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Adieu ma concubine vu par des Chinois vivant à Montréal : stéréotypes et enjeux de communication interculturelleCheng, Chuqiao 01 1900 (has links)
No description available.
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中國電影發展軟實力的調查 / Chinese Film’s Soft Power Development: A Survey王勁健, Wong, Jason Glen Unknown Date (has links)
根據Joseph Nye的定義:軟實力是透過吸引和説服,而非以強迫或收買,使你得到想要的東西的能力。最近,為了推動他們的「和平崛起」,中國政府致力於軟實力的發展。其焦點是採用非威脅的、基於文化的方法以迎合世界其他國家,進而達到展現中國是新興超級強國的目的。 已知電影為強而有力的文化工具,而在二十一世紀美國好萊塢的電影產業一向穩占世界主導地位。但在世紀之交,中國把本土的電影業市場化,將此媒介從純粹的宣傳工具變成一個文化產業。根據胡錦濤二零零七年的敦促,中國需要進一步發展文化上的軟實力以因應國家快速的崛起。發展至今,固然中國電影業的軟實力尚未能與美國電影業相比擬,但它在過去十年的進步仍然令人難以置信。 若中國確實將電影業視為國家重要的軟實力資源之一,則仍然有許多障礙需要克服。 但所謂的障礙究竟是什麽?本論文將評論中國電影業的軟實力發展。我們將蒐集與評估現有的資料以研究其進化與現況。更將進一步分析, 在針對中國特定的軟實力目標上,該產業的成功與不足。 / According to Joseph Nye, “Soft power is the ability to get what you want through attraction rather than coercion or payments” (2004, 256). Recently, China has been making a soft power push to promote its “peaceful rise,” focusing on a non-threatening culture based approach, with the aim of ingratiating themselves as an emerging super power to the rest of the world. Film remains a powerful cultural tool, one that the U.S. industry in Hollywood has dominated throughout the twenty-first century. But as China marketized its own film industry at the turn of the century, the medium there has moved away from being purely a propaganda apparatus to more of a cultural industry. Upon Hu Jintao’s urging in 2007, China must better develop its cultural soft power to accommodate its meteoric rise. While the Chinese film industry’s soft power development has not yet reached the ranks of the U.S.’s, it has made incredible strides over the past decade. There are still many hurdles for it to surpass if it truly intends to become a significant soft power resource for the country, but what are they? This thesis will evaluate the Chinese film industry’s soft power development by surveying existing material, data, and research on the subject, by examining its evolution, by reviewing its current environment, and by analyzing its successes and its shortcomings against the framework of China’s specific soft power objectives.
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中國電影文化外交探索-以2013年巴黎中國電影節為例 / The Analysis of Culture Diplomacy in Chinese Films--The Case of the Chinese Film Festival in Paris in 2013王政皓, Zheng-Hao Wang January 1900 (has links)
電影作為跨文化傳播的重要媒介,對國家形象的扮演有著重大作用。胡錦濤特別在2004的四中全會上提到中國一方面發展硬實力,另一面就是軟實力的培養。中國當局希望透過文化電影的發展超越西方國家。
中國旅法畫家高醇芳女士於2004年有感於法國人對中國電影的生疏,因而創立「巴黎中國電影節」,其宗旨就是向法國人推廣中國的電影,而此活動也逐漸受到中國當局的關注和協助。因此,中國政府採用「巴黎中國電影節」進行「公共外交」的策略。也希望影片中的意識形態能讓法國人接受。
中國在經濟上已逐漸與歐美並駕齊驅,在文化上更是希望與歐美國家抗衡。然而在西方影展得獎的中國片或是西方電影呈現的中國意象,這些影片經常出現很深的東方主義觀念。「巴黎中國電影節」的出現提供中國宣揚自身文化,以及利用此機會平反歐美國家對中國東方主義的觀點。 / Film is an important medium of cross-cultural communication, it plays major role in the shaping of national image. In 2004, Hu Jintao particularly referred to the development of China on Fourth Plenary Session. One is hard power; another is the training of soft power. Chinese authorities want to go beyond the western countries through the development of cultural films.
In 2004, Chinese painter in France, Ms. Gao Chunfang felt the French were unfamiliar on Chinese films, so she found “the Chinese Film Festival in Paris”. The purpose is to promote the Chinese Films to French public, and this festival is also gradually paid attention by Chinese authorities. Therefore, the Chinese government has adopted "Chinese Film Festival in Paris" to execute "public diplomacy strategy". The government also hopes the film's ideology could be accepted by French person.
