Teaching Culture Through Films

Cultural teaching is an issue which is associated with complexity and paradox and also it is a big challenge for faculty.Teaching culture through films has become an important way of cross- cultural teaching This paper focuses on the reasons for teaching culture through films, the value and how it works. And finally it leads out the prospects of cultural teaching through films.

Path Analysis of the “Go Global” Strategy of Chinese Culture——Thoughts about the Promotion of Chinese Film

Against the historical background today that is themed with'dialogue'and'integration'and in the context of'Internet thinking'in the new media era,Chinese film is at a critical juncture of going global and exploring a new stage and new forms.Therefore,the'Go Global'strategy has become the only path for Chinese film to pursue development and secure a footing in the international film industry and an indisputable fact that the academic circle is studying.This paper will discuss the opportunities and challenges faced by Chinese film in the new era from the angle of the cultural significance and reflection of its going global,and will,through SWOT analysis and in-depth study,try to find the paths and tactics truly suitable for Chinese film in that process.

Influences of Cultural Differences on Translation of Titles of Films

When translating the titles of films,translators are faced with not only different meanings of Chinese and English language,but also various cultural connotations behind the titles.Therefore,translators should take cultural differences into account in order to make the translated titles close to the connotations of the source culture.Such cultural differences as religious dissimilarities,historical allusions and idiomatic expressions(or idioms)are major concerns when translating film titles.

Adaptation of The Joy Luck Club: From a Feminist Text to a Cultural Film

What I am going to write about The Joy Luck Club is the adaptation from the text to a film. We know that Amy Tan is a woman, what she has written about in Joy Luck Club reflects more about feminism. And it is a female novel to some extent. The author writes many things from a woman's perspective. But when it was adapted to a film, the director Wayne Wang deemphasized this part, and attached more importance to the Chinese immigrants as a whole group. As a Chinese American male director, he presents the novel mainly in a man's perspective. In this process, the main theme changed greatly. The adaptation of The Joy Luck Club is actually an adaptation from a feminist text to a cultural film.

The Transmission of Car Culture in Chinese and Western Films from a Cross-cultural Communication Perspective

This paper explores car culture in Chinese and Western films from a cross-cultural communication perspective.It examines the history and development of car culture in both Chinese and Western contexts,analyzes the symbolic characteristics of vehicles in these cultures,and discusses the evolving trends in cinematic representations of car culture.By contrasting the differences in the symbolic representation of vehicles in Chinese and Western cultures,the study reveals that research on the transmission of automotive culture in films elucidates the potential and impact of movies as a medium for cross-cultural communication.The cross-cultural transmission of automotive culture in films promotes interaction between cultural diversity and global values,offering valuable insights for the development of the film industry and the prosperity of social and cultural spheres.

On Film Title Translation from Cultural Perspective

Along with extension of cultural exchanges between China and America,more and more American films are introduced into China,which makes film title translation much more important.However,film title translation is not an easy job because of cross-cultural barriers.It is a challenge to translators who must handle the issue of effective communication between the different cultures in the process of film title translation.

On the Challenge to Traditional Film and Television Cultural ＆ Creative Industry from the Fourth Media

The emergence and development of the "fourth media" will become the focal competition power in the subsequent development of the film and television cultural & creative industry.This paper,on the one hand,will illustrate the characteristics of the "fourth media" in the terms of history;on the other hand,it will emphasize that the economic benefits of the traditional media have been replaced by social contact media.The advantages of the "fourth media" are obvious and it will keep developing.We hope that the "fourth media" market in China could improve constantly with strategic vision and integrate into the world market.

Discuss the Influence of the Cultural Difference to Film Title Translation

In the course of film name's translation,the cultural difference becomes one of the major considerable factors in the translation.The translator must come to understand the language and cultural differences between source language and target language.So treat it according to its circumstance.Moreover,using suitable translation skill and method to retain its cultural characteristic.And getting the most degree equivalent of source language and target language.Thereby,perfectly fulfilling the transmission of original article's civilization valuable,information valuable and athleticism valuable.

A Brief Discussion on the Cultural Differences Reflected in the Translation between Chinese and English in the Film Works

With the increasingly frequent economic and political exchanges and close ties between countries in the world, the cul-tural carriers represented by film works have become an important form of communication between countries. In this context, moreand more attention has been paid to the translation of film works, and practitioners in this field also want to bring more smooth anddeep viewing experience to other audiences. Starting from the difference between Chinese translation and English translation, thispaper explores the specific elements of cultural differences and the reasons for this phenomenon, hoping to contribute to a compre-hensive and in-depth exchange of world culture.

