共查询到20条相似文献，搜索用时 31 毫秒
1.
Ryan Linkof 《Media History》2013,19(2):107-125
This essay closely analyzes the 1936 British film Sensation, directed by the eccentric queer filmmaker Brian Desmond Hurst. The film participated in an extensive and heated debate about intrusive and ‘sensational’ press practices that erupted in the 1930s. In his cinematic version of events, Hurst made sensational journalism seem like an exciting, if morally dubious, part of modern life—a news form that satisfied a basic human desire to learn about the private lives and hidden secrets of other people. This essay shows how Sensation, in its ambivalent relationship to this fraught cultural issue, reveals some of the complexities of interpreting queer filmmaking before the advent of a self-aware and politicized ‘queer film.’ It argues that intrusive journalism was of interest to Hurst precisely because it engaged with issues at the core of queer identity—exposure, revelation, privacy, and criminality—before the decriminalization of homosexual acts. 相似文献
2.
Hugh Look 《Publishing Research Quarterly》1999,15(3):12-29
The rise of the “star” author and the cult of celebrity overwhelms publishing in the same way that it has movies and professional
sports. Television creates the star system, agents nurture it. Publishers must find ways of surviving it. The Internet provides
a means for star authors to reach their public without the intermediation of their publisher, but it is not yet a medium in
which stars are born.
Address for correspondence 相似文献
3.
Use of a retrieval algorithm of keypoints in an information system ensuring the frame stability during digitization of archival film footage 
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下载免费PDF全文 One of the main technical tasks of any cinema archives-in which are deposited the movies as film footage-is the digitization of analog content to achieve two main goals, i.e. to provide a termless storage and a secure access to archival film footage Belousov, Vinokur and Vasin. The information contents stored as film footage are very large, many of the films are unique and don't occur in another form; and this storage method makes difficult their access and threatens their existence in unmodified state itself. The film degradation in form of medium shrinkage with aftermodification of geometry in the form of edges' shrinking, bending and bowing of the film surface, and destruction of the emulsion layer degrades the technical quality of the image, and leads to its complete loss. The data presentation in digital form eliminates this disadvantage and increases the accessibility of the film footage, allowing the selective access, including multimedia network, be it TV or Internet.
相似文献
4.
Tamar Ashuri 《The Communication Review》2013,16(3):171-192
This article considers how film helps reconcile a traumatic collective past through representation of a personal trauma. It focuses on the role of witnesses in conveying their experiences regarding events that have traumatized them. The author suggests that a witness to a traumatic event performs the excess of an event that has transformed him or her. By framing the witness as a performer rather than a mere conduit for transferring knowledge to the uninformed, the article underscores the communicative dimension of witnessing by studying this process as an ongoing interplay between addressers and addressees who undergo mutual transformations in and by this action. These arguments are presented through an examination of the film Waltz With Bashir (2008), in which its director documented his struggle to come to terms with his personal trauma surrounding the part he played in the Lebanon War. The author suggests that by performing this loss of experience, the director turns the audience into witnesses, thus transforming a personal loss of experience into a collective experience of loss. 相似文献
5.
Azmat Rasul 《The Communication Review》2017,20(4):225-245
Through the lens of political economy of communication and sports, this article examines the role of Bollywood’s sports movies in promoting patriotism and constructing an Indian national identity. Focusing on three popular movies premiered in the last decade, Dil Bole Hadippa (2009), Chak De! India (2007), and Lahore (2010), we explicate how Bollywood mobilized patriotic codes through these films in ways that are advantageous for the Indian government and the economic goals of the industry. 相似文献
6.
Peter Ehrenhaus 《Critical Studies in Media Communication》2013,30(3):321-337
–Steven Spielberg's film Saving Private Ryan has been criticized for its failure to frame narrative action in terms of national, moral purpose. This criticism can be understood in terms of the constraints that the “Vietnam syndrome” places upon contemporary cinematic narratives of war; Vietnam memory subverts earnest declaration of high national principle. This essay examines how Saving Private Ryan “reillusions” American national identity in the wake of Vietnam by giving presence to an even more distant past. Supported by close textual analysis of key scenes centering upon the sole Jewish character in the film, this reading argues that the specific moral justification for waging war and accepting its horrors and sacrifices is found in a moral crusade against the Nazi program of Holocaust. By suturing the Holocaust into the film as its moral foundation, the film participates in the “Americanization” of Holocaust memory, circumvents Vietnam as a source of traumatic memory, manufactures a redemptive national identity, and constructs an ethically usable past in the present. 相似文献
7.
