{"title":"电影业举步维艰","authors":"A. Gaudreault, P. Marion","doi":"10.2307/j.ctv1b0fvtp.8","DOIUrl":null,"url":null,"abstract":"Starting from a new formulation to the end of cinema issue – “What\n remains of cinema?” – Gaudreault and Marion answer: “cinema is hanging\n tough” and argue that the “resilience” of cinema depends on what we are\n talking about with this word both in terms of digitalization and cultural\n differences. They examine the different hypotheses arising in this regard\n from the point of view of the range of words it mobilizes (cinema, movie,\n moving images, and so on). Differences in naming are “highly significant”\n as we can observe in a Bogdanovitch-Welles dialogue or at the occasion\n of the Netflix controversy during the recent Cannes or Venice festivals.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"63 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Cinema Hangs Tough\",\"authors\":\"A. Gaudreault, P. Marion\",\"doi\":\"10.2307/j.ctv1b0fvtp.8\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Starting from a new formulation to the end of cinema issue – “What\\n remains of cinema?” – Gaudreault and Marion answer: “cinema is hanging\\n tough” and argue that the “resilience” of cinema depends on what we are\\n talking about with this word both in terms of digitalization and cultural\\n differences. They examine the different hypotheses arising in this regard\\n from the point of view of the range of words it mobilizes (cinema, movie,\\n moving images, and so on). Differences in naming are “highly significant”\\n as we can observe in a Bogdanovitch-Welles dialogue or at the occasion\\n of the Netflix controversy during the recent Cannes or Venice festivals.\",\"PeriodicalId\":162773,\"journal\":{\"name\":\"Post-cinema\",\"volume\":\"63 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-09-29\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Post-cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2307/j.ctv1b0fvtp.8\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Post-cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv1b0fvtp.8","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
从一个新的表述开始到电影问题的终结——“电影还剩下什么?”——Gaudreault和Marion的回答是:“cinema is hang tough”,他们认为电影的“韧性”取决于我们从数字化和文化差异两个方面来谈论这个词。他们从电影所使用的词汇范围(电影、电影、移动图像等)的角度,对这方面产生的不同假设进行了检验。正如我们在波格丹诺维奇和威尔斯的对话中或在最近的戛纳或威尼斯电影节期间Netflix的争议中所观察到的那样,命名上的差异“非常重要”。
Starting from a new formulation to the end of cinema issue – “What
remains of cinema?” – Gaudreault and Marion answer: “cinema is hanging
tough” and argue that the “resilience” of cinema depends on what we are
talking about with this word both in terms of digitalization and cultural
differences. They examine the different hypotheses arising in this regard
from the point of view of the range of words it mobilizes (cinema, movie,
moving images, and so on). Differences in naming are “highly significant”
as we can observe in a Bogdanovitch-Welles dialogue or at the occasion
of the Netflix controversy during the recent Cannes or Venice festivals.