Contemporary Cinema 2016 Issue 9 zhong guo dian ying yi shu yan jiu zhong xin 2017 nian gong du xi ju yu ying shi xue shuo shi xue wei yan jiu sheng zhao sheng xin xi

zhong guo dian ying yi shu yan jiu zhong xin 2017 nian gong du xi ju yu ying shi xue shuo shi xue wei yan jiu sheng zhao sheng xin xi

..............page:2

Revaluation of Contemporary Film Theories

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

Film Theory: What I Think about Film
Wang Zhimin;

..............page:4-9

Redifi nation of Film Theory and Its Development Thoughts
Chen Linxia;

..............page:10-14

Visual Field Displacement, Age Anxiety and Prefi gurative Film Theory
Qi Wei;

..............page:14-18

pi sheng shang de hun
zhang yang ; wang xu dong ; kai yin ; wang ; liu zuo lun ;

..............page:19-27+201

The Image Gambling of Reality and Future of Hong Kong: A Case Study of Cold War Franchise
Sun Jiashan;

..............page:28-31

The New Ethos of Contemporary Chinese Animated Films: The Comparison between Tibetan Rock Dog and Fish& Begonia
Tan Pei;

..............page:31-33

Stay True to the Mission: Wai Man Yip and His Films
ye wei min ; lei cheng yun ; zhang peng ;

..............page:34-39

The Study of Wai Man Yip’s Films: The Exploration and Breakout
Yu Tao;Chen Chaoyan;

..............page:40-44

The Filmography of Wai Man Yip
lei cheng yun ;

..............page:44

On the Differentiated Competitive Strategy of Four Internet Film Tycoons
Hu Lihong;Hu Hui;

..............page:45-49

"Disembedding Community" : Virtual Film Cultural Consumption Community and Its Subculture
Chen Gang;Zhang Zaozao;

..............page:49-54

Understanding Content Production: A Film Industry Change Triggered by Internet Companies
Zhang Chen;

..............page:54-59

The Introspection and Remodeling of Subject Identity: The Mirror Images of Mohsen Makhmalbaf’s Films
Huang Han;

..............page:60-64

Samira Makhmalbaf: The Poetic Survival in the Cruel Reality
Fan Zhizhong;Feng Yuxi;

..............page:64-69

Film Still Changes the World: An Interview with Mohsen Makhmalbaf
mu sen ma ke ma ba fu ; huang han ;

..............page:69-72

Yu-Hsien Lin: With Somersault Spirit
lin yu xian ; huang zhong jun ; fu meng ran ;

..............page:73-80

Yao Tingting: Dream as the Cornerstone of My Perseverence
yao zuo zuo ; han xue ;

..............page:80-86

The Argentine Film Study
fu yu chen ;

..............page:87

Diversity, Networked & Globalization: The Observation of Recent Argentine Film Market
Gao Hongyan;

..............page:88-91

Iconic fi ctions: Narrating Recent Argentine History in Post-2000 Second-generation Films
Verónica Garibotto;Huang Junyan;

..............page:92-98

TIME RAIDERS
nan pai yi guai ; du jun ; sun wu ; wang xiao tai ; ye chang qing ; zhang dong liang ;

..............page:97

shi tu xing zhe
guan zuo yue ;

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

The Development of Argentine Tango Films
Long Minli;

..............page:99-102

wei wei yi xiao hen qing cheng
gu man ; pan ; shen fei xian ; li bing qiang ;

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

CALL OF HRAOES
chen mu sheng ;

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

Cultural Discourse in Post-crisis Era: Reading on New Argentine Cinema
Wei Ran;

..............page:103-106

Son of Saul: The Belief and Redemption of Facing Death
Shi Keyang;Xing Xianghu;

..............page:107-110

Spirits’ Homecoming: National Traumatic Memory Unfolded by Comfort Women
Zhou Xing;Ye Kai;

..............page:110-113

Dheepan: Dispersion Plot and Fabular Narration
Wang Yiwen;Lv Hanzi;

..............page:113-116

Focus: Igniting the Ideal of Journalism with "Film Professionalism"
Lu Chunyan;Lan Duo;

..............page:116-119

Mustang :Spaces and Feminism
Chen Xiaoyun;Yuan Jia;

..............page:119-121

The Refl ection of "Xie Jin Film Pattern" after 30 Years
Ni Xiangbao;

..............page:122-125

Turning Inwards: Space Critique on Chinese Urban Film since 2000
Lin Wei;

..............page:125-129

Genre and Plotting: The Ideological Strategy of Ethnic-themed Films from 1949 to 1966
Huang Xiaojia;

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

On the Film Interaction between Hong Kong and Southeast Asia in the 1950s and 1960s
Jin Jin;

..............page:133-138

On the Invisible Glamour of Film Editing: Ingenious People and Work
Liu Shuo;

..............page:139-143

On Editing’s Rewriting of the Screenplay: A Case Study of Brotherhood of Blades
Jin Yuxuan;

..............page:143-147

On Nonlinear Editing’s Infl uence on the Film Theme: A Case Study of The Hours
Huang Tianle;

..............page:148-152

..............page:153-155

Afl oat Face: The World and Space in Yang Aili’s Visual Image
Xu Yanrui;Zhou Yiwen;

..............page:156-160

The Cross-cultural Confl ict and Hometown Identifi cation in Mountain May Depart
Wang Junwei;

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

The Cultural Subjectivity Construction of Chinese Film from the Perspective of Media Dimension
Guo Xiaochun;

..............page:163-167

Acceptance of the Chinese Film in Japan
Lin Haifu;

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

The Practice of Nanking Government Film Censorship in Diplomatic Archives: Centered on American Diplomatic Archvies
Guo Jing;

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

The Animation Cinematographic Style Shapes of China, Japan and the United States: Breaking the Wall of Huallywood Animated Films
Li Ting;

..............page:174-178

On the Philosophical Thoughts of Miyazaki Hayao’s Animated Films
Zhu Fangsheng;Zhu Dandan;

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

The Values and Interpretations of Classics: Chinese Animated Films before the Transformation in 1980
Han Peng;

..............page:182-185

On the Aesthetic Ideology of American Animated Films in the Post-Industrial Cultural Era
Yan Yingxi;

..............page:185-188

The Interaction and Integration of Animated Film and Digital Game
Chen Huan;

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

On the Expansion of Chinese Animated Film Consumer Group
Huang Miao;Wang Lei;

..............page:192-195

The Music Forms of Hollywood Musicals since 2000
Zhou Dan;

..............page:195-198

On the 3rd Nanking Film Seminar: Idealism and Love of Film
Geng Kun;

..............page:199-200