This essay explores three films from 2007, Knocked Up, Juno, and Waitress, which foreground young women's unplanned pregnancies. These movies depoliticize women's reproduction and motherhood through narratives that rearticulate the meaning of choice. Bypassing the subject of abortion, the women's decisions revolve around their choice of heterosexual partners and investment in romantic relationships. Although they question the viability of the nuclear family for single pregnant women, these films represent new iterations of post-feminism that ultimately restore conservative ideas that valorize pregnancy and motherhood as women's imperatives. We conclude by addressing how these movies present a distorted and short-sighted depiction of the politics of reproductive agency and the challenges that single mothers face. 相似文献
8.
Isabel Molina Guzmán 《Critical Studies in Media Communication》2013,30(3):232-251
This article analyzes the discourses of Latina/o identity embedded in the movie Frida, the Latino news coverage about the film, and an on-line chat stream about the film. Comparing the identity discourses circulated by the movie's producers, Latina/o journalists, and Latina/o audiences when discussing the film shows how different communities negotiate the meanings of ethnic identity. The study concludes that the discourses of ethnic identity circulated through the movie, news coverage, and chat stream disrupt notions of Latina/o ethnic identity as a stable and commodifiable demographic category. 相似文献
9.
ARTHUR P. MOLELLA 《Curator: The Museum Journal》1999,42(2):108-116
The simmering controversy over the Smithsonian's Science in American Life exhibition that led to the ensuing visitor study by the Institutional Studies Office is reexamined in terms of issues of American identity. A brief historical overview reveals that, for most of the twentieth century, the American scientific community received enthusiastic public support for its perceived service to national goals and ideals. In the past decade, however, after experiencing unexpected budget cuts to research, scientists have questioned the depth of that public support in what has become known as the Science Wars. Science in American Life was soon engulfed by that broader, often acrimonious debate about science and society which involved notions of pure and applied science. The role of American identity in the dispute over the exhibit is analyzed in terms of scientists' criticisms of three of the exhibition's case studies. 相似文献
10.
Stephanie Houston Grey 《Critical Studies in Media Communication》2018,35(4):363-375
This essay considers Food Will Win the War, an animated short made early in World War II by Disney Studios for the United States Department of Agriculture. Through a fantastical catalogue of hyperbolic images, the film shows how the mass production of American agriculture becomes the first wave of a new American-style consumerism of plenty that will transform the social order. The analysis blends contemporary theories of affective politics to show Food Will Win the War as a threshold text, revealing the post-war economy at its formation. Using food as a symbolic field, this film ultimately links the endless expansion of consumer desire to national identity and global colonization. 相似文献
11.
Anura Goonasekera 《亚洲交流杂志》2013,23(1):34-52
The paper examines the social impact of communication technology applying the insights of sociologists such as Durkheim, Mead and Shils. It argues that the introduction of modern communication technology to Third World societies has resulted in the sudden and rapid increase of ‘social density’ or social relationships by bringing to the consciousness of individuals issues and personalities outside their immediate experience. In some Third World societies this has resulted in the emergence of a heightened individual self‐identity in order to understand and give meaning to new and unfamiliar situations created by the media. The socio‐political consequences of this new self‐identity for the plural societies of Asia is examined using the media‐image of Mahatma Gandhi in pre‐independent India. 相似文献
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13.
David Douyère 《传播与批判/文化研究》2013,10(2):188-193
Communication involves incarnation in a twofold sense: it assumes a body, and it brings thoughts and values into being. The question of angelic communication, as a theoretical model for language and thought in medieval Christian theology, combines the two senses: for Thomas Aquinas, angels communicate among themselves without bodies, given that as immaterial beings they transmit their thoughts by will alone; but they need bodies in order to “appear” to humans and communicate with them. This indicates, if only by default, the place of incarnation in communication—for those of us who are not angels. 相似文献
14.
Colleen Warner Colaner Danielle Halliwell Phillip Guignon 《Communication monographs》2014,81(4):469-494
Grounded in the communication theory of identity, the present study explores how adoptive identity—an individual's understanding of what it means to be an adopted person—is influenced by the relational layer of his or her adoptive and birth family relationships. Seven focus group interviews were conducted in which participants were prompted to engage in a dialog about their experiences as an adopted individual. Analyses revealed that adoptees' relational identity with both their adoptive and birth families contributed in meaningful ways to their adoptive identity, but these relationships at times come into conflict with one another and with the adoptees' personal layer of identity, generating relational–relational and personal–relational identity gaps. 相似文献
15.
