Film review

The Mission (Ferestadeh). Written, produced, edited, and directed by Parviz Sayyad. Co‐production of New Film Group, New York, and Asia Film Production, Munich, Distributed by New Line Cinema, New York.     

希尔弗瑟姆荷兰影音研究所 建筑就像看电影

19世纪中叶,德国建筑师戈特佛里德萨姆帕尔将建筑划分为承重结构和围护结构,即支撑与界面。这一认识对现代建筑产生了深远的影响,并延续至今。从空间的视角看,支撑与界面担负着为人类过滤外界影响、营造舒适栖居之地的基本功能。另一方面,支撑与界面也是营造光影效果、度造奇幻境地     

World Film Locations: Paris

Cambanel, P. et Cassan, M., Les Catholiques français du 16^e au 20^e siècle (Nathan, 1997), 128 pp., 49F., ISBN 2 09 190468 6

Fouilloux, E., Les Chrétiens français entre crise et libération (Seuil, 1997), 300 pp., 130F., ISBN 2 02 028131 7

Tallett, F. and Atkin, N. (eds), Catholicism in Britain and France since 1789 (Hambledon Press, 1996), 186 pp., no price indicated, ISBN 1 85285 100 7     

《近似无限透明的蓝色》的电影化努力

《近似无限透明的蓝色》作为小说,后现代主义倾向和因素、或者说艺术上的最大特点,是对电影艺术的诸多借鉴和整合,并且从中找到了小说文本的全新形态。对于小说和电影的执著,之于村上龙是很难分出伯仲的。正因为如此,他才可能在小说创作中,把电影艺术的长处信手拈来,融汇期间,为自己的文本找到全新的叙事模式,并成为村上龙小说艺术风格的一大特色。     

Making heritage at the Cannes Film Festival

This paper is a discussion of how and why film should be considered heritage, by analysing the role of the Cannes Film Festival (CFF) in turning films into a form of heritage, through a number of different initiatives focused on the preservation and promotion of films as heritage. In doing so, the present article charts the evolution of the CFF against the background of cultural diplomacy and heritage. Studying the CFF from a heritage perspective will contribute to theoretical debates that situate film festivals as places where memories and identities are contested and negotiated. The paper will show that these heritage-making initiatives are a result of the ability of the CFF to respond to changes taking place in an age of international contact, to accommodate new trends, new films and emerging national film industries. Within this context, this paper also addresses a gap in film festival scholarship by engaging in heritage theory to further expand cultural and heritage insights.     

Ghostliness in Asian Diasporic Film and Literature

This paper examines the ways in which tropes of ghostliness and haunting are deployed in three recent books to describe the cultural effects of globalisation, modernisation and transnational movement in contemporary Asian and Asian diasporic film and literature.     

On the Translation of English Film Subtitle

随着经济的发展和全球化的深入,中西方文化交流的方式日趋多样化,凭借着能反映西方国家语言与文化的特点,英文电影成为国人了解西方国家的一个窗口和文化载体。电影翻译的研究拉近了两种文化间的距离,有助于更好地体现两种语言的特点和差异,从而激起人们对电影事业的兴趣和关注。〈br〉 本文从结构上总共分为三部分。第一部分为引言,介绍了电影和字幕的重要性。第二部分是主体部分,分析了论文的主导策略---归化与异化,以及在字幕翻译实践中,具体翻译方法的选择。第三部分为结论部分,总结并对未来进行字幕翻译实践的建议。     

Peripherality and Humor in the Iranian Art Film

This paper examines a range of post-revolutionary Iranian art films, mostly those watched primarily outside the country via festival screenings, in the context of the relationship between the tropes of peripherality and humor. It argues for the significance and complexity of both terms in the context of this cinema and of the global image of Iran and its peoples. Having examined a kind of humor based on the geographic periphery, specifically derived from relationships between technology, car, and camera, it concludes by reflecting on the advent of new technologies, and social constraints and opportunities in the Iranian art cinema today.