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Image Reconstruction and the Reflection of Values in the Formation of National Traumatic Memories: A Review of Recent Anti-Japanese War Films and Teleplays in China
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作者 GAI Qi 《Frontiers of Literary Studies in China-Selected Publications from Chinese Universities》 2015年第2期306-317,共12页
The cosmopolitan cultural behaviors employed by war films and teleplays in the reconstruction of national traumatic memories are worthy of understanding and respect. However, in present-day China, the quantity of Anti... The cosmopolitan cultural behaviors employed by war films and teleplays in the reconstruction of national traumatic memories are worthy of understanding and respect. However, in present-day China, the quantity of Anti-Japanese War films and teleplays is abnormally high, and their values deeply enmeshed in a radical nationalism. The result is a general trend towards a "carnival of vengeful images." Given the potential harms implicit in this situation, the question of just what kind of war narratives are appropriate for the contemporary circumstances of globalization should receive serious attention and reconsideration from society at large. 展开更多
关键词 national traumatic memories anti-japanese war films and teleplays carnival of vengeful images war narratives
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A Study on the Loss of Tourist Attractions in Central China Hubei Province During the Anti-Japanese War
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作者 Juying Qiao 《Management Studies》 2020年第5期386-389,共4页
This paper takes the Wudang Mountains and Wuhan Battle Memorial Hall as examples to investigate and analyze the losses of Wuhan during the Anti-Japanese War.The paper concludes with two inspirations:to make full use o... This paper takes the Wudang Mountains and Wuhan Battle Memorial Hall as examples to investigate and analyze the losses of Wuhan during the Anti-Japanese War.The paper concludes with two inspirations:to make full use of the intangible cultural heritage spots to carry out patriotism education for primary and middle school students;and to effectively transform the cultural resources of the tourist spots in Hubei Province into cultural industries,in order to achieve the sustainable development of intangible cultural resources of Hubei Province tourist attractions. 展开更多
关键词 during the anti-japanese war Hubei Province tourist attractions LOSSES
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The Grass-Roots Governance of the National Government in Tianjin Recovery Area After the Triumph of the Anti-Japanese War
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作者 ZHANG Guopeng 《Cultural and Religious Studies》 2021年第1期20-31,共12页
The national government wants to penetrate into the grass-roots unit after the triumph of the Anti-Japanese War in the recovery area.Through the reorganization of the Baojia system,the government expects to achieve lo... The national government wants to penetrate into the grass-roots unit after the triumph of the Anti-Japanese War in the recovery area.Through the reorganization of the Baojia system,the government expects to achieve local autonomy and then solve the people’s livelihood issues.The new Baojia system provides a platform for people to achieve their own demands,which presents the vision of civil rights to a certain extent.However,because of the complexity of the postwar social environment,the Baojia system cannot completely represent the will of the people,and finally becomes a militarized organization that was used as a tool to carry out the government decree. 展开更多