刘维 《浙江传媒学院学报》2003,10(3):31-33
重新认识电影与文学的关系和新的电影观的确立绝非没有积极的作用,尤其是在世界电影正通过高科技大踏步走向"景观化"、而中国电影由于忽视了视昕语言已远远落后于世界电影潮流的时候,这种对电影本性的寻求和回归显得更加重要. 相似文献
16.
This longitudinal study explored the popularity and social significance of the 2005 season of the prominent Chinese television show Super Girls’ Voice (a talent show similar to Pop Idol in the UK) regarding gender issues. Based on three focus group studies of the show’s young female audience conducted in 2007, 2010, and 2015, we contend that tomboyish contestants, specifically Li Yuchun, were designated androgynous by most participants. Androgyny was largely perceived as a flexible gender identity that integrated the favorable appearance and personality traits of femininity and masculinity, a view that challenges normative femininity. Most participants also applied this meaning of the term to their own social lives, while some of the participants who were of school age in 2005 applied it to both their social lives and their construction of gender identity by copying the androgynous style. From a time-related perspective, however, we suggest that those participants who had copied the androgynous style were more willing to conform their appearance to the standards of normative femininity several years later, and renegotiated their gender identity in alignment with traditional patriarchal norms. 相似文献
17.
EunKyung Lee 《亚洲交流杂志》2013,23(5):472-488
This article explores an online community of female Korean im/migrants in the USA in order to investigate the formation of a digital diaspora of women on the web. Employing multiple research methods including in-depth interviews, textual analysis, and participatory observation, this article examines the largest online community of female Korean im/migrants in the USA (www.MissyUSA.com), focusing on how their unique talking space was created on this site and the ways in which the relevant gender discourses are presented and constructed in relation to their diasporic conditions. The findings show that these women's shared identity (i.e. being Korean, married, female, and living in the USA) is an important element in the formation and development of this online community, especially in the creation of a candid talking space – sokpuri – where they vent their innermost feelings about their lives in the USA. The Missy and ajuma are the two salient identity discourses and selective use and flexible appropriation of the terms are found. The ajuma image (less individualistic, more active in sharing information and helping others) is adopted when these women identify their online community as a place where the empowering ajuma spirit is alive; meanwhile, they still adopt the Missy image of a young, independent, and modern woman for their individual identities, despite its consumerist origin. Although the issues of housewifization and having an enhanced gender relationship are quite often discussed, this online community has a limitation in that it does not produce a consistent and systematic challenging voice. 相似文献
18.
Timothy Barney 《传播与批判/文化研究》2013,10(2):132-151
In former Eastern Bloc nations, nostalgia is often seen as a dangerous pining for days under totalitarian regimes in the face of rocky transitions to democratization. This paper questions these judgments and instead proposes that the complexities of waxing nostalgic in post-communism will help us understand these transitions better. East German culture, in particular, has been at the forefront of post-communist nostalgia through its ostalgie movement. Wolfgang Becker's film Good Bye Lenin! has been touted as the most representative example of ostalgie, and is used here as a text to examine the complex questions about looking back on everyday life during communism's fall. Through its use of nostalgic themes, the film simultaneously embraces and derides the Western values that became an indelible part of the post-1989 landscape, and thus serves as a reminder that a distinct East German identity may still exist. 相似文献
19.
文章以皖籍著名出版人汪孟邹为个案,从微观的角度切入,探讨旅外徽州人如何与故土桑梓保持紧密的联系,如何为促进乡邦福利和革新桑梓的社会文化面貌而努力。汪孟邹对家乡的救援与革新包括：尽力提供职业、经济上的帮助,以纾乡民之困顿;重视家乡的教育问题,以培育革新的力量;革新家乡陋习,并率先垂范;热心组织和参与同乡团体,聚集救援与革新的力量。文章发现,旅外徽州人与留守本地的先进乡绅之间有着高度互动,内外联动是近代中国地方社会实现转型的重要方式。 相似文献
20.
Boris H. J. M. Brummans 《传播与批判/文化研究》2013,10(2):194-200
In this essay, I conceptualize incarnation from a communicative point of view by juxtaposing it with the concept of transcension. Subsequently, I reflect on the potential value of studying these concepts for communication research. 相似文献