2. On Lou Ye: New Generation Movies and Cultural Expression of Contemporary Cities, Journal of Hangzhou Normal University,No. 1 in 2005, No.7 in 2005 andNo. 10 in 2005, which are reproduced on the website of Century China;
3.SMHM: Analysis of the cultural mode of the new generation image communication, Literature and Art Research,No. 1 2006, reprinted on Century China website, March 200617;
4. Contemporary Urban Movies and the Drifting of Folk Desire —— On Wang Xiaoshuai, Journal of Hangzhou Normal University,No. 1 2006, Century China Network, March 3, 2006; Reprinted the full text of the copy of the seventh issue of the film and television art of the NPC newspaper in 2000;
5. "Where is the way out for the spread of new generation images", China Art Newspaper, June 200517;
6. Five Faces of China Films in a Century, Shanghai Artists, No.3, 2005, Film and Television Art of NPC Copying Newspaper Materials, No.2005 10, Century China Website, 1 15, 2005;
7. City Perception under War Ideology, Contemporary Movies, No.6, 2005, Century China website, 65438+February 2005, 65438+June 2005, and was also selected into the online library of China research papers of the Chinese University of Hong Kong;
8. Jia: Let the memories go back, Xinmin Weekly, No.2005 15, Century China Network, June 2005 10;
9. Worldwide factors, realistic details and symbol of hunger: Rereading Several Nodes of Lights, Contemporary Film, No.3, 2005, Century China website, 1 15, 2005;
10. If I were Jia, Daily Business Daily on April 8, 2005, Century China website on April 200515;
1 1. Post-Oriental Film in the Context of Globalization, Contemporary Film, No.2, 2005, Century China Network, June 24, 2005;
12. "Hometown" Image and Folk Narration, Mangyuan, No.3, 2004;
13. Shanghai style TV and cultural modernity, TV Art, No.6, 2003;
14. Modernity and Contemporary Narration of Urban Folklore, Jiangsu Social Sciences, No.5, 2004;
15. On "Hot", "Cold" and "Korean Wave", China Art Newspaper, May 20, 2005;
16. tender redemption of urban modernity, contemporary movies, 1, 2006;
17. Talking about Late Rain, Contemporary Film, No.3, 2006;
18. Reflection on the Relationship between Film and Literature, People's Daily and Literary Criticism, 2004.6438+01.2;
19. Questioning the Truth of Existence in Mental Limitation and Humanistic Conscience, No.4, Hangzhou Normal University, 2003;
20. How deep is the blind well of people's hearts? Xinmin Weekly, No.2, 2004.
2 1. Exploring the meaning of the classic Today, Chinese Learning, No.6, 2005;
22. The eyes of the world-written on the occasion of the 80th anniversary of the birth of world television, Xinmin Weekly, No.40, 2005;
23. Rational Debate on Popular Korean Drama, Wen Wei Po, 2005, 65438+1October 22;
24. The World, Asia and China-Reflection and Construction of Film Aesthetics, New Film Works, No.4, 2005;
25. Mustard brings me good luck-approaching volker schoendorff in movie master, Xinmin Weekly, No.25, 2005, Century China website, September 23, 2005;
26. Where does film aesthetics go? Contemporary Film, No.5, 2004.
27. Image Map of the Third World, New Film, No.4, 2007;
28. Image city and historical perception-one of the ways to return to Shanghai's film memory, Film Review,No. 16, 2007;
29. The starting point of the re-emerging industry, Film ReviewNo. 14, 2006;
30. Interview with Film Quota System, Film Review,No. 14, 2006;
3 1. redraw the cultural topographic map of China movies and Hollywood, Contemporary Movies, No.5, 2006, and Photocopying Materials of NPC Newspapers and Movies, No.0/2, 2006;
32. From Post-Jia Era to Post-Jia Era —— On the Sixth Generation Film Aesthetics and Industrial Development, Journal of Shanghai University, No.6, 2006, and Journal of University Arts, No.0 1, 2007;
33. Viewing the development of Korean films from the screen quota system, Window of the World Film, No.5, 2007;
34. "—— Do we need" blockbuster "—— Cold thinking, Wen Wei Po, 2006, 65438+February 26th;
35. Push TV reality show to cultural and creative show —— On the development of domestic reality show industry, Southern TV, No.2, 2007;
36. Hidden worries behind the golden season of animation, Wen Wei Po, August 200710;
37. Unveiling the Mona Lisa, China Reading, April 200619;
38. Farewell to American Schools and Graduates, China Reading, July 2007,18;
39. Text Salvation in Post-colonial Context, Hong Kong Film Biweekly, No.714, 2006.
40. The Hidden Rules of Hollywood, China Reading, June 2, 20061.
4 1. Launching Pan-Asian Film * * * The Same Body, Wen Wei Po, June 5, 2006,165438+1October 5.
