论影视艺术欣赏的审美关系

影视艺术欣赏是人类在精神上对美的需求且与其对应的、按美的法则建造的“第二自然”,具有审美属性;是一种审美创造与审美关系。从悲剧、悲剧感,喜剧和喜剧感及其审美价值等方面均可印证这一说法。     

影视营销对游客旅游决策影响实证分析——以张家界借力《阿凡达》营销为例

以游客旅游决策过程和影视营销基本原理为基础,结合影视营销影响游客旅游决策机理,构建了影视营销对游客旅游决策影响模型和影响效果测评指标体系。以张家界借力《阿凡达》营销为例,研究发现:影视营销对激发游客旅游需要和动机、收集与评价信息以及确定旅游目的地影响效果一般,对游客旅游体验、游后评价、获取影视与旅游目的地相关信息影响效果比较好;区域、市场生命周期和年龄等因素对影视营销影响游客决策效果差异显著。     

论影视艺术欣赏的审美关系

影视艺术欣赏是人类在精神上对美的需求且与其对应的、按美的法则建造的“第二自然”，具有审美属性；是一种审美创造与审美关系。从悲剧、悲剧感，喜剧和喜剧感及其审美价值等方面均可印证这一说法。     

互联网对中国电影企业分布和产业网络联系的影响——“院线”与“网络”电影的比较

以中国2017年公映的305部“院线电影”和上线的1 025部“网络电影”为样本,运用社会网络分析方法,从城市维度比较分析了两类电影企业分布和产业网络联系差异,并运用计量和QAP（Quadratic Assignment Procedure）回归分析,测度了互联网对两类电影企业分布和产业网络联系的影响。结果发现：1）互联网没有带来地理终结。两类电影企业分布的空间基尼系数都高达0.9以上,皆存在高度聚集,但网络电影企业空间分布相对略微分散。2）相对于院线电影,网络电影产业网络联系的规模和平均最短路径皆更大,连通度和中心势皆更小。3）计量回归分析表明：互联网发展更好的城市,集聚的电影生产企业更多,尤其能对网络电影企业产生更强的吸引。QAP回归分析表明：互联网发展更好的城市之间更容易建立产业网络联系,尤其是建立“网络电影”生产的分工联系。     

当代城市电影中的现代文明之惑

当代城市电影反映了现代文明和传统文化观念之间深刻的矛盾冲突,促使我们反思现代文明的两面性,既在现代意识层次上对传统文明加以重新审视,又站在传统文明中符合理性或人性的一面,对现代文明进行批判,尤其是集中考察现代文明异化作用下城市人的心灵困境,由此引发对当代城市电影中现代文明的深入思考。     

内蒙古气象影视服务的发展及对未来的思考

文章从设备、技术和业务项目等总结了内蒙古气象影视服务的发展历程;对中国气象频道本地化业务作了简要分析;为了使气象影视更好地服务于社会,提出了近儿年亟待解决的问题和未来的发展目标。     

气象影视素材数字化存储系统的设计及应用

介绍了利用非线性编辑系统和磁盘阵列等相关设备,对河南省气象影视中心保存的视音频素材进行数字化处理的方法,以及利用SQL数据库技术和ASP.NET编程语言,实现气象影视素材的数字化采集、信息标引编目、存储及管理、检索及共享等功能,建立河南省气象影视素材存储系统的关键技术。     

Gauging extreme floods on YouTube: application of LSPIV to home movies for the post‐event determination of stream discharges

Movies taken by witnesses of extreme flood events are increasingly available on video sharing websites. They potentially provide highly valuable information on flow velocities and hydraulic processes that can help improve the post‐flood determination of discharges in streams and flooded areas. We investigated the troubles and potential of applying the now mature large‐scale particle image velocimetry (LSPIV) technique to such flood movies that are recorded under non‐ideal conditions. Processing was performed using user‐friendly, free software only, such as Fudaa‐LSPIV. Typical issues related to the image processing and to the hydrological analysis are illustrated using a selected example of a pulsed flash‐flood flow filmed in a mountainous torrent. Simple corrections for lens distortion (fisheye) and limited incoherent camera movement (shake) were successfully applied, and the related errors were reduced to a few percents. Testing the different image resolution levels offered by YouTube showed that the difference in time‐averaged longitudinal velocity was less than 5% compared with full resolution. A limited number of GRPs, typically 10, is required, but they must be adequately distributed around the area of interest. The indirect determination of the water level is the main source of uncertainty in the results, usually much more than errors because of the longitudinal slope and waviness of the free‐surface of the flow. The image‐based method yielded direct discharge estimates of the base flow between pulses, of the pulse waves, and of the time‐averaged flow over a movie sequence including a series of five pulses. A comparison with traditional indirect determination methods showed that the critical‐depth method may produce significantly biassed results for such a fast, unsteady flow, while the slope‐area method seems to be more robust but would overestimate the time‐averaged flow rate if applied to the high‐water marks of a pulsed flow. Copyright © 2015 John Wiley & Sons, Ltd.