电影《无极》中的身份认同和身份策略

在全球化的语境下,中国电影意欲走出国门、走向世界,得到认可。但在寻求电影被其他文化认同时,该如何确认自己的身份,该采取怎样的身份策略,已经是中国电影界迫切需要深思的问题。《无极》是中国导演走向世界的一次尝试,从中我们可以看出其对自身身份的寻求和导演的身份策略的运用。     

Making waves

This article discusses cultural activism by artists' collectives that produce projects for public sites. It draws on the work of Donna Haraway and Rosi Braidotti to theorize projects that are regarded as material-semiotically voluble—their meanings reside in a simultaneous use of language, images, materials, locations, conventions, and often a dashing sense of timeliness. Artists' collectivism is discussed, and many projects that are situated in a range of sites are “walked through.” One of these projects was “NHI—No Humans Involved” (1992); it addressed the unsolved, and in many cases uninvestigated, murders of 45 women in San Diego between 1985 and 1992. Three aspects of this project are discussed in detail: the context; the use of media; and a gallery exhibition of photographs of the women who were murdered. When many of the women's photographs were unavailable, the artists sought donations of photographs from women in different San Diego communities; these photo donors are theorized as offering noninnocent, accountable, implicated, politically informed figurations.     

The National and International in Making a Feminist: the case of Alexandra Gripenberg

ABSTRACT

This article analyzes the interdependence of the national and international in Alexandra Gripenberg's (1859–1913) feminist activism in her native country Finland, as well as in her international work, particularly within the International Council of Women, and in doing so contributes to the research on transfers and networking across borders in the formation of feminist politics. The national and international were seen by Gripenberg as inseparable and both aspects were particularly intertwined in her work to encourage the establishment of national councils of the ICW in various countries. The analysis discloses how the negotiation between the national and transnational was intersected and complicated by class-related politics, exemplified by Gripenberg's ambivalence towards the introduction of universal suffrage in 1906 Finland. The article also sheds light on the difficulties in creating a shared sisterhood across borders and how nation was used as a criterion in classifying more and less advanced nations in terms of gender equality. Influenced by the prevalent manner many Western European and US feminists had of viewing themselves as superior, Gripenberg defined Protestant, Anglo-American and Scandinavian countries as models for other nations. Finally the article addresses how Gripenberg responded to occasions when her national and international loyalties conflicted and shows the importance of internationalism in coping with the distress on home ground. International feminist sisterhood offered an opportunity to enjoy life with social equals.     

Law, Gender and Sexuality: The Making of a Field

The papers in the following section arose from a roundtable discussion organised by the AHRC Research Centre for Law, Gender and Sexuality, titled ‘Law, Gender and Sexuality: The Making of a Field’. Participants in the roundtable were asked to reflect on the challenges confronting law, gender and sexuality (LGS) as an area of research and scholarship, and to ask what benefits, possibilities, risks and dangers accompany the establishment of a research terrain. The papers address such questions as ‘what is a field and how is it made?’; ‘has LGS attained the status of a field?’; ‘what does it mean to locate oneself within the field of LGS?’; and ‘what is the relationship between feminism and LGS?’. They also consider possible future directions for the field of LGS. Together, the papers provide a variety of differing, and sometimes conflicting, perspectives on the developing body of intellectual and political activity that might be labelled ‘law, gender and sexuality’.     

(Re)defining the Gendered Body in Cyberspace: The Virtual Reality Film

The contemporary interaction of the body with information, computing, and communication technologies in Western societies has contributed to a change in our understanding of the concept of the human being, while implying that old ideas surrounding corporeality need to be rethought. It is contended here that the virtual reality film, with its focus on cyberspace, offers opportunities for understanding the complex relationship between gender and information technologies and creates spaces in which the gendered body can be reconsidered. Films like The 13^th Floor, The Matrix, and Johnny Mnemonic display digital media and virtual subjects that mirror our complex relationship with technology. The present paper proposes three different ways of representing the interaction between humans and technology: “the penetrated body”, “the cyber-body”, and “the simulated body”. This distinction responds to a hierarchy in which some categorizations are more transcendent than others, and confer different degrees of flexibility regarding the redefinition of the gendered body in the texts involved.     

