“互聯(lián)網(wǎng)+”時(shí)代“藝術(shù)與科技”專業(yè)的挑戰(zhàn)與機(jī)遇——浙傳音樂(lè)學(xué)院藝術(shù)與科技重點(diǎn)專業(yè)建設(shè)學(xué)術(shù)論壇綜述

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“互聯(lián)網(wǎng)+”時(shí)代“藝術(shù)與科技”專業(yè)的挑戰(zhàn)與機(jī)遇
——浙傳音樂(lè)學(xué)院藝術(shù)與科技重點(diǎn)專業(yè)建設(shè)學(xué)術(shù)論壇綜述

徐卓

2015年11月22日，浙江傳媒學(xué)院藝術(shù)與科技專業(yè)建設(shè)學(xué)術(shù)論壇在浙江傳媒學(xué)院音樂(lè)學(xué)院圓滿結(jié)束。本次論壇匯聚了國(guó)內(nèi)眾多知名音樂(lè)院校專家學(xué)者及行業(yè)翹楚，他們?yōu)槲倚Ｋ囆g(shù)與科技專業(yè)(音樂(lè))在發(fā)展和完善過(guò)程中需要不斷厘清和解決的問(wèn)題，如學(xué)科歸屬、辦學(xué)思路、人才培養(yǎng)模式、專業(yè)所服務(wù)的行業(yè)現(xiàn)狀與未來(lái)發(fā)展前景等，獻(xiàn)計(jì)獻(xiàn)策，既闡發(fā)了獨(dú)到的學(xué)術(shù)見(jiàn)解，交流了各自的辦學(xué)經(jīng)驗(yàn)，又積極探索了符合于相應(yīng)的行業(yè)發(fā)展的專業(yè)建設(shè)途徑，達(dá)到了既定的學(xué)術(shù)預(yù)期。

一、藝術(shù)與科技專業(yè)(音樂(lè))的定位與發(fā)展

首先是浙江傳媒學(xué)院藝術(shù)與科技專業(yè)負(fù)責(zé)人吳紅非教授發(fā)言，她介紹了本次論壇是以中國(guó)互聯(lián)網(wǎng)協(xié)會(huì)、浙江傳媒學(xué)院等單位聯(lián)合主辦的2015首屆世界互聯(lián)網(wǎng)音樂(lè)大賽為依托而組織的。2015首屆世界互聯(lián)網(wǎng)音樂(lè)大賽是浙江傳媒學(xué)院音樂(lè)學(xué)院為堅(jiān)實(shí)有效地推進(jìn)藝術(shù)與科技專業(yè)重點(diǎn)專業(yè)的建設(shè)，實(shí)踐緊貼“互聯(lián)網(wǎng)+”的創(chuàng)新辦學(xué)思維理念，抓住世界互聯(lián)網(wǎng)大會(huì)永久落戶烏鎮(zhèn)的契機(jī)而與有關(guān)部門協(xié)同舉辦的。這次大賽正好成為我校“藝術(shù)與科技專業(yè)”(音樂(lè))建設(shè)的重要推動(dòng)力，因而是本論壇舉辦的最佳時(shí)機(jī)和最好的學(xué)術(shù)背景。浙江傳媒學(xué)院藝術(shù)與科技專業(yè)是2012年從教育部獲準(zhǔn)，在浙江傳媒學(xué)院新開(kāi)設(shè)的專業(yè)(專業(yè)代碼為130509T)，是“藝術(shù)”門類與“科技”門類相融合的新興應(yīng)用型專業(yè)，在目前浙江省高校中獨(dú)此一家，有著跨界與融合的特性及開(kāi)放的專業(yè)平臺(tái)和寬闊的產(chǎn)學(xué)研發(fā)展前景，與未來(lái)的文化產(chǎn)業(yè)和多媒體融合的前瞻性高端產(chǎn)業(yè)有著緊密和廣闊的聯(lián)系，同時(shí)也更具備了未來(lái)大眾文化業(yè)態(tài)所需的特質(zhì)?！八囆g(shù)與科技”專業(yè)在浙江傳媒學(xué)院首先被定位為“音樂(lè)類”，并在二級(jí)分院——音樂(lè)學(xué)院開(kāi)展該專業(yè)建設(shè)，填補(bǔ)了該音樂(lè)學(xué)院在音樂(lè)創(chuàng)作、制作方面的空缺，形成了集創(chuàng)作、表演、制作“三位一體”的專業(yè)結(jié)構(gòu)，為特色辦學(xué)奠定了良好的基礎(chǔ)。該專業(yè)旨在培養(yǎng)具有堅(jiān)實(shí)的音樂(lè)理論知識(shí)基礎(chǔ)和實(shí)踐經(jīng)驗(yàn)，并具有能熟練地運(yùn)用計(jì)算機(jī)或互聯(lián)網(wǎng)進(jìn)行相關(guān)的音樂(lè)設(shè)計(jì)制作、音頻編輯、音樂(lè)錄音合成等方面能力的綜合應(yīng)用型人才。浙江傳媒學(xué)院音樂(lè)學(xué)院將來(lái)的發(fā)展將立足于以藝術(shù)與科技專業(yè)為龍頭，使音樂(lè)表演與舞蹈編導(dǎo)，以及舞蹈編導(dǎo)專業(yè)(音樂(lè)劇)方向走上富有自己特色的專業(yè)化道路，鼎力構(gòu)建有別于傳統(tǒng)概念下的音樂(lè)表演人才培養(yǎng)模式，著力打造出互聯(lián)網(wǎng)背景下大眾文化業(yè)態(tài)所需的一專多能的應(yīng)用型人才。