Chinese economy has gradually reached Europe or American; it also wants to compete on culture. However, Chinese films won the reward on West Film Festival and the Chinese image on western films which often appear the concept of "Orientalism". The appearing of ''The Chines Film Festival in Paris" provides China to promote their culture, as well as they use this opportunity to vindicate the perspectives on Chinese Orientalism from United States and Europe. / 第一章緒論 1
第一節研究動機與目的 1
第二節研究架構 6
第二章文獻探討8
第一節軟實力和公共外交理論探討 8
第二節意識形態理論11
第三節國際電影節與中國電影節概略 12
第三章研究方法 16
第一節樣本取樣 16
第二節研究限制 28
第三節符號學分析 28
第四節鏡頭分析 32
第四章、分析 35
第一節中國夢VS.美國夢:《中國合夥人》、《北京遇見西雅圖》 35
第二節宣揚政府形象:《三個未婚媽媽》、《蝶吻》 46
第三節歌頌青春愛情:《情人節》、《青春派》、《我願意》 51
第四節演繹女性主義:《蕭紅》 76
第五節彰顯愛國情操:《黃金大劫案》 90
第六節營造民族融合:《唐卡》 97
第七節再現古老中國:《畫皮II》 110
第五章、結論 119
第六章、文獻參考 125
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文革後中國電影中的女性形象-以彭小蓮、胡玫、李少紅的電影為例 / Women image in Post-Cultural Revolution Chinese films-Case studies of Xiaolian Peng. Mei Hu. and Shaohong Li’s films文玫今, Wen, Mei Chin Unknown Date (has links)
中國電影的發展長時間受制於中共的政治意識形態,中共建政後,表面上來看中國婦女的確是解放的,然實際上卻是性別消溶於轟轟烈烈的革命運動之中;文革時期,「樣板戲電影」中的女性被塑造成革命的女性形象,她們有明顯的「男性化」傾向,作為階級政治、男性界定的符號而存在,缺乏該有的女性特徵,更遑論有自身的女性意識;文革結束後,直到1978年12月十一屆三中全會召開確立了「實事求是,解放思想」,中國電影創作才逐漸回到了現實主義創作的道路上,此外該時期的中國女性導演人數較前期增加許多。本文以符號學「標出性」理論為基礎,並將電影創作者的切入視角區分為「正常視角」及「標出視角」來分析男、女導演的性別視角,結果發現本文研究對象中,女導演彭小蓮、胡玫、李少紅作品的「標出視角」(即女性獨立自主、追求自我價值、不為人所重視的空間等)較明顯,而「正常視角」則相對缺乏,僅於少數作品發現有服從紀律(《女兒樓》)、男尊女卑(《紅色清晨》)、男性尊嚴(《紅西服》)等「正常視角」;至於男導演張藝謀則兩者兼具,然而其作品雖可見女性獨立、倔強、大膽的「標出視角」,惟「正常視角」(即封建社會、大家庭權力結構、傳宗接代觀念、著重婚喪儀式、沉重的歷史感等)卻更加明顯。張藝謀早期的電影雖以女性為主角,但他在書寫女性時,仍舊受制於男權中心主義,這些女性是以一個「被看」的客體存在,是為滿足男導演和觀眾的觀看期待,而這些女性形象承載的是超出其自身之外更宏大的社會歷史意涵;反觀女導演,她們電影中的女性除具有明確的自我獨立意識外,她們對於女性心理狀態和真實情感等層面,更能細膩地表述,特別是在表現女性不為人所重視的空間上。
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當代中國電影的主流意識:以革命歷史片為例 / The mainstream ideology of the contemporary Chinese film: using the revolutionary history film as an example陳加恩, Chen, Chia En Unknown Date (has links)
本研究對近年來越來越多中國電影向主流意識靠攏的現象感到好奇。透過分析近年來頗受好評的四部革命歷史電影,來了解當前中國電影中的主流意識內涵以及這些主流意識與電影之間的接合方式。研究發現,當前在革命歷史電影中的主流意識,可分為下列四項:彰顯革命精神、凝聚國族意識、中國式民主的建立與資本家地位的提升。這些主流意識的內涵,其功能主要是為了維持中共政權的存續,提供意識形態上的合法性依據。此外,在接合方法上,採用了商業電影的製作方式,達到吸引觀眾與傳遞主流意識的功能。 / An increasing number of Chinese films draw close to the mainstream ideology in recent years. This study analyzes four revolutionary history Films which have good reputation to understand the mainstream ideology in contemporary Chinese film and the articulation which is between the mainstream ideology and the Chinese film. This study found that there are four mainstream ideologies in those revolutionary history Films. They are as follows: Highlight of the revolutionary spirit, Solidarity of the national consciousness, establishment of Chinese-style democracy and upgrading of capitalists status in china. The main function of those mainstream ideologies is to maintain the existence of the Chinese Communist regime. In addition, those Chinese films are produced by commercial film production way in order to attract the audience and delivery the mainstream ideology.
