谈晚会导演的策划能力

导演在艺术上有独到的审美视角,善于艺术想象,同时导演也是一个好的组织者,导演需发挥创造性思维,做好“导演阐述”工作,导演是晚会的总设计师、总指挥。晚会的策划操作力是衡量晚会导演成熟度的尺码,策划操作力的强弱会直接反应在作品中。一台晚会就是导演的一部作品,从策划到呈现,处处都体现着导演的智慧。     

谈“苦难意识”下第六代导演的美学风格

在当代中国电影发展史上,第六代导演是一个重要的群体。面对创作意图受挫的政治背景、小成本投资面临的市场冷遇以及自身个性表达的有意夸张等共同因素,第六代导演在反映不同人群、不同地域、不同背景的文化选题时,却表现出了某种隐秘的一致性——苦涩的青春。本文从美学艺术视角和现实历史维度出发,较为全面地分析了第六代导演的美学思想及其背后的文化蕴涵,总结了他们在艺术创作中表现出的独特美学风格——强化的＂苦难意识＂。     

《活着》小说与电影叙事比较研究

余华长篇小说《活着》在20世纪90年代中国当代文学史上颇具影响力,张艺谋导演的《活着》由这部小说改编拍摄而成。从叙事学的故事情节、叙述视角和叙述时间三个方面进行比较,可以看到《活着》小说与电影两种叙事形态迥然不同的艺术魅力。     

现实与梦境的游离——观电影《空房子》有感

影片《空房子》是金基德导演近些年的又一例佳作。金基德的故事从来都不会归于正常化的视角。90分钟的电影,男主角没有一句台词,女主角的一句"爱你"和"吃饭了",却又无关痛痒,沉默的张力全靠演员用眼神表情去延展填充,仍     

浅析影视导演思维对影视作品的影响

导演选择影视作品中所需要的各种素材,指挥整个团队完成各项任务,他是影视运作的核心和中枢,影视作品是导演思维的产物,是导演意识的体现。独特的导演思维更容易打动观众。导演个人对生活对艺术的理解、导演自身知识和文化结构的影响以及其生活的时代,都对导演思维的形成具有深刻影响。导演通过剧本选择、演员选择、叙事手法、镜头语言、画面语言、后期制作、包装宣传等方式,将其思维渗透到作品中。     

浅析导演对电视晚会风格形成的作用

导演而作为电视晚会的总指导者、总设计师,直接决定着电视晚会的风格。本文从导演作为电视晚会编创的中枢神经、导演的艺术创新意识以及综合能力素质三方面进行分析,从而明确了导演在电视晚会风格形成方面具有主导作用,为我国晚会导演如何创作出更多高水平的艺术节目、获得更多的电视观众认可和接受,具有一定的借鉴意义。     

宫崎骏获奥斯卡终身成就奖

“电影导演这份工作,只要当过一次,就一辈子都是电影导演了。没有人会用‘前电影导演’或‘原电影导演’来称呼他们,不是吗？”     

浅说“晚会导演是群众文化的启蒙者”

晚会是人民群众喜爱的一种文艺节目,导演是晚会的创作者、是晚会文化落实关键任务,又是晚会灵魂。所以晚会导演在其中有着重要作用。本文从几个简单方面简要介绍了晚会导演的重要性。     

第六代导演姜文电影时代性的探析

对姜文个人独特的导演风格进行分析,并对其作品通过结构、叙事、拍摄手法等角度入手,逐一进行分析,以期在导演个人的作品序列和当代中国电影的发展脉络当中,对导演及其影片的时代性进行评论。     

文艺圈2003年大盘点

1月4日,北京。因意见不合而被西影集团辞退的导演吴天明,得到了张艺谋、丁荫楠、郭宝昌、何群和冯小刚等10余位知名导演的集体书面声援。替吴天明、也替自己"导演的合法权益"维权。《龙年档案》导演一栏里没有了吴天明,但长期以来自顾自的演艺界人士能第一次采取联合行动,却真切地写进了"羊年档案"。     

Julie Taymor,Sony’s Digital Dream Kids,and the Marxist Labor Theory of Value

Julie Taymor is an exemplary artist who has successfully made the transition from avant-garde director of live theatre in the 1980s to become a Broadway director for Disney Corporation with The Lion King, and, more recently, a film director with Sony’s nostalgic look at the music of the Beatles in Across the Universe. Highlights of her career—spanning the latter half of the twentieth century—offer excellent examples of the changes in the economics of creativity and artistic labor for a case study in cultural and aesthetic values under global capitalism. Through interviews, newspapers and financial annual reports, specific moments in Taymor’s oeuvre reveal key distinctions between cultural and intercultural values, between aesthetic and financial exchange values, and highlight themes and limitations in the legacy of the Marxist labor theory of value.     

Assessing Reagan's Legacy

Abstract

I have argued in other research that modern presidents have been facilitators rather than directors of change. They are highly dependent on their environments and can do little to increase their resources of influence. This article probes such a theory of presidential leadership further by examining the congressional leadership of George Washington.