关键词 after the triumph of the anti-japanese war TIANJIN the grass-roots governance the Baojia system
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For Permanent Peace—An Introduction to China's Anti-Japanese War Memorial Hall
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《China & The World Cultural Exchange》 1995年第4期12-13,共2页
关键词 An Introduction to China’s anti-japanese war Memorial Hall For Permanent Peace
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Under the Pagoda Mountain:Japanese POW Reformation During the Anti-Japanese War
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作者 LI Jin 《Cultural and Religious Studies》 2019年第4期183-201,共19页
As a typical Lenin-style political party,what should be concerned most is the CPC’s (Communist Party of China) capacity in fighting against and clearing enemies.This study provides a distinct perspective to observe a... As a typical Lenin-style political party,what should be concerned most is the CPC’s (Communist Party of China) capacity in fighting against and clearing enemies.This study provides a distinct perspective to observe and recognize CPC’s ability of turning hostility into friendship.Japanese prisoners of war (POW) had been poisoned by ultra-nationalism and militarism for years,and thus were extremely difficult to be reformed.However,under the correct ideological guidance of Mao and the unremitting efforts of the CPC’s political officers and cadres,a great number of them acknowledged the CPC’s political ideology and joined the CPC’s team. 展开更多
关键词 anti-japanese war PRISONER of war POLITICAL transformation
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Chinese Films on The War of Resistance Against Japan
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《China & The World Cultural Exchange》 1995年第4期9-11,共3页
关键词 Chinese films on The war of Resistance Against Japan
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Overseas Color Film Suppliers Wage a Price War in China
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作者 Lu Na 《China's Foreign Trade》 2000年第10期31-32,共2页
关键词 Overseas Color film Suppliers Wage a Price war in China
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美国经典黑色电影中男性形象类型探析
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作者 王琳 《湖南工业大学学报(社会科学版)》 2024年第4期80-86,共7页
依据故事主题,美国经典黑色电影大致可以分为犯罪冒险类、战后老兵类和硬汉侦探类三类。与此对应,这三类电影分别呈现了法律逾越者、战后回归者以及城市追逐者三种不同类型的男性形象。在前两类人物身上,男性气质彻底失落,男性中心权力... 依据故事主题,美国经典黑色电影大致可以分为犯罪冒险类、战后老兵类和硬汉侦探类三类。与此对应,这三类电影分别呈现了法律逾越者、战后回归者以及城市追逐者三种不同类型的男性形象。在前两类人物身上,男性气质彻底失落,男性中心权力结构遭毁,焦虑与恐惧、困惑与幻灭集于一身,男性形象危机显而易见;在后一类人物身上,则体现出试图重构男性气质的努力和希望。在梦魇般的世界中,美国经典黑色电影呈现了这三类男性形象,并以此不断突显社会意识形态意涵,寻求社会批判的可能途径。 展开更多
关键词 美国经典黑色电影 男性形象 法律逾越者 战后回归者 城市追逐者
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《一个和八个》中的色彩与符号隐喻
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作者 杨松柏 《色彩》 2024年第8期55-57,共3页
电影《一个和八个》不仅是中国“第五代导演”成长的徽记,其革命式的创作观念更是中国电影的精神火种。影片色彩与符号隐喻的创新运用,打破了传统战争片的叙事模式,呈现出新颖的视觉奇观。影片以黑、白对比为主调,“灰色”调和,展现出... 电影《一个和八个》不仅是中国“第五代导演”成长的徽记,其革命式的创作观念更是中国电影的精神火种。影片色彩与符号隐喻的创新运用,打破了传统战争片的叙事模式,呈现出新颖的视觉奇观。影片以黑、白对比为主调,“灰色”调和,展现出逆境中人性闪亮的意义和生死战争中忠诚的纯粹,并通过砖窑、磨盘、枪等符号隐喻,揭示人物在恶劣困境下心理的挣扎与精神的蜕变。其美学范式突破“陈规陋习”且大胆、朴实,成为电影创作者的图腾象征。 展开更多
关键词 一个和八个 色彩隐喻 符号化场景 战争片 美学革新
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History (Whose Story?)“Written With Lighting”: A Cinematic Representation of the “Traumatic Past “of the Germans in World War Ⅰ
