The time of publication:2010-2Press:Fudan University pressAuthor:Jin DanyuanPages:284BookTitle:The aesthetic and cultural interpretation of the image
In the discussion about contemporary film theory and film aesthetics, many new terms, new concepts emerge in an endless stream of abuse, especially for the concept of "Aesthetics", has been intolerably, such as media aesthetics, aesthetics, the aesthetics of daily Cenozoic, dirty aesthetics, aesthetics of violence aesthetics, erotic, seems to be what can use the "Aesthetics", what is aesthetics, "Aesthetics" has become the people playing into the hands of the most fashionable term universality, whether can in turn asked, what not aesthetics? So one had to mention the old topic again in front of the film theory researchers, namely, what is the film aesthetics. The author thinks, although the film aesthetic monograph has been a lot of discussion, relates to the film aesthetic proposition of the article is an immense number of books, too many to count, but for what is film aesthetics, in fact is still ambiguous, even the most authoritative Bela Ba Latz "film aesthetics", in fact, in the eyes of the real study of aesthetics scholars, he is not aesthetic, but the film art development process to explore the characteristics of a movie works. Balazs will summarize the experience, skills, including close-up lens clip, and style, combined together to discuss, although many aesthetic problems relating to the book, but in the entire book's structure and content, and it is talking about the film aesthetics, rather than basic knowledge in characteristics, about the movie. And the general theory of films. So it is necessary to return to the true meaning of ontology, clearance of movie aesthetics from the source. A misunderstanding, starts with the concept confusion impolitely, long-standing misunderstanding, film aesthetics and understanding, the problem in some older filmmakers to film aesthetics first definition is not very exact, misunderstanding of the fundamental, not only in the China film industry exists, it is the same in the western academic circles, and probably was the first western film theories by misleading caused. First of all, many people from the beginning, confused the three completely different meanings of the concept of beauty, beauty, aesthetics, coupled with characteristics of cinema itself such as sports, clips, montage.
Jin Danyuan, male, born in July 1949. At the Yunnan University of Nationalities, Chinese Department of Yunnan University Professor, academic leaders. Now he is the professor of Shanghai Univer School of film and television director, television culture research center of Shanghai Univer, doctoral tutor. Shanghai City, the academic degrees committee group of experts, to enjoy the special allowance of the state council. He is director of China Art Association executive director, member, China Writers Association Chinese educators association, Shanghai City Association of Shanghai city aesthetics, Comparative Literature Association, has been manned the national Ministry of personnel, British Cambridge, America et al's "who's who in the world". In 1992, the all China Youth Federation sponsored "Chinese people" magazine as the outstanding figures, recommended to all over the world is introduced. Has to Hongkong, Thailand, China America to attend international academic conferences and speeches. In 1999 won the "national outstanding teachers award of baosteel". Is mainly responsible for research and teaching work of movie and TV culture, aesthetics and literary aesthetics. Has published "Zen and Sublimity", "rain", "Confucian weathering film aesthetics", "Introduction to comparative culture and philosophy of art", "" postmodern "and film aesthetic culture", "art", "Chinese thinking history television and aesthetic", "Introduction", "film aesthetics of art and aesthetic reflection", "art of life", "symbol stream without the loss of 16 pieces", "philosophy", "research in literary studies", "contemporary movie", "movie", "academic monthly", "literary theory", "social science" and other national influential the magazine published more than 120 papers, some of which are "Xinhua digest" excerpts, and some are "Chinese Social Sciences digest" to republish, some were by Renda copy materials.
