Blason as a Means of Self-justification in John Ford’s ’Tis Pity She’s a Whore

The form of blason in John Ford's'Tis Pity She's a Whore provides a venue for its protagonist,Giovanni,not only to voice his socially-prohibited longings for incestuous love but also to normalise his amoral and murderous rhetoric.Changes in its contents and styles reflect the changes in its user's attitude towards social and cultural restrictions.The anachronism of the form of blason in the historical context of the play's performance also corresponds with Giovanni's refusal to comply with contemporary social and moral codes.His insistence on employing this mode of speech can be interpreted as a means of self-justification in his struggle between the external cultural norms and his internal call of nature.

美亚协会争取修改排华法案的努力

1904-1907年间,美亚协会在其秘书长约翰·富尔德的带领下,为修改排华法案做出了种种努力。他们对美国的移民体制提出批评,继而向西奥多·罗斯福行政当局施加压力。当1905年下半年中国的抵制美货运动走向高潮之际,美亚协会又把工作重点转向国会,积极争取福斯特议案的通过。美亚协会的种种努力无果而终的主观原因:第一,美亚协会的目的,并不是为了维护中国人的正当权益,而完完全全是为了本集团的商业利益,是为了维护中国市场对美国的门户开放;第二,他们低估了中国新兴的民族主义所蕴含的伟大力量。

约翰·福特西部片的视觉感构成

约翰·福特西部片一向以鲜明的视觉特色著称,这是形成其导演风格的重要方面,其常用外景地纪念碑山谷的选择源于表现主义电影的影响,并在西部片中上升为美国文化景观的层面,低角度摄影和大景深门框镜头的运用,以及以静制动、以简驭繁的场面调度手法,都彰显了一代西部片大师深厚的导演功力。