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作者 Farhat Tasannum Farah 《Psychology Research》 2019年第3期110-115,共6页
The powerful ability of film to present the traumatized German war veteran that traces how some of the most vulnerable members of society, marginalized and persecuted as ‘enemies of the nation,’ attempted to regain ... The powerful ability of film to present the traumatized German war veteran that traces how some of the most vulnerable members of society, marginalized and persecuted as ‘enemies of the nation,’ attempted to regain authority over their own minds and reclaim the authentic memory of the Great War under Weimar Germany and the Third Reich. The mentally disabled survivor of the trenches became a focus of debate between competing social and political groups, each attempting to construct their own versions of the national community and the memory of the war experience. By examining the psychological effects of war on ordinary Germans and the way these war victims have shaped perceptions of madness and mass violence, the expressionist cinema explores how the classical German cinema of the Weimar Republic was haunted by the horrors of World War I and the the devastating effects of the nation's defeat. This paper purposes to analyse how this post-traumatic cinema transformed extreme psychological states into visual expression;how it pushed the limits of cinematic representation with its fragmented story lines, distorted perspectives, and stark lighting;and how it helped create a modernist film language that anticipated film noir and remains incredibly influential today. 展开更多
关键词 Great war trauma Germans CINEMATIC REPRESENTATION German Expressionist films
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“新主流”视域下中国电影的类型创新与工业美学探索——以《长津湖》与《长津湖之水门桥》为个案 被引量:11
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作者 陈旭光 刘祎祎 《广州大学学报(社会科学版)》 CSSCI 2023年第1期109-118,共10页
近年的新主流电影具有强大的影响力,是新世纪以来中国电影整体格局中的最重要的潮流或现象之一。其中《长津湖》与《长津湖之水门桥》是其中十分重要的作品。这两部影片以“抗美援朝战争”为背景题材,以全景视野统一架构起战争叙事中的... 近年的新主流电影具有强大的影响力,是新世纪以来中国电影整体格局中的最重要的潮流或现象之一。其中《长津湖》与《长津湖之水门桥》是其中十分重要的作品。这两部影片以“抗美援朝战争”为背景题材,以全景视野统一架构起战争叙事中的宏观历史与微观视角,将诗意化家国情怀与写实性战争展现进行多维度的联结。这两部影片标志着新主流电影经历“外向型”和“内向型”两个发展阶段后,迈上新主流电影大片的新台阶。作为“新主流”与“类型创作”融合发展的标志,其一方面实现了对以往主旋律战争题材的承继与创新,另一方面对于探寻当代民族影像的艺术创新、文化融合与工业美学探索等,均具有重要现实意义。 展开更多
关键词 新主流电影 类型创新 战争叙事 文化融合 电影工业美学
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On Indiscriminate Bombardment during World War II: Opposition between Human Rights and Human Rights Abuse
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作者 黎尔平 《The Journal of Human Rights》 2015年第5期460-466,共7页
Base on the strategic bombardment to destroy willpower of Chinese Anti-Japanese war, in the Second World War, Japanese aircrafts were nondiscriminatorily bombing China’s cities, which committed crimes against humanit... Base on the strategic bombardment to destroy willpower of Chinese Anti-Japanese war, in the Second World War, Japanese aircrafts were nondiscriminatorily bombing China’s cities, which committed crimes against humanity. Actually, the US army nondiscriminatorily bombed Hiroshima and Nagasaki and damaged the human rights too. The US army, however, speeded up Japanese surrender and protected more people’s rights to life. It is never forgotten that the painful game of protecting and damaging human rights between Japanese militarism and anti-fascist alliance. 展开更多
关键词 Chinese anti-japanese war nondiscriminatorily bombing right to life human rights
