的特征表现为广泛性与普及性、娱心性与价值功能的统一,而从受众心理的意义上理解,娱心是影视文化的主要承载层面.