苦难·反正统·正统——从主旋律励志偶像剧的视角重审谢晋电影的大众性

学者对谢晋电影的研究大多停留在对其政治伦理情节剧模式的阐释上。事实上，从更为深入的类型结构与接受心理的视角重审电影的大众性，谢晋电影尤其是其20世纪五六十年代和80年代的电影提供的正是属于其时代的主旋律励志偶像剧。这种偶像剧的内在结构呈现为：偶像的民间化与苦难化、偶像的超越性与正统性、偶像爱情的残缺性与理想性。谢晋的偶像剧电影的成功既迎合了不同时期的革命理想主义与感伤浪漫主义的时代氛围，也同时满足了民间社会普适价值的内在释放。     

卑贱者人格意识的觉醒--元杂剧奴婢和妓女形象之特点

元代的爱情婚姻剧塑造了许多卑贱者的典型形象.本文所谓卑贱者,是指那些被剥夺了做人权利的奴婢和妓女.她们身处社会最低层,命运极其悲惨.可贵的是,她们并没有屈服于不公平的命运,而是表现出了极强的抗争意识.本文通过对作品中这些卑贱者形象性格的分析,来表现她们身上所蕴涵的人格意识的觉醒,从而更好地理解元杂剧的思想内涵及其历史价值.     

Activity

正Monologues Revel’s World of Shakespeare Date:September 5-6,2014Place:Wuhan Zhongnan Theater Price:RMB 80/120/180/260The six-year-old boy Graves is introduced to Shakespeare at the demand of his brilliant,though drunkard teacher Mr.Revel,the principal of a school for boys in England.After a period of confusion,Graves began to understand Shakespeare and the world of Mr.Revel.The monologue is written,directed and played by American drama director and expert on Shakespeare Joseph Graves.He is currently the artistic director of Peking University’s Institute of World Theatre and Film.     

Are You Ready to Perform？

正HEARING the keyword"performance,"you might think about your favorite drama show,TV series,or key performance index.But our topic today is a different type of performance.Here,what I mean is how you perform in interviews with Chinese HR professionals.Having advised you how to prepare for the pre-interviews in the last article,this time I will go through the interview process to give you more practical tips.Hopefully,you will find them useful when you take to the interview"stage."     

文化资本与身份认同——以美剧在中国的传播为例

在中国广泛传播的非本土电视剧,已形成了基本稳定的社会评价,各种外来电视剧迷群体之间也形成了等级梯度,从低到高大致为台剧、港剧、韩剧、日剧和美剧,其排序与世界经济格局大体一致。较高的文化资本,是美剧迷这一群体的主要特征。与受众对电视剧的多元解读策略不同,美剧迷普遍表现出高卷入度与高度的认同感,其心理认同往往伴随行为上的"认同表演",从而延长了美剧的传播链。美剧通过对都市白领与在校大学生群体的主体询唤,完成了对美剧迷群体的全球欲望动员,把他们接合到跨国阶层的全球建构之中。     

文学语言与20年代话剧特征的形成

20年代话剧的文体特征及发展走向很大程度上可以从文学语言变革的角度加以认识。具体而言,白话语言对戏曲之唱构成了强有力的消解,促成了现代话剧从唱到说基本特征的形成。模拟真实的口语为话剧带来了生活气息,却因疏于锤炼而导致了情节的冗余和话剧的故事化倾向;演说作为白话的言说方式之一顺应了文学语言变革,却带来了说理化特征,并时有打破话剧客观化情境的情形。文学革命后,文学语言的逐渐调整为话剧的发展带来了契机,促成了机智型喜剧的成熟;诗化语言增加了话剧的文学性,同时因诗多剧少为话剧提出了亟待解决的问题。从文学语言的角度可以更好地揭示20年代话剧特征的形成,重新认识这一体裁发展中的现象、问题和趋向,更好地把握文学史规律。     

清季民国戏剧改良与妇女解放的互动关系考察——以河南为例

清季民初,戏剧改良运动兴起,其宗旨为移风易俗,妇女解放便是其中一项内容。清末,作为戏剧大省的河南开始允许妇女入园看戏,民国时期,女演员登台演戏日益增多,她们成名后积极义演赈灾、支持教育,一定程度上提高了妇女的社会地位。通过对河南戏剧改良的梳理与考察可知：戏剧改良一定程度上推动了妇女解放,妇女解放也促进了戏剧的革新,戏剧改良与妇女解放互为促进。     

Victim Blame in Fictional Crime Dramas: An Examination of Demographic,Incident-Related,and Behavioral Factors

How victims are portrayed in fictional crime dramas is an important way that individuals come to understand and interpret what it means to be a victim of crime. We examine how demographic variables (e.g., gender, race, age), incident variables (e.g., location of offense, relationship between victim and offender, type of crime), and behavioral variables (e.g., drug use/alcohol use, sexual promiscuity, negative personality traits, or concealing elements of personality) predict victim blame. Although some literature has analyzed victims in fictional crime dramas, such literature has been limited to a single year, a single show, a particular crime, or a particular factor. We extend this literature by focusing on multiple factors that predict victim blame using data collected from a systematic sample of 124 episodes from 4 fictional crime dramas (CSI, Law & Order: Special Victims Unit, Criminal Minds, and Without a Trace) over 7 years (2003–2010).     

Exploring the representation of xenophobia in a South African television drama series: A Zimbabwean audience's perspective

Abstract

A great deal of research has been conducted on minorities and their representation in the media in various parts of the world (Evra 2004: 67; Miller 1996; Vicsek & Markus 2008: 124). Fundamentally, the reason for this is political, as ‘the cohesion or rupture of a social world depends on relations among groups who perceive themselves as disadvantaged either as groups or as individuals’ (Staiger 2005: 13). Television programmes, as elements of the media, are a source of information that contributes to these perceptions. Many scholars are of the view that television creates, reflects and reinforces social relations and functions as a mediation of the social world (Evra 2004: 13). In South Africa relatively little research has been conducted on the representation of minorities in local media. Particularly the representation of black immigrants and their representation on South African television has been largely ignored (Kiguwa 2008: 67; Nyamnjoh 2006). The focus of this article is not on the analysis of the representation of foreigners on television, but rather on how a specific group of viewers perceives the representation of Zimbabwean immigrants in the drama series Usindiso (Redemption), broadcast on the South African Broadcasting Corporation's SABC1. The central research question posed by this article is: How does a selected group of Zimbabwean immigrants living in Hillbrow in South Africa perceive the representation of Zimbabwean immigrants in Usindiso?     

Baltic Theater 1995–2005: Processes and Trends

During the decade from 1995 to 2005 theater in the Baltic region widened its repertory borders, created a new system of management and renewed its artistic language. It lost its ideological significance and intellectual leadership. The new system of contracts gave more freedom to theater managers in changing the inner structure of theaters, and in forming smaller and more dynamic theater companies. The self-identifying process appeared in all three Baltic theaters, as seen in such productions as Alvis Hermanis's Latvian Stories (2004), Priit Pedajas’ performance of Andres Kivirahk's Estonian Funeral (2002) and Rimas Tuminas’ production of Marius Iva?kevi?ius’ Madagaskaras (2004).