中國(guó)電子音樂(lè)協(xié)會(huì)副會(huì)長(zhǎng)，中央音樂(lè)學(xué)院博士生導(dǎo)師吳粵北教授認(rèn)為：2012年教育部制定的《普通高等學(xué)校本科專業(yè)目錄》里新設(shè)置的藝術(shù)與科技專業(yè)在音樂(lè)藝術(shù)領(lǐng)域的定位應(yīng)該是音樂(lè)科技。吳粵北教授是國(guó)內(nèi)幾所音樂(lè)學(xué)院音樂(lè)科技類專業(yè)的主要?jiǎng)?chuàng)始人之一，他從中國(guó)最早開(kāi)辦該專業(yè)的武漢音樂(lè)學(xué)院音樂(lè)音響導(dǎo)演專業(yè)談起，一直講到星海音樂(lè)學(xué)院和上海音樂(lè)學(xué)院音樂(lè)工程系建立的情況和當(dāng)時(shí)的學(xué)術(shù)追求。他說(shuō)這個(gè)專業(yè)在國(guó)內(nèi)辦學(xué)僅有30余年的歷史，作為音樂(lè)藝術(shù)工作者，應(yīng)該堅(jiān)持做音樂(lè)與科技結(jié)合的專業(yè)學(xué)術(shù)研究。他對(duì)浙江傳媒學(xué)院辦藝術(shù)與科技這個(gè)專業(yè)充滿期待，認(rèn)為該學(xué)院作為一個(gè)多學(xué)科并存且辦學(xué)資源豐富的高等院校，定會(huì)開(kāi)創(chuàng)出與其他專業(yè)音樂(lè)院校不同的音樂(lè)科技專業(yè)新思路。

