摘要：Since 2009,Tsai Ming-liang,a Malaysian Chinese director,has been *** ten years Tsai directed as many as 13 works,which are a perfect demonstration of the willfulness in Tsai's works as well as in Tsai,le cinema d'auteur himself.

摘要：The world of Ingmar Bergman is notoriously dark. He exposes us repeatedly to the isolation of human subjectivity and to our desperate attempts to break free of it. To be human for Bergman is to be imperiled, to move in an atmosphere of relentless anxiety, and to be driven by passions whose source and power we can neither master nor understand. Is there a period of innocence, a time before we are caught in the coils of the human condition？ The author will argue that Bergman＇s treatment of children demonstrates that in his world birth is the fall from grace.

摘要：With the development of economic globalization and regional economic integration,the film industry has become an important part of the cultural industry due to its high technological content,high added value,low resource consumption,and low en-vironmental *** on ASEAN - China Free Trade Area,this paper explores the feasibility of strengthening the industrial management and the consideration of differentiated competition mode for the latecomer film festival in this region.

摘要：Because of the great charm and social influence of the art of film, people regard the movie Tess is much more impressive than the original novel Tess of the D’Urbervilles. However, the character and image of Tess in the film have a considerable distance of the Tess described by Thomas Hardy. That unyielding Tess in original, who boldly resists bias and the injustice of fate, is gone and replaces it with a pathetic and vain girl who is too good near to be weak. This undoubtedly weakened the image of the artistic value of Tess and it has nothing in common with Hardy’s evaluation towards Tess—“a pure woman”. Therefore, in a sense, the adaptation of Tess is a failure.

摘要：This paper will apply a politically oriented description-critique paradigm developed from the works of Whitehall and Grewell that offers a way to examine works of popular culture, particularly Mars-based science fiction films. Because of the unique nature of these films, primarily which they are set in a future and distant world, they allow us to explore the socio-political landscape in which they were created from a remove that does not exist in ＂real-world＂ based works. Specifically we will be examining the governing power （in any particular Mars-based science fiction film） that might be either wielded by business interests or governmental interests. Although it is possible to have both a strong government and a strong business in a society, in many Mars-based science fiction films, government and business seem to represent two sides of a continuum. The stronger the business power structure in the film, the weaker the governmental power structure, and vice-versa.

摘要：A film History of Chinese Minorities是《中国少数民族电影史》的英文版,2017年4月由Paths International Ltd出版并全球销售。本着"外宣三贴近"原则,英文版在文本结构压缩和删减、英文片名选择和翻译策略、以及政治术语和民族文化信息处理策略选用上遵循贴近中国发展的实际,贴近国外受众对中国信息的需要,贴近国外受众的思维和语言习惯的理念,很好地贯彻了中华外译项目的宗旨,实现了传播中国少数民族电影文化的目的。

摘要：This study proposes an innovative design method for functional optical film microstructures used in displays and applies this design to LCD backlighting to replace multi-layer optical film functional integration with composite optical film. We design a novel optical film microstructure based on light uniformity and wide-angle lumination distribution and determine the optimal optical microstructure parameters by combining the global optimization of a genetic algorithm with ray tracing. The purpose of this study is to develop substitutes for traditional multi-layer prism brightness enhancers and light-diffusing film stacks and to examine the structural changes during calculations and summarize the characteristics. In this study, we focus on determining the optimal light uniformity of new optical film microstructures. The seven-inch LED backlight module of the method proposed in this study achieved 94.59% uniformity and 168° lumination distribution while reducing thickness by 66% to 82% compared to a traditional multi-layer optical film stack.

摘要：20世纪70年代到80年代中,电影研究作为一个专业学科在美国的高等学府中得以萌芽发展.作为高等院校中的一门正在兴起的研究学科,电影的学术开始寻求自身的地位确定.于是,电影研究的扩展吸引了众多的年轻学者们进入这个阵地.这些年轻的学者们,由于他们自身范围和兴趣的差异,以及来源的复杂等天性,试图寻求一个既定的理论框架来编织他们的材料.这些种种压力的结果就形成了我们在本书所称的'当代电影理论'(Contemporary film Theory),即一种安格鲁-法兰西古典型的结合体.至少,很多时候是七拼八凑的内部混合形式:由从马克思主义中衍生出来的阿尔杜塞的理论,巴特学派的本文批评主义,最重要的部分即拉康的精神分析学派等构成的混合理论.

摘要：电影,源于生活,更高于生活。在当代亚洲影坛中,韩国导演金基德有着强烈的话题性与争议性,他的电影艺术风格独特,可谓是创立了独特的金式风格。如《空房间》、《漂流欲室》、《春去春又来》等等,这些电影都富含着东方简约深邃美学的精髓。在日趋商业化的当代社会中,金基德坚守自己的理念,保持特有的艺术特色和美学价值,致力于每部影片都从叙事特色、画面风格等阐释他的电影美学。