浅谈中国电视传媒业未来发展趋势

改革开放的20年间,中国传媒业的改革取得了显著的成就,但还面临不少危机,如集团化改革难以推进,专业化频道与公司化运做举步维艰,过分依赖广告造成广告压力巨大,市场化要求下求生存,旧有人事制度限制人才发展等。为了适应经济全球化和我国经济社会发展的需求,必须采取有效措施,加大力度,对我国电视传媒业实施进一步的改革:逐步实现跨媒体、跨行业、跨地域的多元化经营;改变单一的广告盈利模式,推进电视频道专业化进程;适应市场需求,逐步实施电视产业企业化经营等。     

试析少数民族影视剧创作中的文化瓶颈--从湘西匪患题材影视剧说起

我国的少数民族影视剧创作在充分认识到制度瓶颈、市场瓶颈的同时,更有必要看到突破文化瓶颈的重要性。本文以湘西匪患题材影视剧为个案,探讨文化瓶颈在少数民族影视剧中的具体表现,并分析其形成原因,以期进一步明确少数民族题材影视剧在我国建立和谐社会的文化事业中所承担的重要作用。     

The World on the Box: International Issues in News and Factual Programmes

A report on factual international programmes shown on UK TV in 2003 reveals that the total of hours broadcast is similar that of previous years. However, there has been a drop in the number of programmes on developing countries, and the definition of 'factual international' covers a misleadingly wide range - including game shows and travel programmes. The amount of developing country coverage on terrestrial TV is the lowest since the measurement began in 1989. Many serious programmes on developing countries are now shown exclusively on the new BBC digital channels. It appears that ITV is no longer fulfilling its public service remit to broadcast programmes covering 'matters of international significance and interest'. The proportion of foreign coverage in television news increased in 2003 across all bulletins, as a result of the Iraq war.     

电视体育新闻的编译技巧

编译是电视体育新闻汉译的主要特点,是一个先编后译的过程,体育新闻的编译技巧,除增加、删除、重组等常用技巧之外,准确使用体育专业术语及行话、注意译名的准确性和统一性、巧用四字格和另设新闻标题等技巧在电视体育新闻汉译实践中也行之有效.     

Memories,Drama and Dreamers: Proposals to Address the Representation of the Latin World in the Face of the Telenovela Crisis

The broadcast of the Latin American telenovela in the United States has been approached from many perspectives. One approach is the study of how the Latin reality is perceived through stories, themes and iconographic elements. This article analyses the different forms of representation of reality as promotors of the identification, production of mental images and memory to maintain the interest of the spectators. A series of initiatives have been proposed so that the stories are more in line with the tastes and expectations of a complex, multicultural and multigenerational audience.     

Like a tree

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.     

“于正剧现象”研究

"于正剧现象"的特征是"叫座不叫好"。这种类型的电视剧违背艺术真实的美学原则,文本中充满大量的虚假情节、虚假人物、虚假环境、虚假道具。既不符合直观真实或超现实真实,又不符合主观真实,更难以达到客观真实的美学高度,是一种典型的高碳艺术。大力开发符合艺术真实,特别是实现客观真实的低碳艺术,这是中国电视剧艺术发展的正确方向。     

《唐人街》:海外华人世界的成功展现

进入新千年,凤凰卫视制作播出了大型电视纪录片<唐人街>,首次以纪录片形式透视了海外华人的生存境况,在艺术与市场上都取得了巨大成功.本文对<唐人街>独具特色的制作理念、信息内容、表现方式、传播途径作了全面分析.     

影视信息不同接受心理分析

电视与电影共用一种符码系统--图像,但由于接受环境、接受方式的不同,形成了影视信息不同的接受心理,电影营造的全息幻觉使受众进入梦境,而电视的受众在电视展示生活原貌的同时,始终是在"清醒"地感受纪实空间.     

从《人间正道是沧桑》谈主旋律影视剧如何叫好又叫座

当今，“主旋律”影视作品长期处于叫好不叫座的尴尬局面。往往是影视剧播放之前．专业杂志好评如潮，无论是思想性还是艺术性都获得很高的评价，在每年的金鸡百花华表奖上，这样的影视片也是大赢家。可就是观众不买账，观众一听到带有主旋律作品味儿的片名就皱眉，心生反感、抵触，以至于电视台没有收视率，电影院里寥寥无几的票房也是要靠行政命令单位包场才能实现。《人间正道是沧桑》一剧的热播，从另一个侧面说明主旋律影视剧如何为广大观众所接受，其透视出的价值观，足以影响今天“哈韩”、“哈日”的年轻人。