Ella Tian


2015年迈阿密国际电影节
第二届迈阿密“中国电影与海外中国语言文化传播”
国际研讨会
(2015.3.6-3.8)
征文通知

由美国迈阿密达德学院孔子学院、迈阿密国际电影节组委会、迈阿密达德学院北校区、中国江苏师范大学传媒与影视学院联合主办的第二届迈阿密“中国电影与海外中国语言文化传播”国际研讨会,将于2015年3月6日至8日,在位于佛罗里达州迈阿密市的迈阿密达德学院举行。

这次研讨会,是2015年迈阿密国际电影节的核心内容之一。迈阿密国际电影节始于1984年,是北美最知名的国际电影节之一,也是美国东南地区规模最大、影响最广的国际电影节。该电影节每年三月份在风景如画的海滨旅游名城--佛罗里达州迈阿密市举行,吸引全球众多知名电影专业人士和七万热情观众参与。2015年迈阿密国际电影节将于3月5日-15日举办,今年特设“聚焦亚洲”电影文展播单元。中国电影在亚洲电影市场占据极其重要的地位,也是本届电影节中关注的焦点之一。

此次国际研讨会协办单位,包括迈阿密达德学院娱乐与设计技术学院(电影学院),佛罗里达中文教师协会、南佛罗里达大学孔子学院、西佛罗里达大学孔子学院、北佛罗里达大学孔子学院,以及中国江苏师范大学外国语学院等。

主要议题:
A.中国与世界:中国电影以及海外文化传播研究。
B.中国电影在海外汉语和中国文化课程教学中的功能探讨或实践体验。
C.跨文化交际视角下的北美汉语教学。
D. 其他。

主要活动:
3月6日:上午,报到; 下午,参观迈阿密达德学院娱乐与设计技术学院;晚上,迈阿密国际电影节开幕式或其它电影节活动。
3月7日:第二届迈阿密“中国电影与海外中国语言文化传播”国际研讨会。上午,专家主旨演讲;下午,分组专题讨论;晚上,2014最新中国电影观摩,电影节“聚焦亚洲”欢迎酒会。
3月8日:上午,迈阿密国际电影节电影展播;下午,迈阿密文化考察(费用自理)

论文摘要要求:
(1)本次国际研讨会要求首先提交中英文对照的论文摘要电子文本,汉语200字以内、英语200词以 内为宜。论文摘要中请附以下信息(中英文):姓名,出生日期,护照号(如有),单位名称,通信地址,手机号码,电子邮箱地址。论文摘要必须同时发到下面的两个邮箱。对审核通过者发国际研讨会邀请函,由于时间较紧,请预先准备好护照,以免耽误出行。
(2)论文摘要提交时间:2015年2月6日
(3)提交论文摘要时,请在发送邮件的’主题栏’中注明了论文内容类属字母代号(上文’主要议题’的A、B、C)加姓名
(4)论文摘要提交邮箱地址 (请同时电邮以下三个邮箱):

xznulxl@gmail.com (刘兴林,组委会共同召集人)
xyu@mdc.edu (余学钧,组委会共同召集人
1162919974@qq.com (王晓颖,组委会秘书)

本届国际研讨会组委会将于2015年2月9日之前通过电子邮件通知论文摘要审核结果。

会务费
本届国际研讨会会务费每人150美元,用于补贴会议场地、交通、宣传、人员等方面的支出。与会人员往返交通、住宿以及文化考察等费用自理。组委会负责提供酒店、旅行社等方面的相关信息供选择(酒店、旅行社及文化考查详情另发)。
不拟发表论文的中国电影、文化和汉语教学及研究专业人士欢迎与会观摩,但同样需要发给组委会回执 (回执另发),经审核后将发国际研讨会邀请函。我们衷心期待在今年3月的研讨会上与您相会。
第二届迈阿密“中国电影与海外中国语言文化传播”国际研讨会组委会
地址:
Confucius Institute at Miami Dade College
300 NE 2nd Ave., Suite 1201
Miami, FL 33132 USA
Phone: 305-237-7867
786-448-6212
Fax: 305-237-7819

