“Open to all and everybody”? The Irish Film Board: accounting for the scarcity of women screenwriters

Despite the many social and cultural changes that have occurred in Irish society since the Irish Film Board was re-established in 1993, the Irish film industry remains strongly male dominated. Specifically, Irish women constitute a minority of produced screenwriters and writer/directors. This article contributes to an understanding of the discursive resources that key decision makers in the Irish Film Board draw upon in order to talk about gender. A number of interpretative repertoires are used to rationalize its position in relation to the dearth of women screenwriters, four of which are examined here: evasion and deflection; gender neutrality; project-led funding; and a difficulty making sense of entrenched gender issues, articulated here as “I don’t know.” Within the respondents’ repertoires an ideological dilemma can be identified in the conceptualization of gender as both relevant and irrelevant.     

Filmic public relations for a global audience: The United Nations and The Blue Vanguard

The project investigates the use of documentary film as a public relations tool by the United Nations (UN) for worldwide promotion of its first peacekeeping intervention in response to the Suez crisis of 1956. Specifically, it undertakes a historical investigation into the communicative purpose of the 1957 documentary film, The Blue Vanguard, which was made by the UN Department of Public Information (UNDPI). Beyond the interest connected with the intervention in the Suez crisis, the film is significant in the history of the UN’s global public relations since it was one of the first films made for the UN by UK film director, Thorold Dickinson, who arrived as Chief of Film at the UN in October 1956.The author argues that Thorold Dickinson used the documentary to make a radical public information proposition to a global audience on behalf of the United Nations. Specifically, the public relations discourse and cinematicity in The Blue Vanguard reminded a global audience that achieving peace required a new level of cultural tolerance and global co-operation, involving codes of judgement beyond the nationalistically-determined registers of the time.     

当代影视艺术教育与和谐社会建设

影视艺术作为媒介的教育,在当代建设和谐社会的过程中,因其具有丰富和生动内容,真实感人效果而显示了极为重要的价值和作用。和谐的社会需要健康完善的伦理道德结构,情感的呼唤,真情的呼唤,人情的呼唤,感情的呼唤,公德的呼唤,奉献精神的呼唤,崇高意识的培养等,在影视艺术作品中展现,成为最有活力的教育形式。     

情境、角色与媒介:对《人生》两版本中集市与文化馆场景的分析

路遥的小说<人生>和由其编剧的同名电影中,均出现了富于文化意味的集市和文化馆场景,它们在艺术作品中呈现了社会转型期的城乡文化景现.也具有某种叙事潜能.借助对小说<人生>和电影<人生>的解读.研究者可以透视这两个场景的叙事功能.并在欧文·戈夫曼的传播理论基础上对其文化意味进行比较和阐释.     

日本影视作品对日语教学的作用--以日剧《日本人不知道的日语》为例

近年来,我国学习日语的人数不断增多,多数高校也都开设了日语这一课程。然而,在实际的教学过程中出现了诸多问题,比如词汇量匮乏、对单词理解不透彻、对中日文化间差异的理解不深刻、实际口语交际能力差等都逐渐暴露出来。以日剧《日本人不知道的日语》为例,分析剧中所表现的日语实际学习和教学过程中的各种问题,进而讨论日本影视作品在实际教学中的作用以及运用日本影视作品进行教学时应该注意的问题。     

亲水性膜的研制和亲水性研究

为了消除小片距、复杂片型高效表冷器在湿工况下运行时产生的“水塞”问题和进一步提高这类表冷器的热工性能,本文从凝结方式的理论分析出发,介绍了在表冷器上制作亲水性膜的方法,从理论上分析了这种亲水性膜的结构与亲水性的关系,从实践上给出了这种亲水性膜对表冷器的热工性能的新贡献,为研制高效紧凑式表冷器提供了可喜的前景。     

Narratives of national belonging: the domestic,the wild,and the mutant in Australian film

This article explores understandings of postcolonial national belonging through an analysis of cinematic representations of humans, animals and the environment. It does so by analyzing a series of Australian films about plants, animals or people who are out of place or out of control. The article registers some of the changing representations of Australian flora, fauna and, by association people, as native, domesticated, simpatico, feral and wild; interpreting these shifts as recalibrations of a moral hierarchy of cultural belonging. Films including Lantana (2001) Dir. Ray Lawrence; Razorback (1984) Dir. Russell Mulchay; Rogue (2007) Dir. Greg Mclean; and Black Water (2007) Dirs. David Nerlich and Andrew Traucki are read in terms of political anxieties. Drawing on work ‘that insists humans and animals are currently bound in a complex network of relationships’, I use these films to explore issues of the nation, place, belonging in relation to aliens and natives. Given that in the past 20 years there has been increasing recognition of the history of colonialism and its effects on Indigenous peoples but also a different but related blossoming of environmental nationalism, the key question that animates this research is how these understandings are represented in film and what work animals and plants might have played in filmic cultural representations of national belonging.     

现代文学叙事性艺术的生态考察——以现代小说、话剧名著的改编为视角

1917年到1949年间，中国现代文学以小说为代表的叙事艺术，在各自的发展过程中相对独立又相互影响。文章通过对30年间现代文学名著改编史的论述，揭示了它们不同阶段的各自发展特点，以及它们之间的相互关系。     

Speed Limits: Out of Time in Organization Studies

A screaming comes across the sky. Others glare with a vacant intensity. Solaris studies at the very same time that the world appears to be becoming one vast recording studio. Our cameras are in the process of dissolution and decay. This paper hurtles headlong into the Green Burning Car that is the crash of organization studies today. On the cusp of a promised new mode of study in organizational analysis we write on speed, attracting found objects, jump cuts, wierd juxtapositions, and chance encounters in a ‘pataphysical’ dérive. As an exercise in sympathetic magic, or orgiastic ritual, we are able to exorcise here a number of ghosts in organization theory. Speed limits provide an occasion for shame: shame for its bombast and juvenility, its masculinity and narcissism; the end(s) of organization studies intrudes as event, a sacrifice for dreams of what might come.     

中国电影的产业化问题

向着产业型文化工业转换和发展的中国电影业,如何才走上良性循环的轨道,发挥其巨大的社会文化效应和经济效应。本文从中国电影业之现状出发,对中国电影产业化发展进行了一些分析。