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Le cinéma muet chinois. Etude sur le langage cinématographique / The Chinese Silent Film. Study of film languageZhao, Haifeng 17 February 2012 (has links)
Les premiers films chinois sont des documentaires de l’opéras traditionnels. Le langage cinématographique dans le cinéma chinois est née avec Tragédie de l’opium de 1916. L’industrie du cinéma a été fondée dans les années vingt avec la naissance de nombreux studios et avec une production débordante de long-métrage qui est très proche des films hollywoodiens. Le cinéma muet chinois est toujours présent dans les années trente. La mise en scène manifeste une conception cinématographique moderne en gardant la continuité de l’espace-temps. Dans l’utilisation du mouvement de caméra, SUN Yu garde une conception d’espace-temps rationaliste occidentale, tandis que FEI Mu respecte la fluidité d'image. Il y a trois styles principaux des cinéastes du muet : le "théâtre filmée", le modèle hollywoodien chinois et l’école de l’esthétique traditionnelle. La "tradition" du cinéma chinois n’est pas bien formée à l’époque du muet, pourtant elle est une tendance remarquable. Elle devient dans le début des années quarante avec le film parlant une conception générale de l’esthétique cinématographique qui est différente du cinéma d’autres pays. Elle se caractérise, par l’intégralité du plan avec l’utilisation fréquente du plan-séquence et le travelling continue. Cette esthétique cinématographique est influencée profondément par l’opéra traditionnel et la peinture chinoise, qui manifeste l’esprit de l’esthétique chinoise traditionnelle. La "tradition" du cinéma chinois se continue dans les films chinois d’aujourd’hui, pourtant, elle se trouve plutôt dans les films d’art. / The earliest film in China was the documentary of Chinese opera. It was the first time that the film language appeared in Victims of Opium of 1916. In the 1920s, the Chinese film industry came into being, building up many film studios and producing a quantity of Hollywood style feature films. The production of Chinese silent films had never stopped until the 1930s, when the concept of mise en scène had begun to pay attention to the continuity of time and space, showing the concept of modern film. As for the motion photography, the rational concepts of time and space in the West have been revealed in SUN Yu’s films while FEI Mu has created the implicit images by using motion photography. Thus, in the 1930s, there were three major types of film aesthetic tendencies: the dramatic films, Hollywood-style films and the films with Chinese traditional aesthetic tendency. In the silent era of films, the tradition had become the apparent aesthetic tendency in Chinese films, but it hadn’t developed into the mature film style. Not until the beginning of the 1940s of sound films had this tendency become a distinct national characteristic, which were keeping the integrity of single shot, frequently using le plan-séquence and ongoing motion photography. Chinese traditional opera and paintings have great influence on this film aesthetics, which shows Chinese traditional aesthetics revealed in the film art. The tradition in Chinese films has also been shown in today’s Chinese films; however, it is a style of the art film rather than the film aesthetics of those hot commercial films.
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針對青少年學習者的電影華語教學- 以「我的少女時代」為例 / Chinese-language teaching for adolescent learners through chinese films: in the example of "Our Times"李佳恆, Li, Jia Heng Unknown Date (has links)
「溝通」為語言學習的主要目的,如何能使中級華語學習者自然流暢地表達個人觀點並更貼近母語人士的語言習慣是本研究所探討的議題。研究顯示「電影」應用於第二語言教材可以幫助學習者提升溝通能力,更可持續激發語言學習的興趣。然而台灣目前使用電影主要以文化課程輔助進行,尚未規劃專門的電影華語課程,且普遍以成人為主教學對象。
因此本文主要探討如何應用華語電影於青少年華語課程,並分析華語電影教材的學習成效。本研究採用文獻回顧探究電影教學相關研究、中英教學中的電影教學發展、青少年華語教學、教學法與教學模式,以第二章節作為理論架構,依據此架構設計電影華語課程並實際執行。研究結果顯示使用溝通式教學法所延伸的教學活動,同時搭配ADDIE教學模式能有效地將電影教材應用於華語課程中,不僅符合學習者的學習需求,更使教學更具系統性。研究者依電影主題歸納成11種類型,針對青少年學習者選取「愛情類」、「勵志類」類型,以此兩種主題作為框架列舉出20部適合用於華語課程的電影,另外參考電影作為第二語言教材的標準,制定5項華語電影選取原則提供教學者參考。回饋結果顯示,學習者認為電影華語課程能提升聽、說能力,其次為閱讀能力,最後為寫作能力。整體而言,青少年學習者對於電影運用於語言課程中抱持正面的看法,大部分的學習者表示喜愛電影主題和課程中所討論的話題,透過課程中不斷地問答和多元的任務練習活動,學習者溝通時能以自然的表達方式和他人交流想法,並以尊重、包容和分享的情懷欣賞跨文化的議題。最後,研究者於文末提供未來電影華語教學之研究建議。 / Communication is the main purpose of language learning. This research is concerned about how to assist intermediate-level learners in expressing fluently and using the language according to the native speaker's habits. Research shows that using “ Film” can help to improve the communicative ability of the learners, which can also trigger more interest in language learning. However, the use of films for teaching Chinese in Taiwan is limited to culture classes of the adult, not planned for specialized classes.