Making It Up with the Motherland: Revision and Reconciliation in Edna O'Brien's The Light of Evening

This article explores the relationship between the Irish woman writer and exile and return in Edna O'Brien's recent novel The Light of Evening (2006). This work, dedicated as it is ‘To my mother and my motherland’, represents a new chapter in O'Brien's configuration of the connection between the Irish woman writer and the image of Ireland as a place from which escape is a necessary step towards creative freedom. The Light of Evening contains a web of subtle allusions that invite a reading of the novel as a statement of O'Brien's allegiances with the English and Irish literary traditions. Ultimately, however, it foregrounds the quotidian world of the main character's home place—one represented fully in her mother's letters—as the key source of inspiration for the Irish woman writer. The article examines how relationships with the literary past are mapped onto familial ties in the novel, as O'Brien seems to move away from the Joycean promise of creative exile towards a more hopeful reading of the relationship between the Irish woman writer and her ‘motherland’.     

关于做好企业厂务公开工作的思考

厂务公开是建立现代企业制度的需要,是科学管理企业、实现企业民主监督的有效方式和手段。企业厂务公开工作应该走制度化道路,配套建立健全运行机制,充分发挥企业工会和职代会的职责和作用。     

论提高经营决策的三种能力

在企业重组改制新形势下 ,要确保油田企业持续稳定发展的势头 ,必须提高宏观决策能力、战略决策能力和创新决策能力。     

有关深化厂务公开的几点建议

厂务公开是新时期保证职工群众参与民主决策、民主管理、民主监督 ,依靠职工办好企业的一种很好的形式和手段。深化厂务公开工作要从企业实际出发 ,以职代会为载体 ,健全机制 ,按照市场经济的规则规范运行     

推行厂务公开要做到"三个到位"

厂务公开是落实全心全意依靠工人阶级的指导方针、实行民主管理的重要手段.实行厂务公开必须做到三个到位.认识到位是推行厂务公开的首要前提,制度到位是实行厂务公开的重要保证,运作到位是实施厂务公开的重要环节.     

对深入开展厂务公开工作的再认识

为了深入开展厂务公开工作 ,必须认真学习贯彻江泽民同志“七一”讲话精神 ,以“三个代表”为指导 ,充分认识厂务公开工作的必要性和重要性 ,最大限度地维护职工的合法权益 ,主动按照企业发展需要去不断充实和丰富内容 ,大胆创新、实现公开 ,把全心全意依靠工人阶级根本指导方针进一步落到企业实处。     

Constructing a Feminist Cinematic Genealogy: The Gothic Woman's Film beyond Psychoanalysis

The Gothic woman's film, as a particular 1940s phenomenon, responded to the social changes caused by the upheavals of the Second World War. It featured female protagonists, expressed anxieties about marriage and complicated the classic realist premises of narrative and heterosexual closures. As the Gothic narrative trajectory revolved around the heroine's pursuit of marital happiness, these films are often theorized in the sexually differentiated terms of Lacanian psychoanalysis. As a result, they are interpreted as cinematic manifestations of paranoia, primal scenes, passive female desires and the impossibility of female subjectivity. Tay considers how the Gothic woman's film may resist such psychoanalytic codifications by considering critiques of psychoanalysis and investigating the ways in which Gilles Deleuze's cinematic topography may apply to the genre. This engagement with Deleuze reveals how 1940s Gothic films--such as Suspicion (Hitchcock, 1941), Gaslight (Cukor, 1944), and Sleep, My Love (Sirk, 1948)--breach the narrative normativity of classic realist love stories like Random Harvest (LeRoy, 1942). Culminating in a detailed analysis of Hitchcock's Rebecca (1940) as a film that sustains female transgression in its textual operation, Tay posits possibilities for furthering a feminist cinematic discourse beyond psychoanalytic codifications.