光影折射的民族文化机趣——论电影《影》中对水墨风格的多层运用

电影《影》以著名的三国历史典故为依托,借城池争夺战役刻画乱世之中人心的美丑善恶。影片从画面色彩、景观构图、服饰装扮的视觉具象内容,到人物性格和戏剧矛盾的解析方面,均体现出对水墨风格的大胆借用与深刻感悟。影片的画面色彩以黑白为基底,在水的调和稀释作用下,形成浓淡不一的抽象画面,应用于空间环境和立体服饰等多个层面。与此同时,水墨风格中的“留白”手法同样应用于电影拍摄技巧中,运用空镜头和“消声”的方式促使内容短暂中止,启发审美想象力。水墨风格所携带的“阴阳美学”思想渗透到剧情的深层切面,辅助剧情矛盾的激化和人性的揭示,为电影创作的成功增色许多。

中国元素、本土化叙事与好莱坞文化霸权语境的消解——张艺谋2018年—2020年的电影创作

全球化使得好莱坞电影文化日益渗透到全世界,各种各样的好莱坞电影在全球各大院线上映,票房居高不下。这种世界电影格局形成了好莱坞文化霸权的语境,许多中国电影也曾经盲目模仿好莱坞模式,却惨淡收场。如此情势下,如何应对挑战,突破这种格局,在世界电影之林中争得一席之地?张艺谋在电影创作中做了有益的探索和创新,在电影《影》中他将中国传统元素融入其中,用视听语言讲好中国故事,探索文化经典的创造性转化,用影像画面坚定文化自信,为中国电影的发展提供了另一种路向。

Strategic Management of Independent Film Production Companies

This article introduces the analysis of strategic management of film production companies. The first part presents processes and models of strategic management and introduces a new and unified model of strategic management. It is noteworthy that the film/film industry value chain helps to understand the notion that the links between separate stages have an impact on the company＇s competitive advantage and reveal how the main product in the film industry, the feature film, is developed. Therefore, the following part analyses models and composition of film industry value models. The final part of this article analyses the main features of a film production company and the sources of funding thereof. The strategic model of independent film production companies is based on the characteristics of strategic management and the value chain models of independent film projects.

Research on the design of art derivatives

With the rapid development of China film industry, more and more people are willing to go to the cinema to feel rich film culture, at the same time for the movie has also been seen the movie characters, including clothing and some other relative derivatives have higher requirements. Thus the birth of film art image derivatives, with the continued rapid development of film technology and film art, film art derivatives with 3D, 4D will be the future of film art image derivatives success ＂interview＂ has become a new economic growth point China film, its development prospects are very impressive. According to market research and analyse, through the research and analysis of 3D MAX movie derivatives as an example, from the aspects of brand image positioning and design of more specific design and research of film art image derivatives, thereby to strengthen and promote the combination of film technology and art products, and ultimately promote the rapid development of film art derivatives.

Film Le Dēpart by Jerzy Skolimowski： Important Unknown Piece of Art

The aim of this essay is firstly to indicate a little-known film Le Dēpart made by the famous Polish director Jerzy Skolimowski in 1967 year as an example of the Polish New Wave. Although it was made in Belgium and it stars Jean-Pierre Lēaud as a car-obsessed young man trying to get possession of a Porsche for a race. The film won the Golden Bear at the 17th Berlin International Film Festival and was also selected as the Belgian entry for the Best Foreign Language Film at the 40th Academy Awards, but was not accepted as a nominee. Secondly, I analyze the reasons of misunderstanding the idea of the director in the film when it was shown in the the public. Thirdly, ＂entering＂ this movie in context of art： poetry, painting etc. Then to answer the question （hypothesis）： ＂Is the Polish Film New Wave a phenomenon that did not exist？＂ The methodology used for the paper is analysis and interpretation of the film itself; analysis of its reception in the 60s and now： poetics of receipt, cognitivism, comparative research.

Metaphor in Cinema Revisited

The theory of rhetorical figures in cinema is highly problematic, besides it can be considered as outdated as the semiotic theory of cinema,1 yet it is convenient to reexamine the idea of＂cinematographic metaphor＂ in order to throw some light on the dominant idea of cinema as narrative medium. In this paper we will examine： （l） the supposedly existing metaphor of urban and industrial man as sheep at the beginn!ng of Chaplin＇s film Modern Times; and （2） the sequence of the awakening stone lion in Eisenstein＇s Battleship Potemkin as metaphor of the proletarian revolt against czarism. We will arrive to the notion of a purely metaphoric film, which together with Zavattini＇s ideal film showing 90 minutes in the life of a man to whom nothing happens, will helps us draw some conclusions about montage and narrativity in cinema. Especially interesting in this connection is the fact that symbolical shots as the mentioned ones are like description in literature, that is, they have nothing to do neither with the time of the story nor with the time of the discourse.

A Post-Colonial Study of American Animated Films

As a visual art, film has already been one of the main forms to exhibit culture in modem society. This paper tries to explore American animated films, one of the most successful and tipical styles of American films, from the view of post-colonialism so as to receal American animated films make every effort to set up the image of the Other and to propagate American culture and value. It is American cultural hegemony.

