汽车玻璃贴膜紫外及可见光谱特性检验的物证价值

目的通过对汽车玻璃贴膜紫外、可见光谱特性的检验,研究其对汽车玻璃物证检验的辅助作用,证实其物证价值。方法应用紫外、可见分光光度计对55个品牌,不同型号汽车贴膜的光谱特性进行测试。结果 55个不同品牌、不同型号贴膜紫外截止波长、吸收峰数、紫外可见吸收曲线都是有差异的。结论贴膜可以通过测试紫外、可见光谱进行区别及比对检验,弥补玻璃检验的不足,起到辅助玻璃区别认定的目的。     

American Criminal Trial Films: An Overview of Their Development, 1930–2000

The history of American trial films – and I am speaking of trial films in general at the moment, not of the sub-division of criminal trial films – has been shaped both by changes in public attitudes toward law and lawyers and by shifts in viewer tastes. These same factors have necessitated changes in the way we define 'American trial films'. In earlier years one could recognize a trial film with relative ease: it was a drama in which a heroic lawyer or lawyer surrogate solved the film's dilemmas in the course of a civil or criminal trial, usually a trial held within a courtroom. Contemporary movies, in contrast, are more interested in action than in debate and oratory, and they are more cynical about the effectiveness of legal processes. Thus they tend to embed a short trial scene in a longer adventure story, and they seldom depict lawyers as heroes on the grand scale or courts as places where fundamental social and moral issues are settled. In sum, the trial film genre is undergoing major change, if not dissolution.     

Patterns of Courtroom Justice

Any one film can sustain a myriad of compelling intepretations. A collection of films, however, sharing formal and substantive qualities, reveals a common effect more than a diversity of meanings. This essay traces the shared formal and substantive qualities of a group of films, as I name them ‘trial films’. It documents this genre of film by identifying the genre’s norms of viewing and identification. It also investigates peculiar hybrid discourse of the trial film genre that combines both filmic and legal discursive practices to show how trial films cultivate support for the American system of law through its constitution of a specific viewing audience. In so doing, I broach the following questions: how do images of law in film help sustain the power and legitimacy of legal institutions? How does the study of film genres, like the courtroom drama, reveal the way law lives beyond its formal processes?     

头颅CT片同一认定研究

目的探寻头颅CT片同一认定的方法。方法分别计算同一被检查者不同次头颅CT片指标差值和不同被检查者头颅CT片指标差值,再应用二分类logistic回归分析相同被检查者和不同被检查者指标差值,建立头颅CT片同一认定回归方程。结果建立头颅CT片同一认定方程46个。结论通过头颅CT片测量可以进行有效同一认定。     

The German Courtroom Film During the Nazi Period: Ideology, Aesthetics, Historical Context

This essay examines the films of the Nazi period concerned with questions of justice and the administration of the law. It traces the ways in which law films developed prior to the Nazi era. It notes the apparent paradox of the Nazi obsession with questions of justice, law, and legality which are found in their strictly controlled film output. The use of film as a mass propaganda weapon affected legal subjects and this can be seen as a means of creating consensus. This centred on the role of the state in creating a system which allowed the individual to be integrated into the mythical folk community. Those who threatened this social cohesion were depicted as threats to the common sense of ordinary people and this stretched from propaganda films into comedies.     

香港的電影檢查制度略述

香港的電影檢查制度，法理源于《電影檢查條例》（《香港法例》第392章＂該條例＂），該條例的主要内容包括設立電影檢查監督（即影視及娱樂事務管理處處長）、檢査員小組及顧問小組；核準影片上映及將影片分級；設立審核委員會；訂出罰則及罪行；對其他條例作相應及其他修訂等。     

FILM REVIEW ESSAY

This work analyzes three so‐called anti‐racist films of the 1990s; American History X, A Time to Kill, and Higher Learning. Although each film discusses why racial hatred is problematic, a variety of underlying themes contradict the message of racial tolerance. Racial hatred is depicted as largely a group phenomenon perpetrated by individuals who elect or learn to hate. Each film portrays white characters as the heroes in the struggle for racial equality, while showing black characters in stereotypical fashion. Additionally, white supremacists are allowed verbally to present their position much more frequently and more passionately than are those who are already racially tolerant. This research analyzes these and other examples of white supremacist hegemony in these three films, and discusses implications for viewers.     

