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威斯康辛大学黄心村教授来我院做讲座

    威斯康辛大学黄心村教授来我院做讲座

      2009年11月25日下午,美国威斯康辛大学麦迪逊分校东亚研究中心主任黄心村教授,应文学院院长王尧教授以及海外汉学研究中心季进教授的邀请,在文科综合楼5339做了题为“文革后期视听文化研究:向阳院”。

      王尧院长主持了此次讲座,他对黄教授能抽空来苏州为同学们做讲座表示了热烈的欢迎,并风趣地盛赞黄教授为美国高校中难得的才貌双全的华人学者。黄教授此次的讲座带来了她最新的关于文革后期视听文化的研究成果,她以“向阳院”为切入点,分析了中国电影、广播、电视的发展与整个社会政治、文化的风云变幻之间的密切联系。20世纪70年代的最初几年是中国大众文化的前电视时期,而到了文革晚期,电视做为新鲜事物开始零星出现。黄教授认为新的视觉媒介的出现,其实就是一次对大众的公共生活空间的重组,它极大地改变了个体与社会、意识形态与空间、美学与政治等复杂而微妙的关系。她通过丰富的多媒体资料如70年代照片、连环画、新闻、报告文学等来论证自己的观点。黄教授认为70年代后期电视的出现其实也是后来的媒介娱乐化潮流的准备阶段,对今日中国大众文化有着深远的影响。黄教授的生动讲述引起了季进教授和一些同学的共鸣,大家带着怀旧的情绪一起分享了对文革后期的一些个人的生活体验和看法,相信这些也在某种程度上丰富了黄教授的个人研究。

     

    威斯康辛大学黄心村教授来我院做讲座

     

      读者还可参看以下关于黄心村教授的个人资料以及一篇她关于文革后期样板戏的研究性文章,以资参考。(/梁建东)

     

      黄心村教授的个人简介(English)

      Nicole Huang is Associate Professor of modern Chinese literature and culture. Born in China, she received a B.A. from Beijing University and a Ph.D. from the University of California at Los Angeles. Prior to coming to UW-Madison, Huang spent a year as a postdoctoral fellow at the University of California at Berkeley. She is the author of WOMEN, WAR, DOMESTICITY: SHANGHAI LITERATURE AND POPULAR CULTURE OF THE 1940S (Brill, 2005) and the coeditor of WRITTEN ON WATER: A COLLECTION OF ESSAYS BY EILEEN CHANG ( Columbia, 2005).

      Professor Huang is currently working on two related book projects on visual culture and daily practice in contemporary China. The first project, titled CHILDREN OF THE COURTYARD, reassesses the last stage of Chinese revolutionary mass culture with an emphasis on childhood experiences in communal courtyards of the 1970s. A second book project deals with the social use of family portraits in the 1960s and 1970s.

      Professor Huang also serves on the board of the Asian American Studies program and has a pronounced interest in issues of race, gender, travel, diaspora, and transnational media cultures.

      (http://eall.wisc.edu/chinese_lit/LitFac/NHuang/NHuang.html)

      Azalea Mountain and the Soundscape of Late Mao Culture

      Nicole Huang

      The paper addresses the interface between the visual and the auditory in cinematic culture of late Mao China. Throughout the 1970s, the cinematic soundtracks of a handful of films, including model opera films and feature films, were edited specifically for the purpose of radio broadcasting. Coined as “edited film recording” 电影录音剪辑, this made-for-radio sonic compilation would retain much of the music and dialogues straight from the original track, complemented by a voice-over narrator that explains backgrounds, settings, and connections among different scenes and figures.

      Film literacy thus could be achieved without an actual access to the film products themselves. The hybridity of the genre created an illusion of more and equal access to the symbolic order of a socialist visual culture. Together with serialized radio novels and radio plays, these edited film recordings were among the most popular forms of mass entertainment throughout the 1970s. Using Azalea Mountain 杜鹃山 as an example, the paper highlights the sounds behind the images and calls into question the sensory predominance of the visual over the aural in our current scholarly paradigms.(http://lucian.uchicago.edu/blogs/chineseopera/abstracts/)