2015年1月9日

好开端!买楼、办好出入证

2014年中國電影節研究研討會徵稿啓事

expecting the newsletter

人文▪思辨:

以下是一則有關中國電影節研究研討會的徵稿


地點:香港大學


日期:2014年4月1日


研討會組織:香港大學比較文學部,英國中國電影節研究聯盟


提交摘要截至:2月15日 (200 - 300 字)(結果會在2月20日發出)


提交地址: cfps.chinesefilm@gmail.com


聯繫人;Ms. Kasey (Man Man) Wong




英文原文CFP:


CALL FOR PAPERS


Chinese Film Festival Studies Conference With the Support of THE UK ARTS & HUMANITIES RESEARCH COUNCIL and THE DEPARTMENT OF COMPARATIVE LITERATURE atTHE UNIVERSITY OF HONG KONG 1st APRIL 2014AT THE UNIVERSITY OF HONG KONG          


The Chinese Film Festival Studies Research Network (sponsored by the UK Arts & Humanities Research Council) brings together scholars in the UK, China, other parts of Asia, Europe and the USA who are working on film festivals in Chinese-language territories and cultures (including the People's Republic, Taiwan, Hong Kong, and elsewhere). The Chinese Film Festival Studies Research Network will hold a workshop on March 31, 2014, for its core members.  


Following that, the University of Hong Kong will host a one-day conference on April 1, 2014.If you are interested in film festivals in the Chinese-speaking world or festivals that feature Chinese-language cinema elsewhere, we sincerely invite you to submit a paper to be presented at the conference on April 1, 2014.  Please send proposals of 200-300 words as PDF or WORD attachments to Ms. Kasey (Man Man) Wong at cfps.chinesefilm@gmail.com .    


For all proposals, be certain to include the title, author(s) name(s), institutional affiliation, mailing address, and email contacts, as well as a brief biography in additional to the proposal abstract.  For panel, workshop, and group submissions, be certain to provide a brief description (100 words) of the contribution of each participant. Deadline for proposals:  February 15, 2014Notifications of acceptance will be sent out February 20, 2014. We regret that we cannot offer any funds for travel or accommodation.  


However, there will be NO registration fee those presenting papers, serving as panel chairs, or participating in workshops, or in any other official capacity.   Registered guests are welcome to attend as well; however, some conference events/meals may only be available for those presenting papers or serving in other official capacities.

中國需要一個電影年齡分級制度

很有道理

人文▪思辨:




电影年龄分级制度的产生,迫在眉睫——这将是中国电影文化发展的一个必要的台阶。


随着《白日焰火》在柏林电影节上的大丰收,我们不能不再一次为中国电影而感到自豪与骄傲。自80年代以来,通过电影工作者们的共同努力,中国电影已在国际电影坛上逐渐建立起地位与声誉,这对中国文化的对外传播作出了不少贡献。随着近几十年内地经济的飞速发展,中国也眨眼成为了最具消费力的电影市场。每周每个大小城市的电影院都挤满了不同年龄的观众,售票厅的拥挤场面,大概只有在中国才能看到。在各大城市的商场里,都必定会配套一家电影院。而且,各个城市里的电影院数量仍在不断地增加。观影后,微博等各种网站上纷纷出现影评与感想,这种通过电影而产生的文化思想交流就像是售票厅的拥挤一样,生机勃勃。显然,国民对电影这种新兴的娱乐消遣充满了热情。这种热情不仅仅是体现了一种中国文娱生活的发达现象,也体现了国民对新奇事物,思想以及艺术充满了好奇。这种对文化的热情必定能促使一个国家国民素质的提高。为了配合电影文化在中国的迅速发展,法律制度的改善与调整也是必须的。然而,中国当今欠缺的是一个电影的年龄分级制度。其实很多中西方的学者在研究中国电影以及中国电影文化的时候都已经提到过这个问题的迫切,并作出了不同的分析与评论。然而,作为一个电影文化研究工作者,我觉得这个话题不应该仅仅在学术圈里面讨论,而是应该把声音传给所有热爱与关心电影的广大读者和观众。因此作为再一次的呼吁,希望这篇文章可以引起社会的关注和讨论,很多事的促成是需要靠我们大家的努力。




什么事电影年龄分级制度?