论双重版电影版权的“二元”承认与保护——一个国际贸易体制下电影版权保护的国际法新原则

境外电影作品的引进产生双重版电影版权的保护冲突问题,对此依我国现行法律无法实现对境外电影作品版权的合理保护。本文提出双重版电影版权二元承认与保护的理论,并在对这一理论进行多维分析的基础上,阐明了其合理价值及其对于完善我国涉外版权关系调整与保护的必要性和重要性;论述了境外原版电影版权的各项具体著作权在二元保护理论中的配置问题;提出了境外原版电影在中国境内享有的版权和禁止的版权的版权二分法;认为不论对境外原版电影作品的何种版权的侵权形式均应当承担民事责任以有利于禁止境外违禁作品在中国境内的非法传播,并给出立法建议以期完善我国的境外电影作品版权保护制度。     

THROUGH A DIFFERENT LENS: USING FILM TO TEACH FAMILY LAW

This article discusses the aspects of narrative and character development that make films a useful tool to supplement classroom legal education. Moreover, utilizing film is particularly effective for learning and exploring the dynamics of human relationships at the center of family law cases. When designing a film and family law course instructors should seek to promote creative thinking, cultural competence, student exploration of bias and assumptions and best practices for attorneys based on the examples provided in the film. Films make the learning process more fun, but still provide substantial opportunities to broaden students' concept of the impact of law on family members.     

论台湾新电影中的“底层叙述”

生活在社会底层的小人物是台湾新电影最为重要的关注对象.侧重于小人物情绪感受的抒发而不强调情节的戏剧化,使新电影呈现出散文化特征,对小人物的精神困境予以关爱的人文精神和将小人物与大时代相结合的历史视野,又使台湾新电影具有了诗意情怀和史诗风格,这些便是台湾新电影"底层叙述"最为突出的特征.     

Representations of the family in postwar British amateur film: family histories in the Lane and Scrutton collection at the East Anglian Film Archive

This article examines the construction of the postwar British family in amateur film with reference to the Sidney Lane and Cecil Scrutton collection held at the East Anglian Film Archive (EAFA), particularly the films covering 1948 – 1961. Heather Norris Nicholson argues that home movies contribute to ‘an understanding of leisure and visual-related practices of consumption as well as the social processes by which people came to give themselves, and others, identities’ in the mid-twentieth century (Nicholson, H. N. [2004]. At Home and Abroad with Cine Enthusiasts: Regional Amateur Filmmaking and Visualizing the Mediterranean, ca. 1928 – 1962’. Geojournal, 49, 323–333). By considering the social and historical contexts in which these home movies were produced, and using accompanying notes by one of the filmmaker’s sons, the leisure time films of Lane and Scrutton can be analysed in order to understand how the amateur cine hobby ideologically constructed family, community and national identity in postwar Britain. The images of Christmas parties, daytrips and holidays in these films reveal much about this particular family, and are therefore very illuminating to the social historian and film scholar of today.     

利用彩色文件上的图文特征鉴别喷墨打印机品牌

目的通过彩色文件上的图文特征鉴别喷墨打印机的品牌。方法在体视显微镜下观察采用不同喷墨机理的惠普、佳能和爱普生三大品牌喷墨打印机打印的彩色图文。结果通过对彩色图文上六种墨迹形态特征的比较,发现三大品牌喷墨打印机打印的彩色图文存在明显差异。结论依据这六种特征对三大品牌的喷墨打印机进行鉴别。     

