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.     

Influence of National Qualifications Frameworks in Conceptualising Feedback to Students

Social work students in Britain receive feedback on a range of academic and practice issues as they progress through qualifying courses, however the way in which feedback differs to reflect the increasing complexity of learning as the course progresses is unclear. There is little, if any, guidance at a national level and the most widely known documents that provide information about the hierarchy of qualifications are the National Qualifications Frameworks (NQFs). Despite the widespread acceptance of NQFs there is little evidence supporting their use in professional areas such as social work. This study uses a documentary analysis to critique the Scottish Credit and Qualifications Framework (SCQF). The findings suggest that there are fundamental difficulties with the SCQF and its value in helping academics to better conceptualise feedback that reflects the increasing complexity of learning throughout the social work qualifying course. Whilst the SCQF is specific to a Scottish context, it is suggested that the inherent limitations and dominance of a neo-liberal ideology are common to other NQFs. It may be necessary to create the conditions where academics and students are able to discuss and debate the merits of NQFs and their implementation in social work qualifying courses.     

UCP600对我国出口贸易操作的影响

在中国近万亿美元的出口贸易中,信用证结算的金额大约占30%左右。作为信用证领域的新规则UCP600于2007年7月1日已正式生效,UCP600与UCP500相比无论在结构上还是内容上都有较大改动,这必将对出口贸易操作带来广泛的影响。现从UCP600的修订与主要创新入手分析UCP600对出口贸易操作的影响及出口商在使用UCP600时应注意的问题。     

略论当代纪录片的故事化和虚构

中国当代纪录片深受西方＂新纪录电影＂潮流的影响,故事化、虚构是其理论与创作联袂而行的两个重要倾向。当代纪录片的故事化,主要源于纪录片＂情节编排＂模式的选择和＂故事片化＂的创作理念;虚构作为＂竞争性真实＂与纪实同样成为通向纪录片深度真实的途径。在新历史主义理论的观照下,进而论述这一问题,以期加深纪录片研究与创作的理论自觉。     

论萧雄西域诗的纪实性特点

清代西域诗的纪实性特点较为突出地反映在萧雄的西域诗创作中。萧雄西域诗诗题的纪实性、内容的纪实性、自注的纪实性以及手法的纪实性,不仅成为清代西域诗纪实性特点的形象内涵,也由此形成其诗歌在民俗学和史学上的重要价值,并以其质朴浓郁的地方特色而在清代西域诗坛显露头角。     

文献型翻译和工具型翻译——析《Moment in Peking》中社会文化因素的翻译策略

通过对功能主义翻译目的论提出的文献型翻译和工具型翻译进行阐释,结合林语堂Moment in Peking《京华烟云》中社会文化因素的翻译策略,比较这两种翻译策略在文化传播中的作用。指出以传播中国文化为目的时,译者宜主要采用文献型翻译;以提高译文在西方读者中的可读性为目的时,宜主要采用工具型翻译。     

论纪录片叙事情节的连接方式

在纪录片叙事中,一个故事必须有一个序列,但更多的时候,一个故事往往由多个序列构成.如何安排这些序列,使它们之间的连接具有可续性的依据,从而构成情节.本文认为,序列与序列之间的连接可以有以下几种方式,即时间连接、空间连接、因果连接,此外,还应该有联想式连接等.这些情节连接方式的揭示,对纪录片的创作与欣赏具有一定的意义.     

《三国演义》作者籍贯研究述评——《三国演义》文献学研究之一

由于传世材料的匮乏与抵牾舛错，罗贯中的籍贯至今聚讼纷纭，尚无定论。明清以来，主要有五种说法“太原”说；“东原”说；“钱塘”说；“慈溪”说；“庐陵”说。20世纪80年代以来，学术界对这个问题的争鸣逐渐集中到前两种意见。作为基础研究，探讨籍贯问题的价值与意义不仅在于决此悬案，更重要的是有助于推动和深化《三国演义》的整体研究。站在世纪之交，对该课题的学术进程作一番认真的清理总结，显然是十分必要的。     

基于3C战略的央视纪录频道品牌定位分析

品牌定位对于一个电视频道的生存与发展来说至关重要,依据3C战略理论,确立精准的品牌定位,需要从受众需求、竞争对手和自身优势三个方面进行分析。满足受众需求是品牌生存的基础,实施差异化策略来区分竞争对手是品牌固有的特色,不断夯实自身优势是品牌发展的动力。只有三个关键因素整合在一起,才能使品牌屹立不倒。     

中国少数民族题材纪录片发展现状及其对策分析

作为中国纪录片一大类型,少数民族题材纪录片从20世纪80年代以来获得了迅速发展,它既再现了少数民族地区风土人情、多彩文化和重大历史事件,又记录了少数民族普通人日常生活、生存状态和社会变迁,对中国纪录片艺术进步以及各民族之间相互交流作出了贡献。少数民族题材纪录片承载着少数民族和中国国家形象,它的广泛传播有利于文化认同、民族国家认同和现代化建设。针对当前历史语境和传播技术条件,少数民族题材纪录片可以从传播渠道、国际交流、政府扶持、摄制队伍建设等方面寻求突破与发展。