For a long time, in the international film circle impression, developing countries (including China national film, film, Hongkong films and Taiwan films) has been like Hollywood and Europe that so-called "true" film shadow, marginalized and covered position. In addition to experts and scholars in the region will take it as an important field of academic study, the international scholars and not invest too much attention. The situation changed in the seventy or eighty years of the twentieth Century, with the development of international politics and society, the western academic circles on the development of the third world films growing concern, the study results have a cluster of "explosion". Among them, China continue to improve as the international great power status, also caused widespread concern in the world to Chinese cinema and culture. According to some international scholars, it has "taken centre stage in the current international film criticism and research". Today, history, aesthetics, the Chinese film cross-cultural research and criticism, has formed a academic field and a considerable international academic importance. At the same time, the Chinese film across the geographical constraints, focusing on research from the perspective of cultural language universals, echo, Hongkong and Taiwan, remain in the political unification and the institutional diversity of this specific historical process, through the study of film which is a important cultural media, perspective and the influence on the three cross-strait political, economic, social and cultural psychology, and the relationship between the nature of the state, so that the "study" of Chinese film is no longer a home "dead knowledge", and become a living practice of contemporary cultural politics "". Can say, the Chinese.Research on the rise of direct involvement in the historical process of the future of the construction of Chinese culture, which is also the subject of sustainable development power of profound social history in the future. Shanghai Univer, founded in twentieth Century 90's movie, ten years of pioneering work, the birthplace of the team located in Shanghai, with the Chinese movie movie making contemporary Chinese city and Chinese only A-class International Film Festival "the Shanghai International Film Festival" location, location advantages, the introduction of a number of overseas background and focus on local basis academic backbone.
One, the "film aesthetics" reflection and constructive thinking return body -- question to the research of contemporary film aesthetics on the relationship between Chinese contemporary film and China Aesthetic Reflections on globalization and nationalism from the aesthetic and cultural aesthetic contemplation of the new digital film China film history in multi context Technology: aesthetic thinking "about the film China film seventeen years" in the basic aesthetic form and the will of the state on "the philosophy behind the long lens theory" and Its Contemporary Significance about the present culture background shadow and reflection of aesthetic acceptance of postcolonial theory and its influence on film reading "visual impact" and "realism" constitute a paradox? On the current image -- Chinese consumer oriented and "realistic" survival two, a reflection image of cultural interpretation and aesthetic shift under the background of globalization, deconstruction and Construction -- in the multiple in post modern context Chinese film culture consciousness and modern entanglement -- from the "spring" to the "Peacock" "small town" (town) complex TV aesthetic and physical culture floating debris a development trend of global context image -- after TV of body culture narcissism, peep and "ruins" phenomenon -- and involving identity and difference on the image of the production of TV programs and TV audience accept aesthetic: the aesthetic feminism, and consumer recognition of contemporary TV culture sharing feminist film or is female consciousness -- re understanding the more involved Chinese film in several female topic from the "super girl" to "image aesthetic and cultural reflection of the overall cultural dream China" -- on the contemporary TV media carnival entertainment three, in the view of comparison the Chinese different cultural imagination and suture -- about fifth, the six generation of film directors: a comparative study of Shao films on Chinese epic and market influence and Inspiration of "subversion" after another interpretation -- from "the unbearable lightness of being" to "love of Prague" thinking from "Archetype" perspective of the reconstruction of the classical theory of constancy -- on the film "the wizard of Oz" and "wild at heart". Comparative study on the type of restructuring and development of Aesthetic -- on Hongkong martial arts films present transformation and Its Enlightenment to us to understand the "Cultural Revolution" movie of "female image" -- on the two extreme "female consciousness" postscript @##@ reflection
"Image" in the aesthetic and cultural interpretation of cross culture, the post-modern context as the background, from a variety of perspectives to explain the meaning of aesthetics of film and television culture and its various presentation, through the reflection and construction on the film aesthetic thinking, the philosophy of culture attribute of the film as the supporting point of movie aesthetics, resulting in the postmodern context movie and television culture and aesthetic to make analysis and discussion, and further on the specific movie made the aesthetic and cultural analysis and interpretation. In the multi culture collision and fusion of the era of globalization, the author based on local, international perspective, research not only adhere to the philosophy meaning, text of movie aesthetic connotation, also can make the aesthetic response to the changes of culture, the aesthetics of film persistence and exploration, in the noisy and impetuous consumption era precious.
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