Contemporary Cinema 2015 Issue 12 Updated Observations of Films in the Audience-Oriented Era

Updated Observations of Films in the Audience-Oriented Era
Chen Xuguang;

..............page:4-11

Updated Observations on Chinese Film Audience

..............page:4

The Rise of New Audience:Unexplored Space of Chinese Film
Zhang Yiwu;

..............page:12-17

The Layered Analysis of Chinese Film’s New Audience
Wang Wenjie;Fan Qingqing;

..............page:17-21

The Change of Chinese Audience and Cinema Service in the Past Decade
yu xin ; bian jing ; ye zi ;

..............page:21-25

Audience-Centered:The Pratice from Traditional Viewing to Internet Social Connecting
zhang xue jing ; sha dan ; tian yan ru ;

..............page:25-29

xi ma la ya tian ti
lei jian jun ; yin hong ; zhang tong dao ; he su liu ; fu meng ran ; chen lu zuo ;

..............page:30-37+201-202

wo shi zheng ren bian ju tan
gu xiao bai ; yang tian dong ; qu zhan ;

..............page:38-41+97

The Features of Academic Directors’ Films: A Case Study of Cao Baoping’s Works
Chen Yu;

..............page:42-46

The Study of Cao Baoping’s Film Creation: Emotion and Conscience
Liang Yi;

..............page:47-52

Reaching Artistic Standards in Commercial and Intellectual Films: A Dialogue with Director Cao Baoping
cao bao ping ; suo ya bin ; zheng zhong zuo ;

..............page:52-59

The Filmography of Cao Baoping

..............page:60

Reality and Myth: On American Gangster Film
Li Yiming;

..............page:61-67

The Revival of Gangster Film: On Italian Mafi a Film and Culture
Hong Fan;

..............page:67-71

On Production Space and Stylistic Elements of Japanese Gangster Film
Liu Hui;Deng Yingchong;

..............page:72-75

On Korean Gangster Film
Fan Weiqing;

..............page:76-79

On Hong Kong Gangster Film: Construction, Deconstruction and Reconstruction
Zhao Weifang;

..............page:79-84

Searching for the Film’s Beauty in the Gap
bi gan ; li xun ; fu zuo ;

..............page:85-90

“Western Cultural Immigration”: New Pattern and New Proposition of Film Critics behind the Enemy Lines during the War against Japanese Aggression
Chen Shan;

..............page:91-98

The History of Dadi Film Co. Referring to Cai Chusheng’s Diaries
Chen Mo;

..............page:98-104

gang tie shi zhe yang lian cheng de
wu meng zuo ; shang zhi qiang ;

..............page:98

qian ren bei tai fan ji zhan 2
lao shi ; xi men ; tian shi fu ; da kuan ; huang lian ;

..............page:99

wo de qing chun qi
hao jie ; ge xia ; yang zuo ;

..............page:100

The Methods of Chinese Film Study: Chinese or Westernized?
Sheldon Lu;

..............page:105-109

Observation of Indian Film Industry in 2014
Tan Zheng;

..............page:110-114

Cultural Perplexity and Identity Anxiety: The Colonial “Sequela” in Indian Films
Fu Xiaoyin;Li Nixiang;

..............page:115-120

Standardized Production and National Ideology: International Distribution of Indian Films
Zhou Fangyuan;Meng Yun;Zhu Lin;

..............page:120-124

The Analysis of Comic Elements in Rajkumar Hirani’s Films: A Perspective of “New Concept Indian Film”
Chen Yanjun;

..............page:125-128

On "Intercrossing" Performance Culture
Li Zhenlin;

..............page:129-133

On the Cross-cultural Production of Wolf Totem and the Defi nition of "Trans-Subject and Regional" Chinese Film
Wan Chuanfa;

..............page:133-137

The Stereotyped Ideology: The Barrier of Chinese Film’s Overseas Communications
Liu Xiaojing;Li Yizhong;

..............page:138-141

The Symposium Overview of "Cross-cultural Production and Chinese Film’s Overseas Communications Study"
Yi Fengao;Chang Huijuan;

..............page:142-145+2

The Narrative Strategy and Cultural Ideology of American Thriller Franchise Final Destination
Kong Zhaopeng;Chen Yang;

..............page:146-148

On “Anxiety” Metaphor in Thriller
Shi Bin;Song Tiantian;

..............page:149-152

Digital Applications and Aesthetic Features of Sci-fi Thriller
Gong Chunjie;Wang Junqiu;

..............page:153-157

The Narrative Construction of Stack Model in Hollywood Psychopathic Thriller
Wang Liang;

..............page:157-160

Narrative Convention and Contemporary Symptom of National Thriller Film
Zhan Di;

..............page:160-163

Malcom X: The Tension Caused by Dual Consciousness
Zhang Jingjing;

..............page:164-166

On the Impact of Big Data on Chinese Animation Industry
Zhu Ruiquan;

..............page:167-170

On 2D Diverse Styles in the Tail Leader Design of American 3D Animated Films
Chen Pu;

..............page:170-173

..............page:173-176

On the Application of Classic Oil Painting’s Aesthetic Elements in Films
Feng Bin;Lai Siyuan;

..............page:176-179

On Policy-oriented Chinese Animated Film Development since 1976
Zhang Juan;

..............page:179-182

On Transboundary Expression of Contemporary Arts: A Case Study of The Grand Budapest Hotel
Zhang Yaning;

..............page:183-185

The Overview of “Chinese Film Industrial Development Forum”
Du Liang;Di rui;

..............page:186-187

The Overview of Beijing Normal University New Media Research Center Symposium
Yuan Jia;Chen Yumin;

..............page:188-189

The Overview of 2015 Chinese Film History Annual Conference
Li Hua;

..............page:189-192

Chronicles of the Ghostly Tribe and the Exploration and Prospect of Chinese Fantasy Film
Tuo Lu;Li Liming;

..............page:192-193

How to Learn Englishthrough Audiovisual=Oral Materials
Liu Xueqi;

..............page:194

dang dai dian ying 2015 nian zong mu lu

..............page:195-200