南京藝術(shù)學(xué)院作曲系副主任、浙江傳媒學(xué)院藝術(shù)與科技專業(yè)的客座教授許志斌博士談了他對(duì)藝術(shù)與科技不同的理解。首先，藝術(shù)與科技專業(yè)涵蓋面寬泛，針對(duì)的具象面不清晰，這表明了該專業(yè)是一個(gè)區(qū)別于傳統(tǒng)思維的新興專業(yè)，即它既不是傳統(tǒng)的藝術(shù)專業(yè)也不是科技專業(yè)，其指涉的內(nèi)涵是藝術(shù)的科技化還是科技的藝術(shù)化等等，都值得去深入探討。其次，在國(guó)家大力提倡創(chuàng)新的背景下，在互聯(lián)網(wǎng)技術(shù)滲透于各個(gè)行業(yè)之際，藝術(shù)與科技專業(yè)在大融合的時(shí)代中更具有探索與創(chuàng)新性，同時(shí)，藝術(shù)與科技專業(yè)的發(fā)展必須要真正地產(chǎn)生一種跨界知識(shí)之間的互相影響和互相滲透。浙江傳媒學(xué)院的多學(xué)科背景為藝術(shù)與科技專業(yè)的發(fā)展提供了良好的學(xué)科環(huán)境，但是，在實(shí)際操作層面，如何形成良好的多學(xué)科互動(dòng)機(jī)制，需要在教學(xué)模式、教學(xué)方式、教學(xué)內(nèi)容等方面進(jìn)行富有創(chuàng)意的思考與實(shí)踐。

二、藝術(shù)與科技專業(yè)(音樂(lè))的人才培養(yǎng)

上海音樂(lè)學(xué)院音樂(lè)工程系主任、博士生導(dǎo)師陳強(qiáng)斌教授認(rèn)為音樂(lè)科技這個(gè)領(lǐng)域，無(wú)論是創(chuàng)作電子音樂(lè)還是應(yīng)用型音樂(lè)，只要做出了顯著成績(jī)的學(xué)生，都是最熱愛(ài)音樂(lè)、喜歡音樂(lè)創(chuàng)作的人。這些學(xué)生對(duì)新生的科技事物有著無(wú)窮盡的興趣和愛(ài)好，會(huì)刻苦去鉆研。現(xiàn)今，學(xué)好音樂(lè)制作首先得要精通音樂(lè)，第二要學(xué)好音樂(lè)制作的技術(shù)，包括音源、效果器技術(shù)、計(jì)算機(jī)編程技術(shù)、錄音技術(shù)等等，最后還得學(xué)會(huì)網(wǎng)絡(luò)技術(shù)。從出彩的學(xué)生來(lái)看，他們都不全是老師教出來(lái)的，老師只是起到了一個(gè)指導(dǎo)、引領(lǐng)的作用，或者為他們提供一個(gè)舞臺(tái)。音樂(lè)科技這個(gè)專業(yè)所內(nèi)含的技術(shù)更新得很快，在技術(shù)飛速進(jìn)步的今天，老師和學(xué)生都是平等的，都需要去不斷地琢磨和學(xué)習(xí)新的知識(shí)。他建議在人才培養(yǎng)課程設(shè)置上，多以音樂(lè)制作項(xiàng)目制的形式去展開(kāi)教學(xué)，老師和學(xué)生共同來(lái)完成一些新的音樂(lè)項(xiàng)目和課題；同時(shí)適當(dāng)減少一些常規(guī)音樂(lè)課程的設(shè)置，這樣才能構(gòu)建出有特色的新的人才培養(yǎng)模式。

浙江省音樂(lè)家協(xié)會(huì)主席翁持更指出，當(dāng)今國(guó)內(nèi)專業(yè)演出團(tuán)體專職的駐團(tuán)作曲職位已經(jīng)很少了，音樂(lè)制作這個(gè)行業(yè)的誕生從一定層面上把作曲和表演兩者結(jié)合了起來(lái)，是一個(gè)具有蓬勃生機(jī)的新的音樂(lè)行業(yè)。在互聯(lián)網(wǎng)時(shí)代，人們的信息量倍增，大家要聽(tīng)鋼琴就聽(tīng)朗朗、李云迪的，要聽(tīng)音樂(lè)作品也是聽(tīng)最有名望的作曲家的杰作。所以，應(yīng)在音樂(lè)教育中努力強(qiáng)化年輕一代音樂(lè)創(chuàng)作者的精品意識(shí)，希望明年的世界互聯(lián)網(wǎng)音樂(lè)大賽能涌現(xiàn)更多更優(yōu)秀的音樂(lè)作品。