42. Behind the Calm-Comment on Movies ",65438+February 9, 2006.
43. Korean film 2006: the starting point of the crossroads looms-observation of Korean film industry before and after the reduction of screen quota, Wen Wei Po, 2006,165438+126 October.
44. "How the Myth Continues-Reflections on the Golden Flower Phenomenon", China Art Newspaper, 2007, 65438+123 October.
45. Looking for the golden section of font innovation, Wen Wei Po, August 25, 2007.
46. Vagueness and wandering are useless, Wen Wei Po, 2007, 65438+127 October.
47. "Domestic animation needs to explode", Liberation Daily, June 29, 2007.
48. Global image scanning beyond Hollywood blind spots, Contemporary Film, No.6, 2007.
49. Literary City and Image Folklore (Monograph), Guangxi Normal University Press, 2008.
50. The lifting of the ban on culture and the multiple turns of new generation movies, Journal of Hangzhou Normal University, No.4, 2008.
5 1. Zhong Dianyi's Contemporary Interpretation of Western Film Aesthetics, Journal of Northwest University, No.3, 2008.
52. Contemporary Reflection on Film Realism Aesthetics and the Appeal of Burying in the Ground, Journal of Shanghai University, No.6, 2008, and Full Text of Film and Television Plagiarism in Newspapers of the National People's Congress, No.2, 2009..
53. Cross-regional theoretical thinking on China's film culture, aesthetics and industry, Film Art, No.5, 2008.
54. Historical Utopia, Realistic Foreign Country —— One of the viewpoints of China's film culture ecology since the new period, Contemporary Film,No. 12, 2008.
55. The Eye of the World and the Debate on TV, Film Review,No. 1, 2008.
56. Narration of Advertising Kidnapping, Liberation Daily, No.65438, 2008+February 29th.
57. Home-country Model and Discrete Narration from the Pan-Asian Perspective, Journal of Hangzhou Normal University,No. 1, 2009.
58. New Film Festival Promoted by Post-Cenozoic Forces, New Film,No. 1, 2009.
59. When the West meets the East: Towards the Oscar, Wen Wei Po, 24 February 2009.
60. Imagined "Native Land" and "Invisible City" —— Spatial Turn of Shanghai Film Narration since the New Century, Contemporary Film, No.6, 2009.
6 1. "The middle" is the "backbone", Wen Wei Po, August 6, 2009.
62. China and Pan Asia, China Journal of Social Sciences, 2009,65438+127 October.
63. Popular Modernity, Imagining China and Cross-cultural Interpretation, New Movie, No.5, 2009.
64. From Chinese, Pan-Asia to Europe and America: A Triple Jump in the Overseas Market Expansion of China Film Industry, Art Exchange, No.2, 2009.
65. Low-cost "laughter" and the "game" reality of comedy movies, Journal of Beijing Film Academy, No.2, 20 10.
66. Changing "Old" Green into "New" Blue: A Handprint of Shanghai in a Discourse Besieged City, Art Review No.3, 20 10.
67. After Classics: Visual Wonders and Film Ecology in the Post-P2P Era, Journal of Hangzhou Normal University, No.4, 2010; The full text is reproduced inNo. 12 and No.20 10 "NPC Newspaper, Film and Television Art Copying Materials".
68. "Tangshan can come out, but aftershocks can't", Wen Wei Po, July 3 1, 2065438.
69. The new edition of Contemporary Aesthetic Feeling, China Culture News, 20 10, September 15.
70. "Divine divination" and talk in dreams in the new trend movies —— On Film Liberation Daily, September 10, 20 16.
7 1. Theme analysis of contemporary Korean religious films, Journal of Shanghai University, No.6, 2010; The full text is reproduced in 20 1 1 No.2 "Photocopying Materials of NPC Newspapers and Movies".
72. Building a set of standard parts for comedy blockbusters-About, Jiefang Daily 20 10 12 15.
73. The False Collar, Underground Wonders and Big Screen Making-Several Aspects of the Sixth Generation Film Creation in Recent Years, Southern Literature, No.65438 +0 1.
74. Looking for the Balance between Box Office and Word of Mouth-2065438+00 Lunar New Year Observation, China Art Newspaper, 20 1 1, 2 1.
75. Expansion of Film Criticism Space and Media Survival, Contemporary Film, No.2, 20 1 1.
76. Travel through, more or less spoofing your name, Wen Wei Po, 2011April 12.
77. From Shanghai Exhibition to Shanghai Creativity —— Transformation and Upgrading of Shanghai Film and Television Culture Industry in Post-Expo Era, Art Hundred Schools, No.2, 20 1 1.
