论电视现场报道的特色与创新

电视现场报道是社会人群求新求真和认识多元化的产物。现今的电视现场报道可以概括为三种形式 :主体式报道、客体式报道和主客体交融式报道。在此基础上的电视现场报道的发展和创新应该是新闻故事化和故事情节化、创造性地运用蒙太奇手段、正确过程画面和声音细节 ,并尽可能做到一个时空展现一个事件     

Television and Violence in the Economy of Memory

The present paper aims to consider the cultural function of television as a technology for the creation of a public memory. The television system records past images, preserves them, and broadcasts various historical programs. A viewer owns the public memory jointly, through watching/consuming programs. However, the process of production and consumption of programs is linked with the exclusion of other historical memories from the public space. After all, the creation of public memories in depth is related to social power. Through the analysis in concrete terms of a series of programs of Project X and the second episode of the Nippon Hoso Kyokai (NHK; Japan Broadcasting Corporation) series, Special Edition: Judging War, the relationship between the organization of public memories and social power is explored. Project X depicts the challenges of engineers of middle standing who initiated new industrial and technological developments in the 1960s and 1970s. Special Edition: Judging War is based on coverage of the Women's International War Crimes Tribunal on Japan's Military Sexual Slavery. This program was subjected to revision on the eve of its broadcast. What forms of expression were eliminated? These two programs should help us define more clearly what the Japanese media selects for incorporation into the public memory.     

电影--一个存在主义的文本--科技进步与电影艺术的发展与终结

电影是现代科技进步的产物,且紧随科学技术的发展而发展.其本质并非固定不变的,而是变动不居的.本文除回顾历史上已经发生的电影技术革命(如声音技术、电视技术)引发的电影美学革命外,着重阐述电子计算机成像技术特别是数字化技术以及互联网技术所引发的、正在出现和已经出现的电影艺术的本体性变革,并指出由之而可能导致的电影艺术的终结.     

The positive transmission and aesthetic reconstruction of Chinese contemporary films and television works to contemporary college students

The varieties and different form of contemporary films and television works have brought a great impact to the group of college students' ideas and behaviors. The works are the textbook of outlook on life, the guide of values, the leader of outlook on beauty, to contemporary college students. This paper points out that the contemporary film and television works play an important role in the ideological and political education of contemporary college students. For positive transmission and aesthetic reconstruction of Chinese film and television works from the perspective of ideological and political education, one needs to do the following things: to explore new ways of aesthetic education in the Internet era through film and television aesthetic education; Refusing to cultivate the one-dimensional personality in the media age by film and television aesthetic education; To build a new type of film and television aesthetic education system, for a new breakthrough in film and television art classroom, so as to promote the all-round development of contemporary college students in moral, intellectual, physical, beauty, labor.     

社交网络时代大学生政治参与及引导机制研究

社交网络时代,网络成为大学生政治参与的新载体,大学生通过社交网络参与政治社会生活积极性高,原因在于:通过网络参与的及时性;同辈交流自由化,长幼交流隐私化;接受信息私己性与自我满足性。因此,可构建大学生网络政治参与引导互动模型,包含动力机制、协调机制、导向机制、效能机制以及交互机制等内容。     

美国视频通信市场的转型——付费视频内容转向互联网

本文概述了当前美国有线电视行业／付费视频行业的局势，以及一些重要问题和面临的挑战，展望了未来的视频市场，概述了一个未来视频／宽带市场的战略愿景，然后回归到政策建议及具体的立法和管制行动。这将帮助我们在最短的、可操作的时间内通向一个开放的、非歧视性的、无处不在的宽带网络。     

Fat Monica,Fat Suits,and Friends

This paper examines narratives about fatness that are represented and reproduced by the character of “Fat Monica” played by Courteney Cox in a fat suit on the sitcom Friends. By drawing on David T. Mitchell's framework for analyzing “narrative prosthesis,” I examine how Fat Monica's narratives on Friends represent complex intersections of identities. I argue that fat suits often evoke fatness to support limited and clichéd narratives; however, fat suits may also enable new means of representing and understanding fatness. Through an analysis of the ways in which Fat Monica is represented in the episodes she appears in, three key uses of Fat Monica's fatness are discussed. Firstly, I examine the comic uses of Fat Monica and their relationship between fatness and humour. Next, I examine how Fat Monica storylines represent interlocking narratives of fatness, femininity, and sexual desire. Lastly, I consider how Fat Monica represents the construction of the normative body and claims about fatness and authenticity. Ultimately, Fat Monica illustrates how fatness relates to understandings of humour, gender, social class, and heterosexuality.     

Making Space for the Maid

Chinese television dramas over the past decades have seen the rise and decline of various narratives, but no other narratives speak to the emerging urban middle class's fear and anxiety more palpably than the stories of the maid. However, despite the growing popularity of the maid stories among urban viewers, most of these stories do not resonate with domestic workers themselves. How do we make sense of the growing popularity of the maid stories among urban viewers? And how do we account for the differentiated capacity to resonate and identify with the characters among viewers? These are important questions to consider if one is to understand the new cultural politics of power and social formations in post-Mao China. In this paper, I explore some of the crucial ways in which a controlling gaze is facilitated and naturalised by the visualisation of place and space in these dramas. Then, through both critical analyses and engaged ethnography, I demonstrate how two sets of controlling gaze—everyday and televisual—reinforce and justify each other. Finally, I advance the concept of “peripheral vision,” which, I show, denies the modernist “master” narrative of the city and, instead, empowers the subaltern figure with an epistemological position of “eye-witness” and anthropologist of the city.     

Media and the Intersectional Other

This article presents the findings of an intersectional study on migrant women on German television. Besides content and textual analyses, we conducted focus groups with audiences and interviews with migrant media workers. As the representation of Others was explored through the nodes of production, consumption, and identity, a complicated intersectional practice emerged. We found the televised representations of migrant women to be dominated by (often veiled) women as signifiers of non-integration but also by instances when gendered ethnicity was used as a marketable attribute. The audiences and producers employed various distancing strategies: they criticized specific programs for blatant stereotyping as much as didactic counter-stereotyping while downplaying systemic shortfalls of the coverage. These distancing strategies were intensified by the acceptance of individualized ideologies of success and commodified logics of media production. Ultimately, class appeared as the central demarcating category. On German television a problematic class distinction was articulated through ethnic and gender difference. Female migrants were often “othered” as lower-class. This class discourse absolved middle-class viewers and media workers from engaging in the systemic struggles over female/migrant identities, thus undermining the potential for gender and migrant solidarity and for the dynamic creation of cultural citizenship as a mode of belonging.     

Television and the making of a transnational Alevi identity

ABSTRACT

Satellite broadcasting technologies contribute a great deal to interaction across national boundaries, and in this regard satellite television is significant in the construction of a transnational public sphere for the Alevi community in Turkey and abroad. This paper addresses the role of television in the making of that transnational Alevi identity. In particular, it focuses on the flow and the programme contents of Cem TV and Yol TV, two leading Alevi channels, to demonstrate how the transnational imagination of Alevi identity corresponds to different political understandings of Aleviness.