在全國(guó)開(kāi)辦計(jì)算機(jī)音樂(lè)相關(guān)專業(yè)最早的是武漢音樂(lè)學(xué)院。該院計(jì)算機(jī)音樂(lè)實(shí)驗(yàn)中心主任馮堅(jiān)副教授指出，武漢音樂(lè)學(xué)院在該專業(yè)上并不是特別注重專業(yè)名稱的叫法，設(shè)置該專業(yè)的院校是偏重藝術(shù)創(chuàng)作還是科技，應(yīng)根據(jù)本校的師資布局、教育資源來(lái)作出合理地選擇。從上世紀(jì)90年代到現(xiàn)在，武漢音樂(lè)學(xué)院培養(yǎng)的計(jì)算機(jī)音樂(lè)專業(yè)的人才遍布全國(guó)各地，他們能夠從事的工作崗位也非常多，包括錄音、聲音設(shè)計(jì)、音樂(lè)創(chuàng)作、游戲音頻等等。學(xué)習(xí)計(jì)算機(jī)音樂(lè)的學(xué)生都非常聰明，思路寬，樂(lè)于接受新鮮事物，處理問(wèn)題的能力較強(qiáng)，可以在團(tuán)隊(duì)中獨(dú)當(dāng)一面。這是學(xué)習(xí)這個(gè)專業(yè)的最大益處，也是開(kāi)辦這個(gè)專業(yè)應(yīng)參照設(shè)立的人才培養(yǎng)規(guī)格。

三、藝術(shù)與科技專業(yè)(音樂(lè))所對(duì)應(yīng)的行業(yè)現(xiàn)狀與前景

作為從業(yè)幾十年的資深音樂(lè)名人，國(guó)家一級(jí)作曲家、北京奧運(yùn)會(huì)閉幕式音樂(lè)總設(shè)計(jì)、南京青奧會(huì)音樂(lè)總監(jiān)卞留念先生指出，音樂(lè)創(chuàng)作、音樂(lè)設(shè)計(jì)、音樂(lè)演出、音樂(lè)傳播市場(chǎng)在中國(guó)潛力巨大。在“互聯(lián)網(wǎng)+”多媒介融合的時(shí)代，中國(guó)的音樂(lè)科技無(wú)論在音樂(lè)創(chuàng)作設(shè)計(jì)還是音樂(lè)產(chǎn)品科技化研發(fā)領(lǐng)域，都有很寬的路子可走。年輕一代的音樂(lè)藝術(shù)從業(yè)者們要扎實(shí)打好基礎(chǔ)，用數(shù)量去攻破質(zhì)量的瓶頸，多創(chuàng)作、多思考、多積累，才能在這個(gè)行業(yè)站穩(wěn)腳跟。

北美音樂(lè)家協(xié)會(huì)主席劉祥德先生鼓勵(lì)年輕的音樂(lè)才俊努力激發(fā)參與創(chuàng)業(yè)的熱情，今后世界互聯(lián)網(wǎng)音樂(lè)大賽作品的高質(zhì)量和這類學(xué)術(shù)論壇活動(dòng)的高規(guī)格，寄希望于青年一代音樂(lè)學(xué)子的辛勤勞作。抓住互聯(lián)網(wǎng)這個(gè)時(shí)代，努力改變自己以后的音樂(lè)創(chuàng)作之路和工作從業(yè)方式，是音樂(lè)學(xué)子們明智的選擇。

浙江傳媒學(xué)院特聘教授、錢江學(xué)者曾靜平教授，浙江音樂(lè)學(xué)院音樂(lè)工程系主任黃曉東教授，中國(guó)原創(chuàng)音樂(lè)基地周士琪先生，北京現(xiàn)代音樂(lè)學(xué)院音樂(lè)制作系主任楊曉波老師，浙江傳媒學(xué)院音樂(lè)學(xué)院藝術(shù)與科技系主任劉奇老師，浙江音樂(lè)學(xué)院姜超遷老師等，都從不同方面暢談了對(duì)音樂(lè)學(xué)院藝術(shù)與科技專業(yè)建設(shè)及相關(guān)行業(yè)未來(lái)融合發(fā)展的一些想法和思路。