电影年龄分级制度是一个按年龄适合程度对电影内容进行分级的制度。这种制度在很多发达国家,甚至发展国家,香港和台湾已成立多时,并对当地的电影文化作出了很好的监管作用。就按英国为例,所有的年龄分级都是由BBFC (British Board of Film Classification) 做决定。任何即将发行的本地和进口电影都必须进过组织的审核并给与分级后,电影院才能对外播放这些电影。在BBFC里,专门有一个团队主要是在新电影面世之前把电影内容预先看一遍,然后按照内容,根据他们一套准则来给电影评估其应有的年龄等级。经过多年的修改和改进,先进英国的所有年龄等级分别有以下几种:




U – 适合所有年龄阶段的观众观看 


PG – 适合所有年龄阶段的观众观看,但是需要通过家长的指引。部分内容可能对幼童产生惊吓。家长需要预先对电影进行了解,才决定是否能让8岁以下的小孩观看。家长也有责任在观影前后给小孩作出正确的解释与引导。


12 A – 不适合12岁以下的小孩独自观看。12岁的小孩必须由大人陪同的情况下才能观看这类电影。


12 – 只适合12岁以上的观众观看。12岁以下的观众一律不能观看这类电影。


15 – 只适合15岁以上的观众观看。15岁以下的观众一律不能观看这类电影。


18 – 只适合18岁以上的观众观看。18岁以下的观众一律不能观看这类电影。


以上是英国对电影内容根据各个年龄阶段分级。每年BBFC都会到全国各地的大小电影院进行抽查,确保制度的维持。不同国家根据其文化特色传统都会有稍微不同的分级准则。例如等级在美国,澳洲和其他欧洲国家都是不一样的。尽管如此,每个国家的分级制度建立都来于自同一个理念—— 便是更文明地管理和传播当地的电影文化。


  


我们为什么需要分级制度? 


有了这个制度,我们可以避免未成年小孩观看到只适合某阶段年龄观众观看的电影内容。举个例子,去年在国内影院特别受欢迎的《钢铁人3》,在英国是被分为 12 的等级,也就是说这部片子在英国只适合12岁以上的观众观看。因为电影里面涉及了部分的暴力行为,会对小朋友造成不良的影响。但是这部来自好莱坞的大片,在中国各大影院都非常受欢迎,大家可能已经都忽略了这部电影是否会适合年龄较小的观众观看,只冲着“好莱坞”去买票。这意味着,在中国12岁以下观看了《钢铁人3》的小孩,其实电影对他们的心身可能会带来某些不良影响。广大的家长其实也应该意识到电影内容是否适合小孩观看的必要性。若制度真得能成立,还需要花很长一段的时间做广告宣传以及教育传播的工作,以帮助国民了解制度的必要性。将在5月份上映的《超凡蜘蛛侠2》,在英国这部电影被评为了 12 A,这表明12岁以下的小孩需要有成人的陪同下才能观看电影。这说明,制度产生以后,电影院的管理人员也需要作出配合。当我还是本科生的时候,曾在牛津一家电影院里面打工。我们在售票的时候都要很清楚每一部电影的等级,如果我们对观众的年龄有怀疑,而他们又不能提供证明的话,我们是有权利拒绝他们进场。因为英国的年龄分级制度是受到了法律的保护,若售票员允许18岁以下的观众进场观看一部被评为18等级的电影,电影院是会被BBFC告进法庭的。而售票的那位人也触犯了法律。中国国内有关部门参考几个发达国家和地区已有的制度学习,再根据中国的文化和传统作出适合本土情况的调整。这种调整要考虑到不同文化里同龄孩子的成熟程度,以及他们所面对的教育方式的区别等等。