Hence, the main purpose of this research is to analyze how to apply Chinese films in adolescent Chinese courses, and the effect of Chinese film courses. The method of this research is based on the literature review in both teaching Chinese and English by using film, teaching Chinese for adolescent, teaching method and teaching model. Through this framework, the author has planned and implemented the lesson on teaching Chinese through Chinese films. The result has shown that using Communicative Language Teaching and ADDIE teaching model at the same time can incorporate film materials into courses more effectively. According to the film genre, the author has classified 11 types of films, analyzed romance and inspiration topic for adolescent learners, listed 20 films through which are suitable for Chinese courses. Besides, this research has drawn up 5 criteria for selecting Chinese films. The result of the survey has shown that listening and speaking ability can be increased after courses, but not much practice on reading and writing ability. Overall, using film as class material receives a very positive feedback from adolescent learners. Most of the learners show their high interest in themes and topics of the courses, learners can share ideas and express themselves naturally with others through diverse tasks in the class. Meanwhile learning to show respect to different cultures in cross-cultural issues. Pedagogical implications and suggestions for further research are included at the end of this thesis.
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Le cinéma de Jia Zhang-ke, un entre deux / The cinema of Jia Zhang-ke, an in-between / 贾樟柯电影,跨界Xu, Ran 01 June 2013 (has links)
Jia Zhang-ke est un cinéaste chinois. Il est généralement considéré comme une figure de la Sixième génération. De son premier court-métrage Xiao Shan Going Home (1995) jusqu’à I Wish I Knew, de son premier films trilogie Xiao Wu, artisan pickpocket (1997), Platform (2000), Plaisirs Inconnus (2002) qui est considéré comme des films underground, à la sortie en Chine de Still Life en face du film blockbuster La cité interdite de Zhang Yi-mou, Jia Zhang-ke reste fidèle à son attitude de cinéaste de films d’auteur. Il ne change jamais. Il est un authentique paradigme de la société chinoise. Il est comme un écrivain qui enregistre la mutation de la société chinoise des années 1980 et 1990 jusqu’à aujourd’hui. Il cherche la vérité, avec sincérité, soucieux de ne jamais simplifier la réalité, dans le respect de l’homme et de la complexité de sa vie quotidienne. Ce que je crois avoir bien dégagé dans ma thèse, c’est la fertilité des oppositions symétriques : arrière-garde et avant-garde, ancien et nouveau, tradition et modernité, culture réservée à une certaine élite et culture de masse. Parce que Jia Zhang-ke est toujours un entre-deux : Oriental et Occidental, procédure de fiction et procédure documentaire. / Jia Zhang-ke is a Chinese film director. He is generally regarded as a leading figure of the Sixth Generation mouvement of Chinese cinema. From his first short Xiao Shan Going Home (1995) to the last film I Wish I Knew (2010), from his early films trilogy Xiao Wu (1997), Platform (2000), Unknown Pleasures (2002), which are considered underground film, to the film Still Life in front of the blockbuster film Curse of the Golden Flower by Zhang Yi-mou, Jia Zhang-ke remains faithful to his attitude film d'auteur. He never changes. He is a true paradigm of Chinese society. He is as a writer who records the transformation of Chinese society in the 1980s and 1990s until today. He seeks the truth with sincerity, careful, not to simplify the reality, within the respect of man and the complexity of everyday life. What I think I have identified in my work, is the fertility oppositions symmetrical: avant garde and rear garde, old and new, traditional and modernity, cultural elite and mass culture. Because Jia Zhang-ke is always an in-between: Oriental and Occidental, process documentary and fiction process. / 贾樟柯是一位中国导演.他被公认为是第六代电影导演的代表人物.从他的第一部短片小山回家,(1995年),直到海上传奇(2010年),从他的第一个故乡三部曲,小武(1997年),站台(2000年),任逍遥(2002), 他的地下电影时期,到三峡好人, 和张艺谋的大制作满城尽带黄金甲同日公映,贾樟柯始终保持他作者导演的态度。他从来没有改变. 他是一个真正的中国社会的范式。他像是一个作家,记录了中国社会在20世纪80年代和90年代直到今天的社会转型。他用真诚寻求真理,小心的从来不简化现实, 尊重人和日常生活的复杂性。在我的论文中,我坚持用对比:后卫和先锋,旧的和新的,传统与现代,精英文化和大众文化。因为贾樟柯总是跨界:东方和西方,剧情
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