浙江傳媒學(xué)院教務(wù)處副處長(zhǎng)、公共藝術(shù)教研室主任蔡罕教授作了總結(jié)性發(fā)言，對(duì)各位專家在百忙中參加本次專業(yè)建設(shè)論壇表示衷心感謝，并對(duì)音樂(lè)學(xué)院“藝術(shù)與科技”重點(diǎn)專業(yè)的發(fā)展寄予殷切期望，希望音樂(lè)學(xué)院要學(xué)習(xí)國(guó)內(nèi)外成功高校的辦學(xué)經(jīng)驗(yàn)，積極與業(yè)界知名專家建立學(xué)術(shù)聯(lián)系，盡快搭建高科技、高標(biāo)準(zhǔn)、與社會(huì)接軌的專業(yè)學(xué)科建設(shè)平臺(tái)，為社會(huì)培養(yǎng)出合格的藝術(shù)與科技專業(yè)的高素質(zhì)應(yīng)用型跨界人才。

〔責(zé)任編輯：馮溪屏〕

Journal of Zhejiang University of Media and Communications

No.1，2016

Contents

Development of Video News and Evolution of Cultural Power Structure

ZhangAifeng(2)

Remodeling Routine：The Construction of New Media Society by the Mediated Time

ZhangMenghan(8)

Application and Mode of the Internet of Things Technology in the “Wisdom Agriculture”

ZhangShanshan(15)

The Discourse of Young Chinese Entrepreneurs Constructed by the Media

TangLeshui(20)

An Analysis of Chinese Video Websites’ Exclusive Broadcasting Strategies

——A Case Study Using Iqiyi

XiaoYang(26)

“Soliloquy” and “Public Enemy”

——Lu Xun and Chinese Modern Media’s Vitality

ChenCailin(31)

Cognitive Construction and Communication of National Image on Mainstream News Websites in a Cross-cultural Context

LiangXiaobo，ZhangXiaolin&TanJuling(38)

A Study of the Huallywood Cinema Soundtrack Tyoe and International Survival

ShaoPeiren&ZhouYing(45)

“Internet +” Era： Development Path and Mechanism Innovation of Local Film Industry

XiangZhongping&WangBingxue(52)

We Still Have a Long Way to Go: A Primary Use for the Chinese Cinema “Going Global” Strategy

CaiFuyao(57)

System Sense: A New Method for Film Sound Theory

ZhangJinhui&YaoGuoqiang(63)

On the Supporting Role of Sound in theConstruction of University Film and Television Courses

WangXufeng(70)

On the Creation Methods of Chinese Movie Soundtracks in the Context of New Technologies

——A Case Study on the Movie Coming Home

WuLiying(77)

Five Faces of Urban Modernity: A Review of Taxi Drivers’ Cinematic Representations

ChenTao(82)

Old Films on New Run: A Survey on a Cultural Phenomenon

BaoLei(89)

An Analysis of the Charts of the 2015 Summer Holidays Domestic Box Office Smash Hits

——Monster Hunt, Jian Bing Man, and Monkey King: Hero is Backin Reception Aesthetics Visual Threshold

FengGuoyi(94)

Visions and Contradictions in the Literary History of Mythology Studies

ZhaoShunhong(102)

Authenticity Discourse and Modern Anxiety

——Discussing Classic Formation Mechanisms of Contemporary Chinese Novels from Midnight

YunChunfang(109)

New Communication Revolution:A New Dimension of Understanding Media Literacy

LiuYong(117)

The Construction of the Government’s Media Image and the Cultivation of Civil Servants’ Media Literacy

——Based on the Perspective of Media Society

LiJuan(123)

Media “Disempowerment”， Internet Terror and Self- distinction

——A Research about Domestic Female Workers’ Media Access and Use in Hangzhou

WangShuhua(128)

The Innovative Logic Behind Promoting the Chinese Spirit and Disseminating Chinese Values

——A Summary of the Opening Symposium of the 2015 National Social Sciences Fund Art Studies Key Project “A Study on the ‘Chinese dream’ in Movies and Television Production and Distribution Strategies”