我们现有的《电影审查规定》里第十条有关电影情节内容的审查标准指明,电影里若夹杂有暴力行为的内容,“例如美化罪犯形象,引起人们对罪犯同情和赞赏,具体描述犯罪手段及细节,有可能诱发和鼓励人们模仿犯罪行为,刺激性较强的凶杀,吸毒,赌博等画面”都应该做出修改以及删除。其实这是因为这些内容不适合于年龄较小的观众观看,也是一个担忧会对思想未成熟的青少年带来不好的影响。但是如果有了年龄分级的制度以后,广电总局可以按照内容的明显程度来为其做出分级。其实《电影审查规定》希望把内容删除不是不尊重电影艺术和剧本的创作,只是现有《规定》的意识还停留在往时——电影是“集体娱乐”的形式。各家各户一到周末的晚上便搬着板凳到大院里一起看电影公放。在那种情况下,电影的内容当然要考虑到大人和小孩子,因为那种形式的电影播放是一种集体参与的行为。但是随着中国经济发展,娱乐,艺术和文化的发展也在迅速的改变。电影从以往的“集体娱乐”变成了一种更“私人”的娱乐。不同的观众会对电影有不同的要求和喜好。不同年龄的观众对电影也有不同的看法。 


其次,制度的成立也会促进本土不同种类的电影发展,以及引进更多不同种类的非本土作品。因为还没有年龄分级制度的关系,当今所有的电影,无论是本土制作的还是进口的都以“老少咸宜”以及“不具损坏国家形象政治性目的”的主要准则来作标准。然而,只以“老少咸宜”为标准未免会限制了电影艺术的制作空间。举个例子,中国本土的电影或者是与香港合作的电影作品很多都是属于剧情片,因为这类片子最容易符合“老少咸宜”的标准。但是问题在于,这种类型的泛滥已经成为了中国大众文化流行电影的一个“样板戏”,因为制片商都知道只有这种类型的片子才能通过审查进入市场。在这种情况下,一个非常重要的电影类型被忽略了—— 儿童电影。儿童片在这里不仅仅是指动画片,而且包括任何适合儿童观看具有教育意义的电影。若中国有了属于自己的年龄分级制度后,便会促使制片商根据年龄阶段的需求来制作不同种类的电影,也会鼓励电影制片商变得更多元化。至于 18 级别的电影,这向来都是敏感的话题。我最后想要说的是,真实的18级别其实在生活中随处可见。这么说来,还有什么敏感不敏感呢。


最后,我重新强烈地呼吁一次:中国需要一个电影年龄分级制度,这个任务迫在眉睫。


 


- 此文原載於2014年4月25日出版的《英中時報》 



《劇本編寫研究期刊》電視劇本特刊徵稿

接近本行了

人文▪思辨:




徵稿啟事


《劇本編寫研究期刊》/ Journal of Screen Writing 是由英國 Intellect 出版社出版的經同行評審的學術期刊。


現徵有關編寫電視劇本的學術或實踐文章


4000 - 8000 英文


6月1日前發一篇200字的英文摘要到編輯 Jill Nelmes (j.nelmes@uel.ac.uk), and to the Co-Editors of this issue John Cook (J.Cook2@gcu.ac.uk) and Eva Redvall eva@hum.ku.dk ).




Final Call for Papers Journal of Screenwriting 6.2  - Television Writing Issue


We invite researchers, educators and practitioners to contribute to Issue 6.2
of the Journal of Screenwriting, a peer-reviewed journal that focuses on this
important aspect of moving image pre-production and conceptualisation.
This special issue is concerned with writing for television.  Papers submitted for consideration might include but are by no means limited to the following areas:

•The television writer as auteur
•The writer and his or her relationship with the television industry.
•Television institutional practice and the writer. 
•Writing television series and serials.
•Television writing practice in different nations and national contexts.
•Collaborative writing.
•Analysis of television scripts. 
•The script development process.
•The history of television writing. 
•Genre and television writing.
•The television writer as showrunner or creative producer.
•Television writing in the digital multi-platform age.