The Order of the Art

The theme of the article is Polish movie Illumination directed by Krzysztof Zanussi to his own screenplay in 1972 （cinema premiere 1973）. ＂The film contains elements of Zanussi＇s intellectual biography as well as documentary elements, e.g., appearances of philosopher Wiadyslaw Tatarkiewicz＂. It is one of the most important Polish films. The purpose of the text is to examine the philosophical contexts in this film, and the relationship between ＂orders＂, ＂art＂, and ＂science＂. The research method is： semiotics, psychology of perception and comparative research. The text will refer to the philosophical writings： Blaise Pascala＇s Thoughts, St. Augustine＇s Confessions and the monograph work of Krzysztof Zanussi, for example, Mariola Marczak＇s Anxiety and Longing, Movies and the Value, About the Films of KrzysztofZanussi （Publisher： University of Warmia and Mazury in Olsztyn, 2011） or Tomasza Ktysa, The Intellectual Cinema of KrzysztofZanussi, in ＂Bulletin de la Societe des Sciences et des Lettres de Lodez＂ （vol. XLV）; Serie： ＂Recherches sur les Arts＂ （vol. VI）; Polish Cinema in Ten Takes, edited by E. Nurczyfiska-Fidelska, Z. Batko （Publisher： Lodz Scientific Society in Lodz, 1995）.

The Way of Onitsha Market Literature： A Case for Proper Archiving of Nollywood Video Films

In contemporary times, many Nigerians, and indeed Africans, go through huddles to behold some of their most cherished artifacts in foreign lands. Such artifacts were taken away by the colonial masters during their various conquests of ancient African kingdoms. In the modern days as well, such trips are made to other countries by Nigerians and Africans to research into some popular arts and amusements lost as a result of neglect. One of such lost is the popular form of literature that once existed in the eastern part of Nigeria--the Onitsha Market Literature. Using evidences from secondary research materials, this paper discusses the re-occurrence of this silly history of neglecting the production and consumption of popular culture in Nigerian and indeed Africa. Using the Nigerian video film industry, Nollywood, as a case study, a case is here made for the proper archiving of these video films for future generations. It is observed that just few decades of video film production in Nigeria, virtually all the pioneer films cannot be found anywhere in the country. Such films must be needed in future for research purposes as the foundations upon which other great films of the future will base. The work therefore concludes with the obvious recommendation that genuine efforts, will, and finances be committed to proper archiving of legally approved Nollywood films. This will engender the sentiment central to film archiving and drastically reduce the problems that may confront the future generation as regards research in the Nigeria video film culture, Nollywood.

Duties of a Cinematographer in Creating a Film

The present article deals with the duties, role and methodical peculiarities of a cinematographer in creating a feature film. The development of creating artistic works in the high creative level and its process is comparatively analyzed within the progress of the Uzbek cinematography.

Comparative Study of Chinese and foreign independent films

The concept of ＂Independent film＂ comes from the middle of last century＇s in Hollywood. Hollywood at that time, because of the monopolization of the so-called ＂eight movie companies＂, the shooting and operation of a film followed rigorous steps of ＂producer system.＂ The target of the ＂producer system＂ entirely aimed at the market in order to get the maximum profits; therefore, although this system brought a lot of money to the film industry, it also limited the filmmakers＇ play space. Thus, a group of filmmakers got rid of the eight movie companies＇ control and made self-financing, or even wrote and direct red by themselves, they shot a lot of strong ideological films which were different with commercial films, known as the＂ Independent Film ＂.

Genetic approach for Cell-by-Cell dynamic spectrum allocation in the heterogeneous scenario

In this paper,a genetic algorithm (GA) is investigated to deal with cell-by-cell dynamic spectrumallocation (DSA) in the heterogeneous scenario with temporal and spatial traffic demand changes,whichis also known as a difficult combinatorial optimization problem.A new two-dimensional chromosome encodingscheme is defined according to characteristics of the heterogeneous scenario,which prevents forminginvalid solutions during the genetic operation and enables much faster convergence.A novel randomcoloring gene generation function is presented which is the basic operation for initialization and mutationin the genetic algorithm.Simulative comparison demonstrates that the proposed GA-based cell-by-cellDSA outperforms the conventional contiguous DSA scheme both in terms of spectral efficiency gain andquality of service (QoS) satisfaction.

Ethiopian Cinema： The Socio-economic and Political Impacts of Imperial Era on the Development of Screen Media 1

Ethiopia that had been at the high-up as one of the few world powers in the 1 st and early centuries of the 2nd millennium, and later to descend to poverty line to the extent of being synonym for famine and degradation in an English dictionary, is currently on the verge of socio-economic renaissance. Likewise, the country that experienced film viewing in the very early years of the development of world cinema for more than hundred years bad eventually lagged behind those African countries exposed to cinematic arts a few decades ago; but now relatively ascending to its historical status. These days, over hundred films are produced on annual bases in Ethiopia. Nevertheless, articles, books, and encyclopedias written on African and world cinema do not as such include the Ethiopian account, hence adversely affecting the wholeness of universal knowledge. This research thus attempts to investigate the socio-economic and political impacts that governed the development of the Ethiopian screen media during imperial era （1897-1974）. The inconsistency in the development of Ethiopian cinema will be analyzed and demonstrated in conjunction with the socio-economic and political features in the era of Emperor Menelik II, Lij Iyasu, Empress Zewditu, and Emperor Haile Sellassie. The study will portray the strong link between Cinema and mode of productions that would be of a scholastic benefit to the Ethiopian and the international academia. The article hopefully, will contribute to the historiography and completeness of African screen median in particular, and world cinema in general.

The effect of interfacial evaporation on heat and mass transfer of falling liquid film

Analysis of experimental data and estimation of the order of magnitude for interfacial mass diffusion have demonstrated that considerable excess evaporation exists on the free interface of falling liquid film, and that the capillary pressure caused by surface tension is the driving force of this excess interfacial evaporation, which we called the “capillarity-induced interfacial evaporation”. By correlating the experimental data, an empirical expression of the effective capillary radius, r\-e, is obtained with which the evaporative rate formula we derived and reported previously has been modified to improve the prediction of the critical heat flux for film breakdown. Comparisons with the available predicting models show that our modified equation can predict the experimental results with much lower relative deviation.