YuanJinghua&WangBingxue(138)

Challenges and Opportunities for the “Art and Science” Majors in the “Internet +” Era

——An Overview of the Construction of Key Art and Science ProgramsZhejiang University of Media and Communications School of Music Academic Forum

XuZhuo(141)

Beyond the “West” And “Structure”: A New Perspective of Taking China as a Discursive Whole for Communicational Research

——A Review for the Newly Released Book Chinese Discourse Studies

XuYingchun(143)

ABSTRACTS

Development of Video News and Evolution of Cultural Power Structure

Zhang Aifeng

With the accelerating media converge process, video news have become an important goal of mutual competition among difference producers. From TV news, to online video news, to mobile video news, the cultural power structure has changed three times. Before the Interne era, it established itself as a “pyramid-type” cultural power structure, relying on government decrees. In the traditional Internet era, it built a “quadrilateral-type” of cultural power structure among foreign media/domestic media, traditional media/online media, professional reporters/ordinary Internet users. In the mobile Internet era, it is building a “multilateral game model” of the cultural power structure among different industries, which are dominated by the technology of integration. Changes of the cultural power structure mean redistribution of the discourse and fierce competition for cultural leadership.

Remodeling Routine：the Construction of New Media

Society by the Mediated Time

Zhang Menghan

Time has the function of regulating internal social relations, which represent people’s life in various forms in every social formation. But with the advent of a new media society, time becomes an important concept in the area of media research, as it has broken away from both space limitations and the restraints of a single measurement tool. This study focuses on one core aspect of media time, the mediated time, discussing how it marks and becomes part of everyday life. By observing the modes of participation of mediated time in the new media society, we can individuate four types: timing of a certain program, timing of program guides, timing of media use behavior and timing of media events. These means of timing show that producers and audiences are remodeling spatiotemporal meanings by taking advantage of electronic media. At the same time, new characteristics of the mediated time emerge when it interacts with other kinds of new media: these features are the increase of time density, the shortening of interval time, the changing of time display mode, the increase of duration in different levels and the trend of various expressions of time. Last but not least, when compared with the linear, irreversible and metric time that was popular in the industrial society, the mediated time is an important new ways of expressing time as a part of an accelerating social construction. The conclusion of this paper is that the mediated time that grows with every kind of new media will remodel social routine, and it will help us understand the new media and the social construction of reality based on time.

“Soliloquy” and “Public Enemy”

——Lu Xun and Chinese Modern Media’s Vitality

Chen Cailin

Lu Xun’s creation is permeated by the temperament of “soliloquy”, while being filled with the spirit of “public enemy”, and Chinese modern media has inseparable relationships with them. During his “soliloquy” we can feel the extremely angry and painful mood of “public enemy”; on the other hand, when he placed himself in the hostile environment of the “public enemy”, this often inspired the “soliloquy” in the depths of his soul. The inward “soliloquy” is actually a kind of art, the art of opening a channel to the whole world by refusing and closing said contact, eventually transformed into the widely accepted “public discourse”. The “public enemies” on the outside are actually defending and spreading the truth with the public guide of modern media. Both “soliloquy” and “public enemy” highlight Lu Xun’s most characteristic spiritual existence, the deepest part of his thinking and his most personal expression, giving new vitality to Chinese modern media with a penetrating thought and long-lasting artistic charm.

A Study of the Huallywood Cinema Soundtrack

Type and International Survival

Shao Peiren & Zhou Ying

Film soundtracks play and important role in controlling a film’s pacing, highlighting the features of the characters, serving as background for the theme. With the spread of globalization, Huallywood Cinema soundtracks are no longer limited to using only national music elements, and in the practice of nationalization and localization, the introduction of western music elements in building a more international music style, create a more diverse film atmosphere. There are three main types of Huallywood Cinema soundtracks: music that highlights cultural nationality; music that puts emphasis on modern western music elements; music that mixes national and western music elements. Of course, Huallywood Cinema soundtracks are also encountering some problems: for example, the oriental style sweeping across Huallyood Cinema soundtracks, the lack of cultural confidence and cultural consciousness in local musicians. With the globalization of film dissemination, the survival of Huallywood mixed soundtracks should follow this path: face the disadvantages and problems; develop cultural consciousness, strengthen cultural self-confidence; open a dialogue with world cinema, borrowing from it to improve itself, realizing its own cultural identity and constructing a multi-polarized model for world cinema; and continuously develop Huallywood Cinema as the vanguard in the dissemination of Chinese culture.

