谫论减少电视新闻中的“万能画面”

使用意义不大的“万能画面”得以存在的原因，一是迫于网络、报纸、广播新闻的竞争，记者在新闻共性上付出的努力多于在电视的个性上；二是因为但凡涉及到金融、教育、就业、交易、网络等无法利用画面展现过程的领域，都很难电视化等等。为此，需努力采用多样化的新闻报道表现形式、丰富新闻画面信息、抓住新闻报道的细节、找准新闻报道的契入点和增强自身的三种意识来减少电视画面中的“万能画面”，为观众提供真实生动的第一现场。     

电视节目内容分析系统的设计与应用

目前国际上在电视分析内容方面的研究已经进入了自动化进程领域。电视节目内容分析和单纯的文本分析有着本质的不同。就内容分析库的建立来说,单从学术研究角度看,这个内容库的条目越多、越详细越好,但从商业运作的角度看则未必如此,因为这里有一个投入产出的效益问题。     

电视摄像课实践教学设计的几点体会

电视摄像课是电视节目制作专业的核心课程，它需要学生在掌握了相关理论知识后，在实践中提高实际动手操作能力。我在教学中设计了五种实践环节，即认知式教学、交互式教学、比较式教学、演示、欣赏式教学和综合演练式教学，取得较好效果。     

论国际商事仲裁的保密性与物权变动的公示公信原则——评国际商事仲裁的保密性对《中华人民共和国物权法》第二十八条、第三十一条的影响

仲裁的保密性被认为是国际商事仲裁的显著特征之一,而公示公信是物权法上一个很重要的原则。保密性在于不为公众所知,公示公信在于为公众所知并相信。如果法律在某一个方面同时存在两者,其冲突就会导致两者或者其中之一无效。笔者以商事仲裁的保密性为切入点,通过对《中华人民共和国物权法》第28条、第31条的逻辑分析得出物权公示公信原则有可能与国际商事仲裁的保密性相冲突,并讨论冲突所带来的影响和提出适当的解决途径。     

Oprah.com: Lifestyle expertise and the politics of recognition

The contemporary mediascape has been marked by a proliferation of popular TV genres in which the public appear as central protagonists. These genres are part of a broader shift in the relationship between media and audiences which challenges traditional conceptions of public service broadcasting and appear to represent a shift from media as public knowledge to media as constituting a space for diffuse popular engagement. A central feature of this shift has been the growing role of popular forms of expertise on television. This paper maps the main critical debates around participatory television and the role of the expert, from earlier work on talk shows to more recent discussions of reality and makeover TV. It notes a transition within the critical media and cultural studies literature from a focus on public sphere theory and questions of democratization to a growing concern with the role played by popular media culture in supporting new modes of governance based on the expert mediation of normative self-control. In this paper we analyze the role of experts on Oprah Winfrey's popular website Oprah.com, noting both the utility and limitations of a governmental perspective. Extending upon Foucault's notion of the productive nature of liberal subjecthood, the paper suggests the more positive role played by popular expertise in contributing to a media-civic culture articulated to a politics of recognition.     

对电视娱乐明星形象传播的文化批判

在当下中国的电视娱乐明星的形象传播中存在着悖论现象:一方面,媒体和明星自身联合塑造出“德艺双馨”的完美形象;另一方面,明星又往往因种种不合道德法纪的行为而出现在电视媒体上。针对这种状况,本文从娱乐明星自身、媒介的明星运作机制和受众三方面出发,分析其原因并提出相应的批判对策。     

刑事诉讼审判公开的缺陷与完善

公开审判是一切法治国家的重要法律制度,加入 WTO 后,中国司法应尽快“透明”起来。对刑事诉讼审判公开的缺陷进行思考:审判公开是原则还是制度;关于公开审判的庭审直播问题:审前报道问题;评议制秘密性与审判公开的矛盾冲突等,并对这些问题提出建议或解决的方式。望审判公开的法律制度进一步完善。     

Juvenile Delinquency in Switzerland Over 50 Years: Assessing Trends beyond Statistics

The general public seems to be convinced that juvenile delinquency has massively increased over the last decades. However, this assumption is much less popular among academics and some media where doubts about the reality of this trend are often expressed. In the present paper, trends are followed using conviction statistics over 50 years, police and victimization data since the 1980s, and self-report data collected since 1992. All sources consistently point to a massive increase of offending among juveniles, particularly for violent offences during the 1990s. Given that trends were similar in most European countries, explanations should be sought at the European rather than the national level. The available evidence points to possible effects of increased opportunities for property offences since 1950, and although causality remains hard to prove, effects of increased exposure to extreme media violence since 1985Swiss conviction statistics are based on registration in the national register of convictions. After 1971, minors were registered only in exceptional cases (Balvig 1988, p. 30)     

Asylum seekers,citizenship and reality TV in the Netherlands: quizzing refugees in jeopardy

This article interrogates a Dutch jeopardy style TV show, Weg van Nederland, featuring young, well-educated asylum seekers about to be deported. The TV program, devised in collaboration with the advocacy group ‘Defense for Children,’ performed the paradoxes resulting from the ‘inclusive exclusion’ of asylum seekers. Yet, its strategy of inscribing the contestants into the space of citizenship by highlighting their ‘rootedness’ through the quiz format also lent support to the exclusivist, essentialist understanding of national belonging that is produced in contemporary Dutch citizenship and integration law. Moreover, the show's focus on successful, thoroughly integrated and career driven young adults, while pragmatic from the perspective of the show's (limited) political objectives, also reproduced the preferred template of neoliberal citizenship, which drives the European migration regime and its policy of selective in/exclusion. These contradictions expose the possibilities, as well as the limitations, of humanitarian appeals working within the contemporary media regime, including reality TV, which imposes its own generic terms (and ideological inflections) on the justice claims launched within its public arena.     

儿童电视广告的诉求对象分析

儿童广告主要是指为儿童用品所做的广告,儿童电视广告就是指以电视为传播媒介的儿童广告。儿童作为儿童用品的主要消费者,有消费的能力,却没有购买消费品的财力。所以,儿童电视广告不能单独以儿童为诉求对象,有时也要以儿童的家长作为诉求对象,或者把两者共同作为诉求对象。从儿童的生理、心理特征,以及产品类别两个角度对儿童电视广告的诉求对象进行了分析。