乡镇影院文化综合体的创新与实践——以成都水乡记忆影院为例

乡镇影院文化综合体是国家政策引导下乡村电影院不断发展的结果,也是乡镇现代化治理的产物。成都水乡记忆电影院以本土特色为依托,以观众需求为动力,以融合发展为契机,在整合观影、文创、旅游、宣传等业务的基础上,形成了一种文化综合体样态,其落地与运营不仅为乡镇影院改革提供了更多可能性,也启发了乡镇文化经济今后的发展路径。乡镇影院文化综合体绝不是被动的“杂物”,它是形塑地方文化生态的新媒介,也是推动精神文明进步的技术力量。透视、剖析这一新型样态对于乡镇影院的可持续发展具有重要的参考价值。

浅析无障碍设计在影院应用的经济价值

电影是人类综合艺术的最高结晶,而影院则是向观众传播民族文化的最佳载体。本文通过对影院的社会地位、作用与现状等观点来进行阐述,结合无障碍设计的原则、途径在影院中的应用来发挥其更大的社会效应和经济效应,真正使残疾人、老年人等行动不便者可以平等地共享社会的文明成果和物质环境。

The Tension between New Media and Narratology： The Case of Cinema

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.