The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic mov...The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.展开更多
We will discuss here the tension between the reality of new media and narratological theory, and the case in point will be cinema. Our thesis is that new media have to do with illusion, basically with illusion, and on...We will discuss here the tension between the reality of new media and narratological theory, and the case in point will be cinema. Our thesis is that new media have to do with illusion, basically with illusion, and only derivatively with imagination; on the contrary, the field of literature has to do with imagination, strictly with imagination, not with illusion at all. If it is so, something must be wrong with the pretence of narratology, which has literature as its basic referent, to be the adequate theoretical frame in order to understand every cultural phenomenon, especially in the case of new media. We have to insist on the distinction between illusion and imagination. In fact, most literary theorists do not bear in mind such distinction; it tends to completely disappear under the general title ＂fiction.＂ To be sure, it is usually said of cinema that it is fiction, like literature, but cinema is much more than fiction, it is illusion, even if it is the illusion of a story.展开更多
. Chinese and foreign film and cultural exchanges, the translation is necessary to ensure the realization of information across language barriers to effective communication. Particularity TV drama text language determ.... Chinese and foreign film and cultural exchanges, the translation is necessary to ensure the realization of information across language barriers to effective communication. Particularity TV drama text language determines the TV drama translation from other forms of translation particularity. According to the analysis of the speci？ c case, we discussed the basics of film and television drama translation. In recent years, foreign film and television works more and more popular in China, Subtitling received more attention. Filmography is an important medium for intercultural communication that subtitling has a very important role in cross-cultural communication. By analyzing the subtitle translation of particularity, we propose the appropriate translation approach. News translation is an interlingual intercultural communication activities and news translation there are a lot of cultural barriers that improper handling will seriously affect the effect of news media, and even misleading. News translator should understand the source culture, and appropriate use of domesticating translation strategy interpretive translation means to overcome cultural barriers in order to achieve intercultural communication.展开更多
Bazin favored every means to increase the ＂reality coefficient＂ in cinema. He specially prized cinema showing events integrally, what means, on the one hand, to show simultaneously and fully all the characters and a...Bazin favored every means to increase the ＂reality coefficient＂ in cinema. He specially prized cinema showing events integrally, what means, on the one hand, to show simultaneously and fully all the characters and all the objects pertaining to an event, and on the other to show the event integrally as it develops in time. Additionally Bazin showed that such a procedure reduces the purely literary component in cinema, and, correspondingly, increases its illusory force--as to the fictional reality presented. Yet, Bazin＇s work is not systematic, giving us brilliant insights scattered through many essays. Following Bazin＇s main idea, this presentation attempts to systematically discuss the illusory potential of the shot presenting an event integrally as compared with the imaginary, that is, literary character introduced in cinema by suggesting an event by means of montage and fragmentary shots. We proceed by means of a detailed consideration of the belief-structure of the aesthetic experience corresponding to the single shot integrally showing an event and to montage suggesting an event by means of fragmentary shots. The core of the presentation lies in defining the concept of aesthetic belief as the propositional attitude having the structure accepting that P without believing that P is the case. We will carefully distinguish that structure in the case of illusion from the case of imagination as well as from illusion as sensory-based deception.展开更多
In this paper, the network movie as the research object, quoted in the theory of ＂collective memory＂ from Mauric Halbwachs, the academic circles in recent years on the Internet Movie different viewpoint for referenc...In this paper, the network movie as the research object, quoted in the theory of ＂collective memory＂ from Mauric Halbwachs, the academic circles in recent years on the Internet Movie different viewpoint for reference, consult a lot of literatures, the method of interdisciplinary research in the field of psychology, culture, to ＂memory＂, ＂culture＂, ＂group （SOCIAL）＂ in three aspects, analysis of network movie as an expression of individual consciousness, contradiction between individual and collective in the expression of the collective memory of the film, through the analysis of the network specific expression, expression, the expression of an important role in the formation of rebellious sense for people aesthetic psychology, the awakening of individual consciousness and group identity. Therefore, it is necessary to culture the appearance and development of Internet Movie, is bound to the mode of expression, the people＇s cultural psychology and social individual to collective identity have significant influence.展开更多
文摘The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.
文摘We will discuss here the tension between the reality of new media and narratological theory, and the case in point will be cinema. Our thesis is that new media have to do with illusion, basically with illusion, and only derivatively with imagination; on the contrary, the field of literature has to do with imagination, strictly with imagination, not with illusion at all. If it is so, something must be wrong with the pretence of narratology, which has literature as its basic referent, to be the adequate theoretical frame in order to understand every cultural phenomenon, especially in the case of new media. We have to insist on the distinction between illusion and imagination. In fact, most literary theorists do not bear in mind such distinction; it tends to completely disappear under the general title ＂fiction.＂ To be sure, it is usually said of cinema that it is fiction, like literature, but cinema is much more than fiction, it is illusion, even if it is the illusion of a story.
文摘. Chinese and foreign film and cultural exchanges, the translation is necessary to ensure the realization of information across language barriers to effective communication. Particularity TV drama text language determines the TV drama translation from other forms of translation particularity. According to the analysis of the speci？ c case, we discussed the basics of film and television drama translation. In recent years, foreign film and television works more and more popular in China, Subtitling received more attention. Filmography is an important medium for intercultural communication that subtitling has a very important role in cross-cultural communication. By analyzing the subtitle translation of particularity, we propose the appropriate translation approach. News translation is an interlingual intercultural communication activities and news translation there are a lot of cultural barriers that improper handling will seriously affect the effect of news media, and even misleading. News translator should understand the source culture, and appropriate use of domesticating translation strategy interpretive translation means to overcome cultural barriers in order to achieve intercultural communication.
文摘Bazin favored every means to increase the ＂reality coefficient＂ in cinema. He specially prized cinema showing events integrally, what means, on the one hand, to show simultaneously and fully all the characters and all the objects pertaining to an event, and on the other to show the event integrally as it develops in time. Additionally Bazin showed that such a procedure reduces the purely literary component in cinema, and, correspondingly, increases its illusory force--as to the fictional reality presented. Yet, Bazin＇s work is not systematic, giving us brilliant insights scattered through many essays. Following Bazin＇s main idea, this presentation attempts to systematically discuss the illusory potential of the shot presenting an event integrally as compared with the imaginary, that is, literary character introduced in cinema by suggesting an event by means of montage and fragmentary shots. We proceed by means of a detailed consideration of the belief-structure of the aesthetic experience corresponding to the single shot integrally showing an event and to montage suggesting an event by means of fragmentary shots. The core of the presentation lies in defining the concept of aesthetic belief as the propositional attitude having the structure accepting that P without believing that P is the case. We will carefully distinguish that structure in the case of illusion from the case of imagination as well as from illusion as sensory-based deception.
文摘In this paper, the network movie as the research object, quoted in the theory of ＂collective memory＂ from Mauric Halbwachs, the academic circles in recent years on the Internet Movie different viewpoint for reference, consult a lot of literatures, the method of interdisciplinary research in the field of psychology, culture, to ＂memory＂, ＂culture＂, ＂group （SOCIAL）＂ in three aspects, analysis of network movie as an expression of individual consciousness, contradiction between individual and collective in the expression of the collective memory of the film, through the analysis of the network specific expression, expression, the expression of an important role in the formation of rebellious sense for people aesthetic psychology, the awakening of individual consciousness and group identity. Therefore, it is necessary to culture the appearance and development of Internet Movie, is bound to the mode of expression, the people＇s cultural psychology and social individual to collective identity have significant influence.
