Audio visual style has a complex multi-functionality and the important part of this deals with the way that the character body is visualized and how body language is implemented in the moving image. With a number of e...Audio visual style has a complex multi-functionality and the important part of this deals with the way that the character body is visualized and how body language is implemented in the moving image. With a number of examples of contemporary film and television, the article will line up of key issues of body language in the moving image. This article describes two important aspects of body language in visual media--how visual style mediates the body expressions of fictional character and real persons in news on television and how aspects of the visual style always represent bodily presence in the moving image.展开更多
This paper deals with scholarly writing and a testing and experimental review of its related conventions. The author applies to her review of the subject a theoretical stimulus that returns to the starting point of H6...This paper deals with scholarly writing and a testing and experimental review of its related conventions. The author applies to her review of the subject a theoretical stimulus that returns to the starting point of H616ne Cixous＇ （2008） post-structuralism and Maurice Merleau-Ponty＇s （2012） phenomenology of the body. The author becomes open to meditation on the topic as a bodily soothsayer redeeming permission for creative scholarly writing using the intuitively associative method and style of writing which she has developed. The author suggests that a theoretical starting point located in post-structuralism and the phenomenology of the body offers the possibility to equate creative scholarly writing with painting. The aim of this paper is to start from post-structuralism and the phenomenology of the body and to conceive a new method of understanding and adapting creative scholarly writing, while the author allows herself to perceive and write in her intuitively associative style.展开更多
自上世纪80年代以来,跨文化创作与传播在全球化进程加快的步伐下,开始在中国舞蹈艺术的土壤中生根发芽,开花结果。此手法不仅使编导冲破传统舞蹈身体风格之牢笼,打破传统舞蹈创作的金科玉律,还能使编导站在以表意优先为创作原则的基础上...自上世纪80年代以来,跨文化创作与传播在全球化进程加快的步伐下,开始在中国舞蹈艺术的土壤中生根发芽,开花结果。此手法不仅使编导冲破传统舞蹈身体风格之牢笼,打破传统舞蹈创作的金科玉律,还能使编导站在以表意优先为创作原则的基础上,塑造丰富的人物形象、丰满精彩的故事情节。然而有意思的是,糅杂不同身体文化创作不但没有阻碍接受端对它的审美接受,反倒更有效地丰富了接受端的审美视野与理解。本文从跨身体文化视角出发,以中国当代舞剧《铁人》为探索对象,通过汉斯·罗伯特·姚斯(Hans Robert Jauss,1921—1997)的接受美学理论探索跨文化创作、传播与审美接受的特征,在帮助舞蹈编导建构创作策略的同时,也为观众提供相关审美原理的启示。展开更多
文摘Audio visual style has a complex multi-functionality and the important part of this deals with the way that the character body is visualized and how body language is implemented in the moving image. With a number of examples of contemporary film and television, the article will line up of key issues of body language in the moving image. This article describes two important aspects of body language in visual media--how visual style mediates the body expressions of fictional character and real persons in news on television and how aspects of the visual style always represent bodily presence in the moving image.
文摘This paper deals with scholarly writing and a testing and experimental review of its related conventions. The author applies to her review of the subject a theoretical stimulus that returns to the starting point of H616ne Cixous＇ （2008） post-structuralism and Maurice Merleau-Ponty＇s （2012） phenomenology of the body. The author becomes open to meditation on the topic as a bodily soothsayer redeeming permission for creative scholarly writing using the intuitively associative method and style of writing which she has developed. The author suggests that a theoretical starting point located in post-structuralism and the phenomenology of the body offers the possibility to equate creative scholarly writing with painting. The aim of this paper is to start from post-structuralism and the phenomenology of the body and to conceive a new method of understanding and adapting creative scholarly writing, while the author allows herself to perceive and write in her intuitively associative style.
文摘自上世纪80年代以来,跨文化创作与传播在全球化进程加快的步伐下,开始在中国舞蹈艺术的土壤中生根发芽,开花结果。此手法不仅使编导冲破传统舞蹈身体风格之牢笼,打破传统舞蹈创作的金科玉律,还能使编导站在以表意优先为创作原则的基础上,塑造丰富的人物形象、丰满精彩的故事情节。然而有意思的是,糅杂不同身体文化创作不但没有阻碍接受端对它的审美接受,反倒更有效地丰富了接受端的审美视野与理解。本文从跨身体文化视角出发,以中国当代舞剧《铁人》为探索对象,通过汉斯·罗伯特·姚斯(Hans Robert Jauss,1921—1997)的接受美学理论探索跨文化创作、传播与审美接受的特征,在帮助舞蹈编导建构创作策略的同时,也为观众提供相关审美原理的启示。