78. Middle class illusion, narrative black hole and confusion of consciousness, Contemporary Film, No.6, 20 1 1.
79. From Visual Exhibition to Creative Drive, China Social Sciences Journal, July 7, 20 1 1.
80. Facing the screen, facing the audience-three transformations of the new generation of film creation, Liberation Daily, August 29th, 20 1 1.
8 1. Memorandum of China Film Art and Industrial Ecology 20 10, New Film 20 1 1,No. 1; The full text is reproduced in No.2011"Copying Materials of Newspapers and Periodicals of the National People's Congress Film and Television Art".
82. Constructing the * * * homology of China's film studies, Film Art No.4, 20 1 1.
83. New Generation, New Decade: Market Exploration, Typing Practice and Star Strategy, Journal of Hangzhou Normal University, No.3, 20 1 1.
84. The loss of novelty in technology-Tintin's dream is shattered, Jiefang Daily, 20 1 1, 65438+2, 12.
85. Making the market truly a decisive force for the prosperity of China's film industry, Film Art,No. 1, No.20 12; The full text is reproduced in No.4 issue of 20 12 "NPC newspaper and film copy materials".
86. Micro-reality of micro-movies in micro-era, China Social Sciences Journal, 20 12, 1, 1.
87. Building a Transitional Market: On the Strategies of Promoting the Pan-Asian Regional Industry of China's Mainstream Movies, Dongyue Tribune,No. 1, 20 12.
88. Entropy Change of a Concept: Generation, Transformation and Dissipation of the "Sixth Generation" Movies, Literature and Art Research No.2, 20 12.
89. "Middle-class" Market, Brand Strategy and Star Type, China Art Newspaper, February 27th, 20 12.
90. The Directing Power of Pragmatic Intellectuals, Contemporary Film No.3, 20 12.
9 1. Three Debates on "Original Ecology" Narration, China Nation, No.3, 20 12.
92. Dual Realism of Young Photographers in the New Media Era, New Film Works, No.3, 20 12.
93. Microfilm: Evolution, Opportunities and Challenges, Journal of Shanghai University, No.4, 2012; The full text is reproduced inNo. 1 and No.20 13 "NPC Newspapers and Movies Copying Materials".
94. "Search" for online justice: in the name of movies? Contemporary Film, No.8, 20 12.
95. Media self-discipline and humanistic care, Jiefang Daily, 20 12, August 4.
96. Audience rating: How long can Infernal Affairs last? Wen Wei Po, August 20 12, 13.
97. Self-help of China Film Industry in Post-Agreement Era, Art Review No.9, 2012; The full text was reproduced in issues 12 and 20 12, and the materials were copied by the NPC newspapers.
98. Shanghai Creativity, China Story and Asian Narration, Literary Newspaper, 20 12, September 20th.
99. Cross-Strait Film Co-production: Industrial Co-competition and Cultural Communication, New Film, No.6, 2012; The full text is reproduced in the second issue of NPC Newspaper Film Art Photocopying Materials on 20 13.
100. new media, "Wei tuobang": the rising image of "young chinese" on the internet, contemporary movies, No.0/2, 20 12.
10 1. A new attempt of mainstream narrative in TV series, Wen Wei Po 20 12, 12, February 6.
102. types of art trial and error and "entrainment": on the difficulties in the creative transformation of the new generation of directors, a hundred artists, no 1 issue, 20 13.
103. China film art and industrial ecology memorandum 20 12, new film 20 13 1 issue.
104. Spatial layout and development of Shanghai cinemas in the new century, New Movie, No.2, 20 13.
105. Window of Asia, Bridge of Hollywood? -2065 438+02 Development of Korean Film Industry, Contemporary Film, No.5, 20 13.
106. Spectacle, Mode, Defamiliarization, Planarization and Hollowing-Analysis of the Problems and Cruxes of Original Ecological Minority Film Creation since the New Century, Art Review No.5, 20 13.
107. the "aging" of youth and the profiteering of youth capital-the spiritual motivation of the times of box office myth, contemporary movies, No.7, 20 13.
108. Seeking "liquidity": the present situation and future of co-production between the mainland and Hong Kong in the new century, Film Art No.7, 20 13.
109. Metaphor of "swing grass": Analysis of the group image of "Fat people" in China youth film, New Film, No.7, 20 13.
1 10. Residual profits of youth capitalization, Jiefang Daily, May 20 13, 17.
1 1 1. The rebirth and recurrence of domestic time-travel dramas in the context of new media, Southern Literature No.4, 20 13.
Shanghai University Film and Television College
Box 308, Yanchang Road 149, Shanghai 200072.
Postal code: 200072
Postal address:
Room 308, No.0/49, Chang Yan Road,
Shanghai University
Shanghai, 200072
Page (abbreviation of page) China