The Legal Properties of Film

This article focuses on the manner in which the law of copyright in the UK has made sense of a particular cultural artifact – film – in the process of figuring it as an object in which property rights can subsist. It traces the history of legislative and judicial attempts to circumscribe the boundaries around this object, noting that two approaches have emerged and now co-exist: a 'physicalist' approach which treats a film as co-extensive with its recording on some medium; and a 'formalist' approach which treats a film as an expressive form exceeding this physical manifestation. It explains why each approach is reductive and impoverished when considered in relation to how films are figured as aesthetic objects; and concludes that a modified version of the available Marxist explanations of film copyright reveals the latter's understandings of film to be closely articulated with the purposes and values of the mainstream film industry. More generally, it suggests that a reappraisal of Marxist theory may be timely at this juncture, not least because it draws attention to law's role in exemplifying the entwinement of culture and economy at a number of levels.     

国际化中的品牌保卫战

中国企业在国际化全球市场的征途中，遭遇着一个又一个商标与品牌被抢注的暗礁。如何在此过程中有效保护商标和品牌，成为中国企业近年来非常关注的一个问题     

透明胶带的厚度检验

目的研究不同品牌透明胶带的区分方法。方法利用测厚仪对35种不同品牌透明胶带的厚度进行检验,并对所得数据进行统计分析。结果 35种品牌透明胶带组成的595组样品对中有458组可以区分,区分率为77.0%。结论厚度检验法能够在一定程度上区分不同品牌的透明胶带,厚度检验结果可与化学成分检验相互佐证,使得鉴定结论更加准确可靠,为法庭科学领域透明胶带物证的区分提供了一种预检验方法。     

纸张上薄膜拓印指纹检验研究

目的研究薄膜拓印指纹的特征和检验方法。方法利用塑料薄膜在纸张上进行了120次指纹拓印实验,然后比较拓印指纹和正常捺印指纹。结果成功转印出较清晰的拓印指纹41枚,发现了纸张上拓印指纹的常见特征。结论通过特征分析可以对薄膜拓印指纹进行检验。     

Morphological and spectroscopic measurements of plastic bags for the purpose of discrimination

The discrimination of noncolored transparent polyethylene bags was studied by several nondestructive and semidestructive analytical methods. X-ray diffraction, infrared spectroscopy, and optical microscopy (differential interference contrast microscopy and phase contrast microscopy) were applied to polyethylene films. X-ray diffraction was used to distinguish variations in the crystalline phase, infrared spectroscopy was used to distinguish variations in the molecular components, and optical microscopy was used to distinguish the different surface morphologies. The results show that X-ray diffraction classifies the crystalline phase of the film depending on whether it is made from low-density polyethylene, linear low-density polyethylene, or high-density polyethylene; that infrared spectroscopy is useful to distinguish the molecular components and it is the most discriminating technique; and that optical microscopy discriminate films easily by their morphological differences.     

Ninhydrin permeability tests of common packaging materials in the field of fingerprint examination

With a simple experimental set-up, common packaging materials were tested for their ninhydrin permeability. The packaging material was loaded with a ninhydrin treated paper on the inside and covered with an amino acid treated paper on the outside. If ninhydrin penetrates through the packaging film, "Ruhemann's purple" will form on the amino acid treated paper. In all, 28 packaging materials were tested over a period of 24 weeks. It turned out that all the films made of polyethylene (PE) showed ninhydrin permeability. With one exception, this permeability occurred after three days already. All packages made of other film material were not permeable to ninhydrin.     

The Social Issue Courtroom Drama as an Expression of American Popular Culture

Drawing on recent works of commercial Hollywood cinema and topical made-for-television movies, this paper explores the cultural implications of two distinct varieties of the American courtroom picture: the problem film in the guise of a legal drama and the trial movie which may take the form of a social issue film. Both types merge into a category that overtly abounds with liberal stances and humanitarian attitudes, films that portray actual or – only rarely – fictional excesses of rigid conservative orthodoxy, movies that have also succeeded in capturing the interest of the public on both sides of the Atlantic. Further, the aesthetics of the documentary tradition related to this generic strain is examined in such a way as to cast light on the quality of critical reflection and certain ideological inferences thereof.