The peer reviewed Journal of Screenwriting brings together research and
reflection on pedagogy, professionalism and practice in an area which has been
somewhat overlooked in academic discourse. New work has conventionally been
scattered throughout journals devoted to specific aspects of media theory or
practice, and this academic journal aims to bring together serious screenwriting related
work under one title. The Journal is international in scope, and seeks
wide-ranging work that is critical, rigorous and original in its contribution to
this developing area of study. We expect to include work that employs a diverse
range of methodological approaches, including textual analysis, production
analysis, practice as research and historical investigation.
Articles should be between 4000 and 8000 words in length.

Articles, to include a 200 word abstract, should be sent by 1st June 2014 to the
Principal Editor, Jill Nelmes (j.nelmes@uel.ac.uk), and to the Co-Editors of this issue,
John Cook (J.Cook2@gcu.ac.uk) and Eva Redvall eva@hum.ku.dk ). Please contact either Jill , John or Eva regarding any queries about suitability of subject or other requirements.

《亞洲電影手冊》徵稿啟事

人文▪思辨:

由香港大學 Gina Marchetti 教授,Aaron Magnan-Park 副教授,澳門大學陳時鑫 (See Kam Tan)教授編輯的《亞洲電影手冊》現在對外徵章節的稿子。章節文章為英文。


若有興趣的學者請在2014年9月30日前發250 - 300字的英文摘要,以及100字的自我介紹到 Ms. Kasey Man Man Wong at kaseywmm@gmail.com 


英文翻譯的中文稿子也歡迎投稿。


手冊的主要部分包括:


Section I:  Theorizing Asian Film


一:亞洲電影理論


Section II:  Space and Place


二:空間與地方


Section III:  Questioning Asian Bodies


三:有關電影中亞洲身體的思考


Section IV:  Contested Asian Values


四:電影中的亞洲文化價值


Section V:  Art and Industry


五:藝術和產業


Conclusion:  The Future of Asian Cinema


總結:亞洲電影的未來




詳細的徵稿資料如下:


Handbook on Asian Cinema


Aaron Magnan-Park (University of Hong Kong), Gina Marchetti (University of Hong Kong),


and Tan See-Kam (University of Macau), editors


Designed for Palgrave’s “handbook” series that brings together cutting-edge scholarship on key topics in film and media studies, we plan for this volume to make an intervention in ongoing debates surrounding the nature and direction of the study of Asian film.  From Bollywood to Hallyu, from the rising cinemas of West and Central Asia to the Chinese “new waves,” Asia provides world screens with some of its most dynamic, innovative, and provocative fiction, documentary, animated, experimental, and hybrid films.  However, the concept of “Asian cinema” too often conjures up visions of staid Hollywood imitations, turgid propaganda, and exercises in national chauvinism.  The definition of “Asian cinema,” in fact, lags behind what is actually happening on set and on location, in the cinema as well as on the computer screen.  Not only have regional flows intensified in recent years, but global currents have swept Asia in heretofore unimagined ways. Transnational co-productions seem to be the norm rather than the exception and diasporic filmmaking has found a voice that may be “Asian” to a degree but located in Europe, America, Australia, or elsewhere.  New technologies enable the dissemination of films far outside the established art house and festival circuits of the past.  New institutions (archives, museums), alternative funding sources (NGOs, festivals), and cutting-edge motion picture media (Web 2.0, cell phone videos) come together to make established notions of “Asian cinema” passé.   There is clearly a pressing need for a reassessment of the utility of the term to regional studies of Asia as well as to the disciplines of film, media, and cultural studies. 


 


It may be important, though, to go a step further, and make a case for what are, in our opinion, some of the most productive places for the invocation of “Asian cinema” as a conceptual framework.  These include studies of the depiction of the region in world cinema (Hollywood, Europe); comparisons of common histories (colonial legacies); exploration of Asian aesthetic traditions (linked to cultural flows along the Silk Road, for example).  Asian cinema studies also welcomes comparative analyses of modernity, postmodernity, globalization, and geopolitical phenomena (Cold War) and transnational iterations of genres (noir, gangsters, etc.) as well as examinations of Asian stars and fandom.   Asian “global” cities and urban cinemas (slums in Mumbai, Manila) can be considered alongside the creation of counter-publics (importance of transnational links in queer film, third cinema, and women’s filmmaking, for instance) as well as the depiction of global issues within the region (eco-cinema, anti-capitalist critique, other political movements).


