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论中国电影史研究的史料意识
电影史 电影史料 电影刊物 《中国历史研究法》
2022/3/8
虽然目前中国电影史研究的学科地位已经巩固，但对其认识却未必到位。研究中国电影史必须将其纳入到史学研究的范畴之下，认识到电影史也是史学研究的分支。电影史研究需利用史学研究的经验及理论，在熟读基本史料的基础上兼具宏观的视野，拓展史料的来源和形式，从影片史料、文字史料和实物史料三类史料入手，并理性利用史料，开拓新的史料资源，从而获取新的发现，激发新的论点。
中国电影出版社2015年5月版，本书努力发掘与运用中华传统文化的宝贵遗产，遵循我国传统的审美思维与美学观，以史论为脉，构建与阐释影视意象美学体系，致力于中国影视理论的本土化建构。全书基于世界影视文化发展史实，以中外典范影视作品作为例证，论述影视意象及其美学观念的科学技术基础、哲学根基和文化属性，阐析影视意象美学与西方符号学及形象思维论的同一性与差异性；诠释影视意象美学的历史渊源、发展脉络与理论图谱...
在呈现现实和影响现实两个维度上，现实主义具有丰富的审美与政治内涵，并且在电影理论的语境下与欧洲左翼思潮具有深刻的内在关联性。具体而言，维尔托夫的“电影眼睛”不仅奠定了左翼影像的理论基础，更在艺术实践上树立了典范。本雅明揭示了电影艺术的双重政治属性，从而对左翼艺术在视觉维度上的超越性进行了深入挖掘。而意大利新现实主义和法国新浪潮的电影人则在理论与实践相结合的道路上做出了各自的探索，从而将左翼电影的理...
If virtual reality systems are to make good on their name, designers must know how people perceive space in natural environments, in photographs, and in cinema. Perceivers understand the layout of a c...
Perceiving scenes in film and in the world. In J. D
Perceiving scenes film world. In J. D.
2015/8/13
Perceiving scenes in film and in the world. In J. D.
Reaction times exhibit a spectral patterning known as 1/f, and these patterns can be thought of as reflecting time-varying changes in attention. We investigated the shot structure of Hollywood films t...
How Act Structure Sculpts Shot Lengths and Shot Transitions in Hollywood Film
cinemetrics film acts Hollywood film shots transitions
2015/8/13
Cinematic tradition suggests that Hollywood films, like plays, are di-vided into acts. Thompson (1999) streamlined the conception of this large-scale film structure by suggesting that most films are c...
Quicker,faster,darker:Changes in Hollywood film over 75 years
film motion luminance shot lengths
2015/8/13
We measured 160 English-language films released from 1935 to 2010 and found four changes. First, shot lengths have gotten shorter, a trend also reported by others. Second, contem-porary films have mor...
A Window on Reality: Perceiving Edited Moving Images
movies visual cognition eye movements memory attention perception space time
2015/8/13
Edited moving images entertain, inform, and coerce us throughout our daily lives, yet until recently, the way people perceive movies has received little psychological attention. We review the history ...
We selected 24 Hollywood movies released from 1940 through 2010 to serve as a film corpus. Eight viewers, three per film, parsed them into events, which are best termed subscenes. While watching a fil...
Low-level features in film:What they are and why we would be lost without them
Low-level features film lost without them
2015/8/13
The narrative of a fi lm is oft en cited as the driving force for viewers’ attention to and engagement in a fi lm. Th e narrative is also conceptually the most vivid for fi lm viewers; it is not oft e...
Mapping narrative space in Hollywood film. Projections
Mapping narrative space Hollywood film Projections
2015/8/13
Popular movies are curiosities from the standpoints of perception and human evolution. To be sure, static pictures—particularly photographs—are also curiosities since they flatten, shrink, and photome...
Film through the Human Visual System:Finding Patterns and Limits
Film Human Visual System Finding Patterns Limits
2015/8/13
Over time, filmmakers have changed the way they realize the structure of their films. Film structures have progressively developed to cater to patterns present in human attentional systems.Shot struct...
Event segmentation and seven types of narrative discontinuity in popular movies
Events Film style Movies Narrative Scenes Segmentation
2015/8/13
Usingasampleof24moviesIinvestigatenarrativeshifts inlocation,characters,andtimeframethatdoanddonot align with viewer segmentations of events (scenes and subscenes) in popular movies. Taken independent...
Popular movies are spatiotemporal arrays of light and motion, but almost nothing is known about their distributions across whole films. Psychological research shows that the center of the screen is th...