计算机信息证据的法律思考

计算机信息证据作为科学技术发展并运用到一定阶段的产物 ,日益显示出强大的证据作用 ,由于它自身的独特之处 ,给目前尚无法可依的诉讼实践带了诸多疑问。在这个法律调整的“盲区”不规范的操作必定会带来负面影响。故目前应统一其表述 ,在民事诉讼领域中将其划归书证 ,在刑事诉讼 ,行政诉讼中划归视听资料。进而依照民事诉讼有关书证 ,行政、刑事诉讼有关视听资料的法律规定进行收集、提取以及审查判断     

从货方的视角看《鹿特丹规则》

对《鹿特丹规则》中涉及货方利益的主要条款及内容进行梳理,采用比较、归纳、逻辑等方法,从货方的视角审视《鹿特丹规则》,分析涉及货方利益的主要条款及其特点,并进行评价。     

The Truths/Fictions/Traumas of Marikana: Exploring Violence and Trauma in Three Films,The Marikana Massacre: Through The Lens (2013), Miners Shot Down (2014), and Night is Coming: A Threnody for the Victims of Marikana (2014)

ABSTRACT

By exploring three films that centre on the Marikana strikes and killings of 2012, I seek to examine both the representations of violence as trauma, and the trauma of representing violence, within the context of visual, cinematic texts. I position Marikana, and the trauma of Marikana, as both a highly significant moment, and also as representative of deeper social and political traumas and injustices. I ask whether and how these films create a narrative context for this pivotal moment in South African history. I also question the effects of cinematic style and genre in the depictions of trauma and violence. The institutional context in which each film originated and developed is important, and I argue that the audience's expectations of the genre of documentary film also play a significant role in the way in which the films process trauma. I situate my paper in conversation with previous articles by Lucy Graham and Helene Strauss among others, that deal with cinematic portrayals of Marikana. By examining the selected films alongside each other, and through the lens of Decolonial Trauma Studies, I hope to elucidate the ways in which these South African films deal with and work through trauma.     

Capturing Brazilian society in movement: from cordiality to circulation and “spaces between” in Maria Augusta Ramos’s Futuro junho (2015)

ABSTRACT

This article analyses Maria Augusta Ramos’s 2015 observational documentary Futuro junho (Future June), filmed in the Brazilian city of São Paulo in the lead-up to the 2014 FIFA World Cup. Taking as its starting point a connection, established by one of the film’s four main “characters,” or subjects, between Brazilian historian Sérgio Buarque de Holanda’s influential work on cordiality and the idea of circulation between public and private spheres, the article explores how circulation (economic, urban, media, and cultural) is portrayed in the documentary, as well as how it foregrounds both spatial and temporal movements. This is complemented by a discussion of the film’s own circulation through attention to critical reviews which have debated the film’s success in documenting, in a timely way, a national conjuncture characterised by crisis and conflict as well as unpredictability and rapid change. The article argues that by imbricating and intertwining multiple cultures of circulation, and by drawing attention to the varied economic and urban experiences of its characters and the spaces between them, Futuro junho captures a Brazil in flux.     

电视纪录片中的长安意象

长安是历经最多朝代的千年古都,《望长安》等电视纪录片都从不同角度再现了历史上的长安的方方面面,长安拥有丰厚的文化历史底蕴,有着属于自己的独特文化氛围,长安独特的城市背影在纪录片中渐渐清晰和明朗,一层一层的剥落神秘的外壳,显露出真实而深厚绵长的城市文化。     

论公安题材影视纪实作品中的“复原拍摄”手法

当今视觉传播方式逐渐成为主流的趋势，公安题材成为影视作品的关注热点。由于无法全程跟踪拍摄，“复原拍摄”手法以“情景再现”或“现场模拟”的名义对案件过程进行场景的还原记录，这其中不可避免地牵扯到了还原“度”的问题。公安题材影视纪实作品作为纪录片的一种类型，具有“真实性”的特点，而这种个性特点自然也就是创作此类作品时应该遵循的通行法则。     

Between a croc and a herd place: Battle at Kruger and nature interpretation

Abstract

The article examines the popular YouTube clip Battle at Kruger and its National Geographic spin-off Caught on safari: The battle at Kruger. In seeking to account for the clip's popularity and National Geographic's motivations for making the hour-long feature, the author draws on the burgeoning studies of wildlife film in an effort to contextualise this new ‘eye-witness’ approach within the traditions of documentary films focusing on nature – particularly animals. Furthermore, do the clip and its online popularity suggest a new direction for wildlife documentary in an age of increasingly advanced filming technologies and digital broadcast platforms?     

单位提供证据的种类与定位

单位在民事诉讼中提供证据不应当定位为“证人作证”的行为,但单位有提供证据的资格,其所提供的证明文书是书证的证据来源之一。如此定位,有助于解决单位提供证据与证人概念的冲突问题,同时能够发挥单位作为提供证据者扩大证据来源的现实作用。对待单位提供的证明文书证据,应当区别情况分为公文书与私文书,并在认证规则上予以区别对待。     

《四库全书荟要总目》文献价值初探

<四库全书荟要总目>,是指<四库全书荟要>中著录书名卷数、作者年代爵里、该书缮录所依据的底本与来源,以及校对所参照的版本的这一部分文字.<四库全书荟要总目>在图书版本研究、图书来源研究、<四库全书>编纂思想研究等方面,有<四库全书总目>无法替代的作用.     

Photographing Children in Mexico City's Red‐Light Districts

This paper analyses Mexican photographer Maya Goded's representations of children living in one of Mexico City's red‐light districts. Drawing on interviews with the photographer, the practical and ethical difficulties in portraying vulnerable children are analysed to examine the representational limitations of photography in confrontation with child sex exploitation. Through close visual analysis of the images, the paper examines the children's representations as both externalised repositories of their parents' aspirations and their keen imitators. The figure of the child becomes a locus for interpolating critiques of sex work, demonstrating how photographs forge a cultural space where they become politically salient records of vulnerability in the face of neoliberal deregulation and economic rationality.