Identifying the Cultural Shifts and Societal Changes That Facilitated the Rise in Box Office Performance of Chinese Women’s Cinema in the 21st Century

With the gradual improvement of Chinese women’s status in the 21st century,gender studies and gender relations have become one of the hottest topics in Chinese society,which consequently prompted Chinese Women’s Cinema to attract the attention of larger audiences.With regard to the box office performance of Chinese Women’s Cinema,there seems to be a gap in research in finding an association between women’s status and the relevant films’box office performance.The purpose of this research is to outline the underlying reasons for the changes in gender roles and gender representation in the Chinese film industry over the past few decades in order to better understand this expansive social change in the 21st century.This study provides a comprehensive analysis through the use of questionnaires to better understand society’s attitude towards gender representation within the film industry.The questionnaire findings indicate that there is a direct correlation between people’s awareness of women’s changing status and gender equality and their acceptance of materials produced by Chinese Women’s Cinema.At the some time,it highlights that the Chinese government’s support and initiatives for gender equality have had a significant impact on the general popularity of Chinese Women’s Cinema.The significance of this research is to effectively popularize Chinese Women’s Cinema culture and the box office growth by understanding the social attitude towards gender representation in the Chinese film industry and to provide relevant information about the development direction and trend of Chinese Women’s Cinema.Furthermore,this research aims to provide foundational support for gender equality and help to understand the underlying factors that society needs to promote gender equality.

Journey to Fulfilment

Experiencing Chinese culture is necessary to fully understand China If it was not for my interest in Chinese culture, I would not have been a doctoral student at the University of Electronic Science and Technology of China (UESTC). As a graduate student in the School of Public Affairs and Administration, I participated in many seminars and cultural activities, which made me more passionate about China.As a matter of fact, I became interested in Chinese culture when I was a teenager.

中国电影文化的伦理建构

在全球化时代,视觉文化转向、价值观多元化等趋势将中国电影文化不断推向未知与尴尬的境地。因此,中国电影文化的健康发展需要伦理的引导与规训。在“三大体系”建设的时代呼声中,中国电影文化应以传统伦理为基底,强调“文以载道”“以文化人”的价值观念,沿着电影文化的生成肌理,通过思想文化层面的共同体美学价值理念传续、叙事文化层面“手段善”与“目的善”的统一、镜头文化层面的诗性镜头建构,进行人类命运共同体语境下中国电影文化伦理价值体系的建构,助力中国电影自主知识体系的生产。

民族志动画中的跨越“在场”与记忆“再现”——基于湘西苗族仙娘仪式影像的实践反思

文化记忆是一个民族凝聚群体、实现文化认同的重要内核,其中族群仪式作为一种具体的文化行为深嵌于特定的社会情景场域,对集体记忆和文化记忆的构筑起到关键作用,一直是人类学研究的重要议题。民族志动画通过一套特别的视觉媒介符号体系进行知识生产与意义呈现,在表达回忆、经历等抽象经验方面可跨越“在场”时空屏障,为新时代的影视人类学提供新的范式实验和新的模态可能。基于湘西苗族仙娘仪式影像实践,通过与文化持有者开展互为主体性合作和反身性对话,可生成饱含原住民真切情感的民族志动画影像文本,在影像志的“抒写”中实现仪式记忆的“再现”与族群文化记忆的表达。

基于中华传统文化建构的新时代科幻电影叙事路径探究——以《流浪地球》系列为例

2019年上映的《流浪地球》和2023年上映的《流浪地球2》开创了富有中国特色的新时代科幻电影叙事路径。在涉及人类生存环境的科幻灾难片中,《流浪地球》系列呈现出与西方同类科幻片截然不同的世界观、价值观和美学风格:家国大义高于个人诉求、坚守家园与故土、重视家庭血缘和师徒传承、不同民族国家之间求同存异、强烈的现实关怀和鲜明的中国元素。《流浪地球》系列所传达的思想与文化内涵,是对中华传统文化的创造性转化,既有东方思维的烙印,又有鲜明的时代特色。