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Battle of Human Rights and Anti-Human Rights in Chinese People's War of Resistance against Japanese Aggression
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作者 薛进文 《The Journal of Human Rights》 2015年第5期424-432,共9页
The Chinese Anti-Japanese War was a battle between human rights protections and abuses, between civilization and brutality, and between justice and evil. During the war, the human rights of Chinese people were complet... The Chinese Anti-Japanese War was a battle between human rights protections and abuses, between civilization and brutality, and between justice and evil. During the war, the human rights of Chinese people were completely violated by the Japanese aggressors, causing an unprecedented human rights catastrophe. At the same time, Chinese people vigorously resisted the aggression in order to defend the national survival right and safeguard the human peace against war. The history of human rights’ victory over human rights abuses tells us: aggressive wars are the most serious violations of human rights. We must protect people’s right to peace for every country in the world. In order to avoid violations of human rights by war once again, we must safeguard the international postwar order and prevent the revival of fascism, whose essences are contempt for and trample on human rights. Therefore we have to respect and protect human rights and defend both the collective rights of every nation and the individual rights of every person in the world. 展开更多
关键词 human rights violations of human rights Chinese anti-japanese war right to peace
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战乱中的四个平民女子故事——导演朱石麟的一种心路历程
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作者 秦翼 《南京艺术学院学报(音乐与表演版)》 北大核心 2023年第1期132-136,I0005,共6页
朱石麟先生在抗战期间及抗战后分别两次改编两部外国小说,或编或导了《孤城烈女》《洞房花烛夜》和《花姑娘》《新婚第一夜》四部影片,表现了战争中的四个平民女子的命运,构成了与抗战中期银幕上流行的“女英雄”不同的女性角色。而分... 朱石麟先生在抗战期间及抗战后分别两次改编两部外国小说,或编或导了《孤城烈女》《洞房花烛夜》和《花姑娘》《新婚第一夜》四部影片,表现了战争中的四个平民女子的命运,构成了与抗战中期银幕上流行的“女英雄”不同的女性角色。而分别于全面抗战前、“孤岛”沦陷前后和南下中国香港后创作的这四部影片,流露出朱石麟对战争中无辜平民的同情、对牺牲的矛盾,也体现了抗战后朱石麟等一代电影人回溯战时记忆、剖白附逆经历的一种心路历程。 展开更多
关键词 朱石麟 附逆影人 抗战时期电影 中国香港电影
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战争创伤与集体记忆--论1954年粤语影片《空谷兰》的改编
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作者 张玉 《新疆艺术学院学报》 2023年第3期97-104,共8页
小说《空谷兰》先后七次被搬上银幕,在我国电影史上具有独特地位。但颇受大众欢迎的粤语片《空谷兰》却已然被遗忘,其作为文化符号的意义一直被学界忽略。该影片通过一系列改编将日本侵华战争前景化,再现了战争给战时中国香港移民带来... 小说《空谷兰》先后七次被搬上银幕,在我国电影史上具有独特地位。但颇受大众欢迎的粤语片《空谷兰》却已然被遗忘,其作为文化符号的意义一直被学界忽略。该影片通过一系列改编将日本侵华战争前景化,再现了战争给战时中国香港移民带来的巨大创伤,控诉了日军的侵略暴行。与此同时,折射出普通民众在战争爆发后逃离与寻亲的真实经历,唤醒了战时中国人民痛苦的集体记忆、家仇国恨,并进一步控诉了日军的侵略罪行。 展开更多
关键词 粤语片 《空谷兰》 改编 战争创伤 集体记忆
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二战后香港地区爱情电影的情感文化透视(1946-2022)
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作者 邢成武 《三明学院学报》 2023年第5期72-80,共9页
二战后香港地区爱情电影的情感表达,在20世纪40年代中后期至70年代,在伦理道德的束约下,有着鲜明的“情感调控”特质;20世纪八九十年代,呈现出从“情感调控”到“情感至上”的鲜明转向,并在后现代主义的文化语义下,与“后情感主义”表... 二战后香港地区爱情电影的情感表达,在20世纪40年代中后期至70年代,在伦理道德的束约下,有着鲜明的“情感调控”特质;20世纪八九十年代,呈现出从“情感调控”到“情感至上”的鲜明转向,并在后现代主义的文化语义下,与“后情感主义”表达相夹杂;21世纪以来则呈现出“后情感主义”的消退与“情感至上”的主导性特质。透视二战后香港地区爱情电影的情感文化,需要从“情感调控”“情感至上”“后情感主义”的历时性变迁中进行对比观照。 展开更多
关键词 二战后 香港地区爱情电影 情感调控 情感至上 后情感主义
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历史电影中的文化记忆书写——以《长津湖》系列影片所体现的抗美援朝记忆为例 被引量:1
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作者 王琳 宋依可 《蚌埠学院学报》 2023年第1期16-21,共6页
立足于扬·阿斯曼的文化记忆理论,针对兼具媒体工具和文化产品属性的历史电影,以《长津湖》系列影片为研究对象,探究历史电影借助影像技术在文化记忆框架下赋予历史的真实性和生动性,以及它在提升民族认同感和塑造国家正面形象上所... 立足于扬·阿斯曼的文化记忆理论,针对兼具媒体工具和文化产品属性的历史电影,以《长津湖》系列影片为研究对象,探究历史电影借助影像技术在文化记忆框架下赋予历史的真实性和生动性,以及它在提升民族认同感和塑造国家正面形象上所发挥的不可比拟的作用。该系列影片引领观众步入由叙述者精心编织的回忆空间,在帮助人们了解历史的同时,传达出影像背后潜存的文化记忆与历史意识。 展开更多