 


Rather than focusing on Asian cinema as the sum of the national cinemas of Asia, then, we argue that Asian film scholarship needs to do more in order to continue to find a place within serious academic inquiry.  It must be comparative and global with an eye to the ongoing importance of the regional to filmmakers, distributors, programmers, audiences, as well as scholars.  If this is not kept in mind, Asian cinema will dissolve into thin air leaving the local, national, and global in its wake.


Planned sections include:


Section I:  Theorizing Asian Film


Section II:  Space and Place


Section III:  Questioning Asian Bodies


Section IV:  Contested Asian Values


Section V:  Art and Industry


Conclusion:  The Future of Asian Cinema


 


CALL FOR PAPERS


 


Handbook on Asian Cinema


 


Aaron Magnan-Park (University of Hong Kong), Gina Marchetti (University of Hong Kong),


and Tan See-Kam (University of Macau), editors


 


CALL FOR PAPERS


Palgrave Macmillan has expressed interest in this project, and we are currently putting together a table of contents for the volume.  We envision 3-4 chapters per section with each chapter averaging 8000 words.  If you are currently conducting research in this area and would like to be considered for this volume, please send us an abstract of your chapter (250-300 words) and a brief biography (100 words) by September 30, 2014.  We plan to put together the table of contents and submit the project for review by October 2014.  We will begin to edit draft chapters as soon as the contract is finalized and expect to have the book completed by June 2015.



格拉斯哥大學影視博士研究獎學金 2015 ﹣ 2016

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人文▪思辨:

以下為一則格拉斯哥大學2015 ﹣ 2016年度影視博士研究獎學金信息




PhD Studentships in Film and Television Studies at the University of Glasgow, 2015-16


 


Film and Television Studies at the University of Glasgow is pleased to invite applications for PhD studentships, through its involvement in the AHRC Doctoral Training Partnership Scotland. We welcome particularly research proposals which relate to our research strengths in the following areas:


 


amateur film; archival research; childhood in film and television; digital media; essay films; film festivals; film and history; film and philosophy (time, ethics); film tourism; materialist media studies; media technology and culture; popular music and film; memory and television; rural cinemas; world cinemas; amongst others.


 


A full list of our Film and Television scholars, and their interests, can be found here:http://www.gla.ac.uk/schools/cca/research/theatrefilmandtelevision/#tabs=2


 


Studentships are available to applicants living in the UK and the European Union. Applications for interdisciplinary projects are also very welcome. For full details, please visit www.sgsah.ac.uk


 


In addition, the College of Arts will offer a number of scholarships for PhD study in 2015.


These scholarships are open to UK/EU and International applicants.


 


The deadline for all scholarship applications to these schemes is Wednesday, 7 January 2015


 


Applying several weeks in advance of this deadline is advisable. To be considered for an award, candidates must have applied to study at the University of Glasgow and have provided two academic references through the university’s application system. 


 


Further details can be found at http://www.gla.ac.uk/colleges/arts/graduateschool/fundingopportunities/


 


Film and Television Studies at Glasgow is the home of the annual Screen Conference and the regular Screen Seminars. http://www.gla.ac.uk/schools/cca/research/theatrefilmandtelevision/#tabs=4


 


The Film and Television Studies PhD cohort is large and enjoys interdisciplinary links with such subjects as Cultural Policy Research, Music, Theatre, and History of Art.http://www.gla.ac.uk/schools/cca/postgraduateresearchstudents/


 


Our former students include: http://www.gla.ac.uk/schools/cca/research/theatrefilmandtelevision/formerphdstudents/


 



Professor David Martin-Jones


Film and Television Studies, University of Glasgow


http://www.gla.ac.uk/schools/cca/staff/davidmartin-jones/


The University of Glasgow, charity number SC004401



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