Women “in motion”: the kinaesthetic viewing experience in Chinese viral advertising films

ABSTRACT

Visual imagery provides aesthetic experiences for viewers, and viral advertising films address viewers’ experience of movement which has not been analysed. Developing visual analyses, this study uses phenomenological approaches and the concept of kinaesthetic empathy, defined as the ability of viewers to react to movements, also in film. It considers Chinese Wei movies (“microfilms” or viral advertising films) with reference to examples by Audi and Swarovski as representatives of China's post-socialist marketing culture. Women in these films are presented as “in motion,” yet still are often delimited by traditional gender stereotypes. These films are potentially ambivalent ideological carriers that encourage women to reinvent themselves through consumption within traditional gender roles but may also suggest the pursuit of different experiences as movement is abstract, transitory and cannot be commodified.     

Technology before engineering: How James Bond films mediate between fiction and reality in the portrayal of innovation

Imaginary technical devices and machinery portrayed in the James Bond films are known to have inspired real innovation activities. This paper investigates the dynamics of cultural entrepreneurship behind this phenomenon. It presents a hermeneutic analysis of the James Bond film series which identifies various patterns in the portrayal of technology which create labels and vocabularies for innovation activities and cognitive legitimacy for their implementation. These patterns have little in common with systematic approaches known from industrial research and development. They are instead related to general strategies of sense-making among users, which neglect practical issues in engineering. Drawing on Suvin's concept of the novum, the paper describes this as a transformational approach to innovation, which is less interested in the actual characteristics of a new artefact, but rather its function as an enabler for change.     

基于归化和异化理论角度上的电影字幕翻译——以《功夫熊猫》电影为例

本文以《功夫熊猫》电影为例,对英汉翻译中的归化与异化进行了讨论,从译者主体性和文化因素角度分析了归化和异化策略在影片字幕中的应用。     

铜厚膜环行器的研制

采用新型的在大气气氛中烧结的铜厚膜多层导电浆料,应用厚膜混合技术制作了2。2GHz和2.8GHz的环行器。其性能指标可与同类型采用薄膜贵金属制作的环行器相媲美,且工艺简单,成本低及生产周期短。     

米粉滚筒干燥工艺的优化

在单因素试验的基础上,确定以滚筒蒸汽压力、滚筒转速和料膜厚度为3个主要因素,以成膜率、色泽和水分含量为响应值,采用响应面法设计优化滚筒干燥工艺参数。结果表明:米粉滚筒干燥工艺最优参数为:滚筒蒸汽压力0.45 MPa、滚筒转速3.5 r·min-1、料膜厚度0.2 mm。验证结果与理论值接近,说明所得工艺参数准确可靠,可用于实际生产操作。     

RESEARCH ON THE MOTION PICTURE INDUSTRY: STATE OF THE ART AND NEW DIRECTIONS OFF THE BEATEN TRACK AWAY FROM THEATRICAL RELEASE

The motion picture industry has been subject of extensive academic research over the last decades. However, most scholars focused on the U.S. theatrical motion picture market. The number of research activities regarding even more profitable release windows, such as home video or television, has been substantially lower. Although international distribution is essential for a motion picture project to break even, there has been little significant re-search on most other markets. This paper aims at summarizing the current state of research on the motion picture industry, particularly from marketing and management perspective, revealing research gaps, and proposing recommendations for future research endeavors. Therefore, a three-pillar scheme is developed to systemize previous findings: Research on intraorganizational decision making, contractual relationships between national stakeholders, and international market competition are differentiated. Since these insights are mainly derived from U.S. theatrical exhibition, they can hardly be applied to other markets and exhibition windows. Thus, potential research areas are identified to expand knowledge of posttheatrical and international markets.     

印刷覆膜对印品色彩影响的研究

本论文通过对印刷色块在覆膜和不覆膜两种情况下光谱反射曲线及色品坐标的实验数据的比较研究，建立了印刷覆膜（BOPP薄膜）对印品色彩影响的关系模型。实验结果表明，采用此关系模型可以实现对印品覆膜后颜色变化的预测，从而对需覆膜加工的印刷品实现印前色彩预控制，以确保最终印品的色彩再现符合预期要求。此研究填补了目前覆膜印刷品色彩控制的空白，具有较强的实际应用价值。     

Audience involvement and film tourism experiences: Emotional places, emotional experiences

This study attempted to investigate the extent to which audience involvement or engagement with a serialised TV drama affects their actual on-site film tourism experiences at its former filmed locations. As an empirical study, an on-site survey was conducted at Daejanggeum Theme Park, the main filmed location of Jewel in the Palace, known in Korean as Daejanggeum, in Yangjoo, South Korea. The results indicated that audience’s emotional and behavioural involvement was the main driver that positively affected their on-site film tourism experiences. Cognitively oriented audience involvement including cognitive interaction and critical reflection, however, was not considered as one of the major vehicles to construct and influence audience viewing experiences and their subsequent on-site film tourism experiences. The results also identified that the more emotional involvement audience develops through viewing the TV drama, the greater the likelihood of them visiting film tourism locations.     

TCM模型在影视类旅游景区游憩价值评估中的应用——以宁夏西部影视城为例

旅行费用法（TCM）是目前应用较为广泛的游憩价值评估方法。选取宁夏影视类典型旅游景区——西部影视城作为研究案例,在国内外相关研究综述的基础上,运用TCM法对该景区淡旺季游客的综合问卷调查数据的评价分析,评估出2010年西部影视城的游憩价值为829.4万元,并针对分析结果提出了一些浅显的观点,以期为宁夏旅游景区制定营销规划和策略提供参考。     

Location,Location, Location: Film Corporations' Social Responsibilities

Many TV series are set and filmed in small rural communities that are often attempting to deal with issues of rural decline. Increasing tourism is an extremely attractive option for these communities. Entrepreneurial film‐tourism business activities such as guided tours, branded souvenirs, and guidebooks can also assist in arresting decline in these communities. However, such opportunities do not always eventuate, with the community left to deal with increased visitation and often a serious loss of privacy. Film companies have a vested interest in maintaining a positive relationship with the location communities, particularly if they wish to continue filming there. This paper argues that they need to consider their responsibilities to the communities in which they film, particularly in relation to the tourism legacy they leave behind.