关键词 文化记忆 历史电影 《长津湖》系列影片 抗美援朝
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主旋律影视作品在意识形态工作中传播效果探析 被引量:1
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作者 杨子仪 《北京印刷学院学报》 2023年第8期6-10,共5页
党的十八大以来,习近平总书记多次提出意识形态工作是党的一项极端重要的工作,而当今面对国外西方意识形态的冲击和国内社会思想环境较为混乱的现状,显示出加强意识形态工作的必要性和重要性。主旋律影视作品作为一种群众基础良好、传... 党的十八大以来,习近平总书记多次提出意识形态工作是党的一项极端重要的工作,而当今面对国外西方意识形态的冲击和国内社会思想环境较为混乱的现状,显示出加强意识形态工作的必要性和重要性。主旋律影视作品作为一种群众基础良好、传播效果较好的文化传播形式,能够在意识形态工作中起到重要作用,本文着手分析其在传播过程中的优劣之处,以便更好指导今后的探索和实践。 展开更多
关键词 意识形态工作 国产战争电影 主旋律电视剧 主旋律动画
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民国时期美国人来华摄片的审查问题
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作者 柳迪善 《艺术百家》 CSSCI 北大核心 2023年第5期100-107,共8页
民国时期,以各种目的来华摄片的美国人不计其数,其拍摄行为催生了民国电影审查制度的诞生与完善。在制度创建过程中,有三类在中国拍摄却不在中国放映的纪录片的审查问题值得关注:一是产生于“前电影审查时代”的纪录片,以《饥饿的中国... 民国时期,以各种目的来华摄片的美国人不计其数,其拍摄行为催生了民国电影审查制度的诞生与完善。在制度创建过程中,有三类在中国拍摄却不在中国放映的纪录片的审查问题值得关注:一是产生于“前电影审查时代”的纪录片,以《饥饿的中国》为例,该片除协助筹款外,更为美国人开拓中国市场展现了无限机遇;二是战地新闻片,这类影片票房价值高,因此各驻华美国新闻公司纷纷抢夺独家新闻;三是混杂了东方主义情结与商业意图的私人纪录片,这类影片未经国民政府审查,也躲过了日本方面的搜查。后两类影片在美国放映后取得了上佳的票房收入,很大程度上弥补了二战爆发导致的美国电影海外票房损失。 展开更多
关键词 来华摄片 电影审查 战地影像处置权 东方主义 商业意图
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Changes in the Foot Binding Culture: The Female Body and Politics in Regions Governed by the Communist Party of China during the Anti-Japanese War
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作者 Jiang Pei Wang Wei Gao Xiang 《Frontiers of History in China》 2020年第3期408-434,共27页
Since 1949,Chinese mainland historians and creators in film and television,novels,and reportage have continued to shape the heroic image of female groups in the base areas of the Communist Party of China(CPC)during th... Since 1949,Chinese mainland historians and creators in film and television,novels,and reportage have continued to shape the heroic image of female groups in the base areas of the Communist Party of China(CPC)during the Anti-Japanese War.They participated in production,women's mobilization,and reconstruction of the rural political order Tike men.55 They pursued the equality between men and women,marked by freedom of marriage,and also participated in regional guerrilla warfare to combat the Japanese puppet army"as men."However,in the remote villages of north China at the end of the Qing dynasty and the beginning of the Republic of China,it was not common for women to unbind their feet.In wartime,most women over twenty years of age were forever left with the"three-inch golden lotus"(sancun jinlian)feet.The damage of the war accelerated their acceptance of the CPC's emancipation concepts and policies and presented them with an opportunity to actively implement them.The experience of survival drastically changed traditional aesthetics,ideas,and customs related to women.Physical and psychological changes occurred as a result of the war;women began to go out of their homes to participate in the work of the Women's Salvation Association and the Youth Salvation Association,and a group of women achieved marriage equality between men and women in the form of"divorce her husband"(qi xiu fu).Due to pressure,women carried more physical and mental responsibilities,faced insufficient advocacy for their rights,and the aesthetics and mentality of womanhood underwent change. 展开更多
关键词 foot binding foot unbinding "divorce her husband" rural women north China base area the anti-japanese war
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