Cinema Education as an Exercise in ‘Thinking Through Not-Thinking’

In this article we explore the educational potential of cinema. To do this we first analyse how the American critical thinker Henry Giroux tries to give body to an educational theory in relation to cinema. His ‘film pedagogy’ is described as developing a critical response of the learner in relation to the public sphere of film. Giroux’s approach, however, seems to forget rather than explore the potential that is specific to the medium. Secondly, the article analyses Walter Benjamin’s (1936, Illuminations, London, Pimlico) essay ‘The work of art in the age of mechanical reproduction’, because here we find not a different educational response to cinema, but one of the first studies on cinema that describes its ontological nature and the potential of moving images for thought. Finally, the article discusses the cinema philosophy of Gilles Deleuze, who, in contrast to Giroux, does not construct a Cartesian framework around cinema. Rather, he recognizes and explores cinema’s potential for thoughts like Benjamin did. In this way, Deleuze reverses Giroux’s question of how education should respond to cinema. A pedagogical discussion hereby comes to the fore that does not ask the question of what methodology should be used in education to think critically about cinema, but what the implications are of the nature of cinema for thought and for education.     

电影《我的父亲母亲》的文学隐喻探析

经典的艺术作品处处充满了隐喻。《我的父亲母亲》是著名导演张艺谋1999年创作的唯一一部诗意现实主义电影,一部表现形式非常与众不同的作品。影片大量运用了隐喻的手法来塑造角色,揭示主题,表达感情,使得影片具有诗一般的简练含蓄、寓言式的深刻隽永,成为在国内外获奖无数的经典作品。一直以来,影片的隐喻艺术手法很少被人提及和关注。本文从人物、情节和环境这些文学元素入手,分析影片的隐喻艺术特色,旨在探寻其获得成功的更多原因,帮助观众更加有效地进入影片,挖掘出更加丰富的内涵,更好地解读电影作品,获得更多的审美享受。     

文学作品中的影视元素探析—“文学影视相对论”之一

文学作品中的影视元素,第一是人物活动的空间要多变,处在运动中;第二是故事线索可以单纯,但过程要曲折,情节要富有悬念;第三是人物的性格和命运最好处于变化当中,变化的模式至少有四种：从A到A′;从A到B;从A到B再到A;A与B换位。     

纳米颗粒薄膜的磁性

提出一种唯象的量子模型研究纳米磁颗粒膜在外磁场下的磁学性质 .用玻恩近似方法计算了两类不同磁相的颗粒膜的磁电阻 .结果表明 ,磁颗粒的平均散射截面随着原子数的增加而减少 ;巨磁电阻来源于传导电子与磁颗粒之间的与自旋有关的散射 .磁电阻随外磁场和磁矩的变化与已报道过的实验符合     

目的论与电影字幕翻译

近年来,学说汉语和欣赏中文电影成为了一股无法阻挡的潮流。越来越多的优秀国产影视作品开始冲出国门,走向世界。然而大多数外国观众并不具备直接欣赏中文电影的能力,因此,字幕翻译在跨文化交流上的重要作用不言而喻。冯小刚是我国优秀的影视导演之一,其作品语言具有独特的"冯氏幽默",令人回味无穷。该文将以目的论为视角,以冯小刚导演的电影——《唐山大地震》的字幕翻译为素材,研究译者在该影片字幕翻译中所选取的翻译策略。     

香港动画电影述评

香港动画电影有着自己的发展历史,二十世纪八十年代之后的香港动画电影有一些基本特征：漫画改编、影视先导、明星效应、喜剧对话、功夫情节、草根意识、艺术性欠缺、娱乐为重。为了取得更好的发展,香港动画电影走上与大陆合拍片的路子。     

Application of the Non—Stationary Oil Film Force Database

The technique of non-stationary oll film force database for hydrodynamic bearing is introduced and its potential applications in nonlinear rotor-dynamics are demonstrated.Through simulations of the locus of the shaft center aided by the database technique,nonlinear stability analysis can be performed and the natural frequency can be obtained as well.The easiness of “assembling” the individual bush forces from the database to form the bearing force.makes it very convenient to evaluate the stability of various types of journal bearings,Examples are demonstrated to show how the database technique makes it possible to get technically abundant simulation results at the expense of very short calculation time.     

“人类正走在一条危险的小径上”——罗兰·艾默里奇灾难电影论

罗兰·艾默里奇有强烈的灾难情结。灾难既是其电影作品中最重要的符号,同时又潜含着丰富的文化隐喻。选取罗兰·艾默里奇的5个电影文本为对象,从生态审美和生命美学的角度分析其作品的文化寓意。艾默里奇的灾难电影一方面从生态审美的角度形象地揭露了家园危机,另一方面又让观众在对灾难的审美体验过程中感受到死亡的胁迫,从而迫使人们追问生命的意义,引发人们对生命的关注,具有强烈的人文主义色彩。     

For a comparative film studies

The paper argues that the comparative approach to the study of modern cultural forms should be founded on the common experience but divergent histories of the development of a capitalist mode of production and the impact of its reformatting dynamics on social, including cultural, relations. The paper then goes on to explore and propose a number of probably inevitable theoretical frameworks and tools to implement a comparative approach to the study of a thoroughly industrialized cultural form, such as cinema and films.     

二氧化钛纳米膜制备条件对炼焦厂废水光催化降解性能的影响

以四氯化钛为前驱体，用溶胶一凝胶法制备了TiO2纳米膜，并进行了炼焦厂废水的光催化降解实验，考察了制备条件对其光催化降解性能的影响。结果表明最佳工艺条件为：四氯化钛：乙醇：水=30：400：25，溶胶体系pH=7，掺铁量Fe：Ti=0．16，干凝胶在450℃煅烧2h，由此制成的TiO2纳米膜光催化降解炼焦厂废水的降解率超过79％。