This paper focuses on women as victims of violence as shown in films. Seven German films were selected for the analysis, namely Die Fremde （2010） by Feo Aladag, Die Frau des Polizisten （2013） by Philip Groning, Fe...This paper focuses on women as victims of violence as shown in films. Seven German films were selected for the analysis, namely Die Fremde （2010） by Feo Aladag, Die Frau des Polizisten （2013） by Philip Groning, Festung （2011） by Kirsi Liimatainen, Reeperbahn （2016） by Timo Rose, Schneeland （2005） by Hans W. GeiBendorfer, Der Brand （2010） by Brigitte Berteleund and L＇amour （2000） by Philip Groning. There were three main research questions： （1） What kinds of violence against women are represented in selected German films; （2） Why do the women in these films become victims of violence; and （3） How do the women in these films find solutions to the problem？ There are four forms of violence in the analyzed films： physical violence, psychological violence, sexual violence, and witnessed violence. Physical violence is found in all the films, however, witnessed violence appears only in two films with young female characters. The other two kinds of violence are also found in most of the films. The reasons why women become victims of violence are weakness, love, poverty and carelessness. All of these factors appear in different types of women. Furthermore, the female characters in the films react differently to violence. Some women flee from their abusers because they fear or cannot fight with them. In other cases, they accept the violence with patience, or they take revenge on their offenders to get justice or stop the violence.展开更多
IT'S the local characters and landscape that I usually find most interesting about Chinese films. But it was the plot of Tuya's Marriage that captured my attention, regardless of its being Chinese." This ...IT'S the local characters and landscape that I usually find most interesting about Chinese films. But it was the plot of Tuya's Marriage that captured my attention, regardless of its being Chinese." This comment by a German critic is possibly the best compliment Wang Quan'an, director of Tuya's Marriage, could hope for. He and other young Chinese film makers have been doing their utmost to produce works that touch the Western soul rather than presenting a visual oriental feast.展开更多
文章尝试阐释奇奥格·卢卡奇(Georg Lukács)的早期电影理论书写,尤其是卢卡奇写于1913年的电影散论《有关电影美学的思考》(‘Thoughts Towards an Aesthetic of the Cinema’,a.k.a.‘Gedanken zu einer sthetic des Kino’)...文章尝试阐释奇奥格·卢卡奇(Georg Lukács)的早期电影理论书写,尤其是卢卡奇写于1913年的电影散论《有关电影美学的思考》(‘Thoughts Towards an Aesthetic of the Cinema’,a.k.a.‘Gedanken zu einer sthetic des Kino’)。在1895-1918年德国早期电影语境中,一些文艺评论家认为电影作为媒介的独特性在于动作(gesture)。区别于文字语言表意系统,动作潜在救赎了现代人被异化的感官体验。卢卡奇的早期电影书写与这一浪漫主义观念达成了共振:电影正使人类重返原初交流体验,在某种程度上即口述体验。展开更多
文摘This paper focuses on women as victims of violence as shown in films. Seven German films were selected for the analysis, namely Die Fremde （2010） by Feo Aladag, Die Frau des Polizisten （2013） by Philip Groning, Festung （2011） by Kirsi Liimatainen, Reeperbahn （2016） by Timo Rose, Schneeland （2005） by Hans W. GeiBendorfer, Der Brand （2010） by Brigitte Berteleund and L＇amour （2000） by Philip Groning. There were three main research questions： （1） What kinds of violence against women are represented in selected German films; （2） Why do the women in these films become victims of violence; and （3） How do the women in these films find solutions to the problem？ There are four forms of violence in the analyzed films： physical violence, psychological violence, sexual violence, and witnessed violence. Physical violence is found in all the films, however, witnessed violence appears only in two films with young female characters. The other two kinds of violence are also found in most of the films. The reasons why women become victims of violence are weakness, love, poverty and carelessness. All of these factors appear in different types of women. Furthermore, the female characters in the films react differently to violence. Some women flee from their abusers because they fear or cannot fight with them. In other cases, they accept the violence with patience, or they take revenge on their offenders to get justice or stop the violence.
文摘IT'S the local characters and landscape that I usually find most interesting about Chinese films. But it was the plot of Tuya's Marriage that captured my attention, regardless of its being Chinese." This comment by a German critic is possibly the best compliment Wang Quan'an, director of Tuya's Marriage, could hope for. He and other young Chinese film makers have been doing their utmost to produce works that touch the Western soul rather than presenting a visual oriental feast.
文摘文章尝试阐释奇奥格·卢卡奇(Georg Lukács)的早期电影理论书写,尤其是卢卡奇写于1913年的电影散论《有关电影美学的思考》(‘Thoughts Towards an Aesthetic of the Cinema’,a.k.a.‘Gedanken zu einer sthetic des Kino’)。在1895-1918年德国早期电影语境中,一些文艺评论家认为电影作为媒介的独特性在于动作(gesture)。区别于文字语言表意系统,动作潜在救赎了现代人被异化的感官体验。卢卡奇的早期电影书写与这一浪漫主义观念达成了共振:电影正使人类重返原初交流体验,在某种程度上即口述体验。
