电视视像传播的生态建构

电视作为视觉文化的主流,它构成了一股强大的社会＂话语＂,重建着文化的价值模式。＂视觉优先＂趋势下,电视视像传播涌动着消费文化的洪流,快感、娱乐主宰着视像,电视叙述片面迎合大众奇观心理,演绎着一场场＂声光秀＂＂人物秀＂的欲望景观、消费景象,呈现出表意的危机。重视和开掘电视视像传播的功能,强调电视视像符号直观和审美感知特性,实现和其他媒介的互动和融通,是电视提升审美文化品格,实现视像传播生态的现实途径。

电视剧画面运动及感知特性

本文拟突破长期局囿我国电视剧艺术生产的传统观念,结合叙述主体的艺术创造和观者审美感知,针对电视剧作为视像艺术本体的画面结构和画面运动特性,探讨摄影机运动叙事和呈现的主体性、如何对屏幕空间进行拓展等问题,以期为实现电视剧审美艺术的创造提供借鉴。

Perspective and Subjectivity： The Power of Images in Northamerican Short-Story Writing

The study is meant to describe the evolution of American short-story writing with patterns where visual images have become central and not peripheral for the understanding of stories. Hemingway＇s use of objective correlatives was a trace mark, and the literary editors at The New Yorker urged their writers to slow down the emphasis on movement and plot in order to recreate a certain mood which would favour the perception of objects, anecdotes, and details. The impressionistic device works very much in the same way that an advertisement would do. It is meant to persuade the audience. The apparently non-commitant vision of reality shows in fact the author＇s point of view. The apparent simplicity is meant for a very wide audience and its deepest meaning suggests the scope of the particular visual aids working at the deepest level of consciousness