“Internet +” Era： Development Path and Mechanism

Innovation of Local Film Industry

Xiang Zhongping & Wang Bingxue

In the “Internet +” Era, the native discourse, the rise of local consciousness, social change and convergence brought about by new communication forms, caused the film industry to show a much wider spread from global to local trends. Indigenous movie industrialization construction needs to be integrated into the ways of thinking and multiple platforms developed by the new era film industry, borrowing from the ways of thinking and mechanism innovation of the Internet era, creating a more positive and varied industrialized development space through interactive and virtuous communication, moving the important practical issue in the development of society as a whole in the specific local immigration, creating richer content and themes for movies, to further strengthen the awareness of industrialization, the concept of network, to jointly promote the breakthrough of local film industry ecology, driving the coexistence and co-prosperity of the whole industry chain, seeking a broader space to grow up and vision to move forward.

System Sense: A New Method for Film Sound Theory

Zhang Jinhui & Yao Guoqiang

Sound is one of the main ways to convey meaning of the meaning of the movie, and is both an object of creation and an object of study. Over the last 90 years, sound has truly become part of the artistic creation of movies. However, when compared to photography, director, etc. sound research is relatively scarce. To this day, some people still will not acknowledge film sound theory, thinking that film sound theory does not exist or is not worth pursuing. As a matter of fact, common sense suggests that film sound is in fact an important research topic. Not only film sound theory exists, but it has already reached many academic achievements.

So, we focus on the study of film sound theory, n its basic concepts, study type, etc., attempting to start from the framework, to form a holistic understanding of the theoretical study of film sound. This paper shows the existence of theoretical sound research, also leading the way to new research directions.

Five Faces of Urban Modernity: A Review of Taxi

Drivers’ Cinematic Representations

Chen Tao

The taxi driver, as an important type of character in the urban films, represents and reflects different historical contexts, economic developments, gender issues, post-colonial identities and cultural constructions in various countries and regions. This essay gives a brief review on some important move protagonists - the five faces of urban modernity - in taxi films, providing some important bases and context for further research in fields such as social space, class or gender discourse and traffic development in modern cities.

New Communication Revolution:A New Dimension of

Understanding Media Literacy

Liu Yong

The concept of media literacy is being enriched with the development of communication technology and the changes of the times. Based on the wide application of the Internet, the “New Communication Revolution” has brought many big changes, for example in the ways of communication, the shift of communication rights and the fundamental changes of the relationship between communication and audience. So the connotation of media literacy should also be expanded. The content of media literacy includes not only using and rethinking new technology, but also respecting and upholding common sense.

Media “Disempowerment”， Internet Terror and Self- distinction

——A Research about Domestic Female Workers’ Media Access and Use in Hangzhou

Wang Shuhua

This article will focus on the media practice of domestic female workers in Hangzhou, and attempt at outlining the situation of media literacy of city domestic female workers, exploring its trends and origin. The research shows that media literacy of domestic female works in Hangzhou is not very high. They like watching TV, especially TV series, variety shows and social news. They use mobile phones only for convenience, and their internet participation is not so active. The media make no difference in the everyday life of domestic female workers in Hangzhou. The have fears concerning the internet, and misconceptions related to new technologies, and have no desire to express themselves and be empowered trough media. They try to maintain close relationships with society, and are eager to develop a sense of belonging with this city. However, they still choose to go back to the strong ties they have established within real society.

作者簡(jiǎn)介：徐卓，男，實(shí)驗(yàn)師；浙江傳媒學(xué)院音樂(lè)學(xué)院。