Perhaps the most revered political leader in American history, Washington entered office with tremendous prestige, a Congress dominated by men he viewed as political allies, and, because he was the first president, the fewest constraining precedents of policy or process. Thus, Washington enjoyed the greatest potential to serve as a “director” and move the country in new directions through his leadership.

Yet the study reveals that Washington was mainly a facilitator, not a director of change—much like George Bush two centuries later. Systemic factors such as political culture and the structure of the constitutional system determined that Washington had to be a facilitator, dependent on the opportunities the electorate handed him rather than a director, creating opportunities for change through his own leadership. Similar features characterize the leadership of the current administration.     

Champa Kelzang:the Warrior of the Potala Palace

When I met my husband,he frequently brought up the name of Champa Kelzang,the director of the Administrative Department of the Potala Palace.     

How I Learned To Stop Worrying and Grudgingly Accept Product Placement: Nicolás López,Chilewood and Criteria for A Neoliberal Cinema

This essay examines the films of Chilewood, a collaboration between Chilean director Nicolás López and U.S. director Eli Roth and which is based in Santiago, Chile. Chilewood’s films underscore a stylistic fragmentation in contemporary Chilean cinema, which largely rests on a distinction between genre cinema and auteur cinema. Within the Chilewood endeavour, Chile serves as a node of production for genre cinema (romantic comedies, comedies, disaster films, thrillers, horror) for both domestic audiences and international audiences. While Chilewood’s films provide an instance to examine different forms of transnationalism through production, financing and content, these same facets can be assessed for their neoliberal aspects that vary with each production.     

QAMBA ZUNZHUB AND HIS TIBETANSHOES

Qamba Zunzhub is the board chairman of the Lhasa Caiquan Liming Handicrafts Co. Ltd, principal of the director of the Lhasa Caiquan Welfare and Recuperation Clinic. He is indeed a man absorbed in work day by day. But, in the eye of numerous business people along Barkor Street in Lhasa, he is none other than the "shoe king." In fact, they say, about 60 percent of Tibetan shoes created as Tibetan tourist souvenirs that are on sale in Barkor come from Qamba Zunzhub. When this writer met h…     

TIBET＇S LAST CARAVAN CHARGED WITH TRANSPORTING SALT （Ⅳ）： WORKING WHILE SINGING

When the director woke us early in the morning, twinkling stars filled the sky amid dead silence the mountains could be seen dimly snaking away to the far horizon.     

The Central Institute for Brain Research in Amsterdam and its Directors

The Central Institute for Brain Research was founded in Amsterdam in 1908 as part of an international effort to study the nervous system with multiple institutions and various disciplines. The development of research in the past hundred years at the Brain Institute has hardly been documented. We analyze the history of this institute by means of brief portraits of its directors and their main research topics. It appears that each director introduced his own branch of neuroscience into the institute. Initially, mainly comparative neuroanatomical data were collected. Following the Second World War, the multidisciplinary approach slowly developed with research programs on systems neuroscience, neuroendocrinology, and brain disorders. Every new director introduced new approaches to the study of the brain and thus played an important role in keeping brain research in the Netherlands at the international forefront where it has been ever since its foundation in 1908.     

Crusading in Africa: Religion,Race, and Post-9/11 Intervention in Antoine Fuqua’s Tears of the Sun (2003)

Abstract

African American director Antoine Fuqua’s Tears of the Sun, a 2003 war ?lm made with US Navy cooperation, imagines the intervention of Navy SEALs in an ethnic cleansing being conducted against Christians by Nigerian Muslims. It is at once an exercise in black diasporic consciousness and an expression of American exceptionalism. The director aimed to raise awareness of contemporary African crises, but the picture is also the closest Hollywood combat cinema came in the immediate post-9/11 years to addressing and endorsing the polarizing discourse and militarism of the Bush administration. The ?lm’s use of reductive religious imagery, its weak box of?ce return, and its generally hostile reception overseas expose its failure as a tool of diplomacy and reveal the waning ability of triumphalist Hollywood cinema to de?ne or explain the ‘War on Terror’.     

FDR, Lewis Douglas, and the, Raw Deal

"Despite my emotions, I could not refuse the responsibility which has been offered; for in times like these, even more so than in times of war, individuals cease to be significant. Only the common welfare is important," explained Lewis Douglas in 1933 as he accepted President-elect Franklin Delano Roosevelt's offer of the position of director of the budget.¹ Douglas came to his post with a strong sense of obligation—he was certain the United States was in a "critical condition," and the only solution to the devastating depression lay in balancing the budget.² Roosevelt seemingly agreed with Douglas. Newspapers reported that the young budget director would "make his mark in the Roosevelt administration" and "be at the heart of things." Journalists argued that Roosevelt's appointment was an "indication that Roosevelt means business in his promise to reduce government costs."³     

李翰祥收藏的几件古典硬木家具

香港著名导演李翰祥自1982年来北京拍摄电影以来,工作之余痴迷收藏,且兴趣广泛,包括中国书画、陶瓷、玉器、青铜器、石雕、杂项,甚至民间刺绣品,数年来积少成多、去伪存真,逐渐成为收藏界中的佼佼者。