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1.Applicant’s name

LIU Jia

2.Title of proposed research project

MicroFilmCreationArtTheory——Takingoriginalmicro film"THE MEANING

OF EMOTION"asanexample

3.Summary of research

In the condition of promoting the media integration, the creation of

micro film and audience psychology are worthy of the hot content of

research. In the reseach,I am using data analysis method and the

investigation method, selected from the original micro film "THE MEANING

OF EMOTION" as the main object of discussion,through the micro film

creation in narrative art and technique of expression to influence the

audience's aesthetic.

4.Introduction

Micro film "THE MEANING OF EMOTION" has been the national college

students innovation and entrepreneurship program funded, in many of the

predecessors and colleagues to participate in support to complete.

5.Objectives and hypotheses to be tested

In the media convergence from the perspective of micro film creation

should pay attention to narrative elements and technique of expression,

the micro film creation into inspiring positive narrative elements can

make the audience's psychological condition in a certain extent to

improve a lot.

6.Literature review

On film studies courses, students are asked to treat as objects

of study the same films which they may more commonly experience as

entertainment. To explore the role of academic writing in this, an

action research project was carried out on a university film studies

course using a systemic functional linguistics approach.A taxonomic film

analysis was analysed drawing on the work of Halliday and Mathiessen

(2004), Martin (1992) and Lemke, (1985, 1990 ), focussing on three

aspects: the genre acts performed in the process of analysing film; the

conceptual frameworks of film studies knowledge, or ‘thematic

formations’ (Lemke, 1993) drawn on and re-constituted in the assignment;

the particular ways that language is used to perform these acts and

build these thematic formations. For EAP to be relevant to film students,

it is proposed that EAP specialists need to engage with these three

aspects of film study. This application of SFL in film studies EAP is intended as an illustration of how SFL tools can be used for relevant

EAP provision across the HE curriculum.

In Britain, film studies came on the agenda in the 1970s, when

it served as a terrain for the formulation of a critical understanding

of how cinema functioned within the broader context of industrial

capitalism and the nexus between that and the reshaping of people's

habits and lives. However, during that decade, a different agenda was

also at work, which, from the early 1980s, began to receive support from

neo-liberal 'free-market' ideologues. Over a period of 30 years, the

overall direction of the inquiry into cinema, now firmly sealed into

institutional networks, has become such that the critical language of

'film theory' has been hollowed out and the industrial agenda of British

national television and cinema wrapped around it. Today, with the

opening of film studies departments across Asia, the question is not

whether outside Britain the language of film studies will became

available for instrumentalization by the forces of an expanding Euro-American capital, but how it will do so. Valentina Vitali argues that

the recovery of film from the bureaucratization of its study and its

rediscovery as one of the modalities of modernization require both a

framework of analysis that is fully conscious of its own historicity and

critical role, and a new topography of cinema.

In France，Philippe Gauthier have a paper is a comparative study

of the impact on French film studies of the emergence of television and

digital technologies. The goal of the comparison between what the author

calls the ‘television revolution’ – a period in which film theorists

became aware of the impact of television on the study of cinema – and

the now well-known ‘digital revolution’ is to observe the recurrence

of specific phenomena in the history of film studies in France. The

author argues that during both the television and digital revolutions

there appears to be a desire to compare cinema with other media while at

the same time asserting its specificity. The impact of the television

and digital revolutions on film studies in France is thus two-fold: (1)

the broadening of the discipline's boundaries to include other media

and other research methods; (2) the redefinition of cinema based on a

singular definition of the medium.