论电影工业遗产

电影工业遗产是电影工业生产过程中形成的工业遗存。在电影工业性与艺术性两大特性的形塑下,电影工业遗产被赋予了工业遗产共性之外的独特性。从概念上看,电影工业遗产是依托电影制片厂而形成的,具有重要的工业遗产价值、文化生产价值与意识形态价值的,参与了标准化、车间制与流水线的电影生产过程的一类工业遗产,属于文化工业遗产的组成部分。我国电影工业遗产数量巨大,具有巨大的保护再利用潜力。

文化自信视域下中国电影传播策略研究

近年来,中国电影在国际舞台上的影响力不断提升,许多优秀的作品获得了国际认可和奖项。中国电影在传承中华优秀传统文化方面做出了积极探索,越来越多的电影作品通过回顾历史、表达中国精神和价值观、弘扬中华文化引起国内外观众的广泛共鸣。同时,中国电影在创新与多样性方面呈现出丰富的发展态势,不少导演大胆尝试新颖的电影语言和故事叙述方式,挖掘了丰富多彩的题材和风格,在文化自信视域下众多作品的成功表明了中国电影行业正在逐步走向多元化和国际化。在传播策略方面增强德育功能、弘扬中国优秀传统文化价值观、挖掘本土文化题材作为重要的内容建构,配合多元化的传播渠道着重讲好中国故事,凸显中国故事的独特魅力和风格,提高中国电影在国际市场上的竞争力和影响力。

文化建设视野下的中国科幻电影产业

习近平文化思想是我国文化产业的行动指南,对繁荣我国科幻电影具有重要意义。习近平精辟地阐述了文化传承、文化创新、文化自信的重要性,提出赓续历史文脉、谱写当代华章的任务。我们要全面认识文化传承、文化创新、文化自信与科幻电影产业发展之间的辩证关系,根据文化传承、文化创新、文化自信的要求发展科幻电影产业,彰显中国科幻电影“天道乃科技之本,民情为幻想之源,自强是艺术之魂”的特色。

跨文化传播视域下“国潮”电影的当代性呈现

“国潮”消费之风使国产文创产品焕发生机,由此激发了公众对东方美学、文化传统和民族符号的高涨热情,在拉升消费内循环之余再度强化了对审美文化的深度群体性认同。国产电影作为我国大众文化生产与消费的重要对象,尤其需要即时回应公众的审美期待并回答如何推动文艺繁荣的时代命题。统观“国潮热”下国产电影的特征呈现与创作转向,可分析其在全球电影工业化和产业化语境中如何建构兼具文化传统和艺术表达能力的当代创作体系,评估其通过原创设计所呈现的民族整体形象和跨文化传播效果,并在此基础上尝试梳理出以“国潮”为突破口的中国电影国际化传播创新路径。

多模态语境重构与中国影视文化的传播——以影片《我和我的祖国》字幕翻译为例

数字媒体技术的发展使得影视文化已逐步成为具有重大影响力的传播方式。鉴于此,本研究以影片《我和我的祖国》为例,在量化分析软件ELAN的技术支持下,通过整合语境重构理论与三维语境分析模式,分析并总结了字幕翻译在影视文化传播中的多模态语境重构过程与原则。研究表明:多模态语境重构涉及各个模态之间的交互融合与意义构建,具体表现为要素添加、要素删减、要素替代和要素转换;此外,在多模态语境重构过程中,译者须遵循灵活筛选、准确输出、动态对等、有效传递和即时反馈的原则,以进一步提高字幕翻译质量并促进影视文化的传播。本文旨在探索多模态语境重构在字幕翻译中的运用,以期为推动影视文化传播的应用研究领域提供可借鉴路径。

“青年向”:文化自信视域下国产动画电影的自觉拓展

中国动画电影正处在从“文化自觉”迈向“文化自信”的关键性转型时期,由此也正在以往的“低幼向”与“合家欢”方向之外积极区分目标观众,自觉拓展并巩固分层市场,瞄准数量庞大的青年受众,探索一套与“青年向”契合的生产营销机制。“青年向”国产动画电影以过去引进美、日动画所培养起来的庞大观众群体为基础,在叙事上摆脱了“低幼”标签,开始通过动画体裁探讨成人世界的现实问题,在审美上自觉形成了一种融汇着古今中西元素的新的美学风格。票房数据和观众口碑都可以佐证,“青年向”有望以其巨大的发展潜力,给国产动画电影产业链补充一个重要环节,并与“低幼向”“合家欢”作品一起朝着“国漫崛起”迈进。