research proposal模板

Research Proposal

1.Applicant’s name

LIU Jia

2.Title of proposed research project

Micro Film Creation Art Theory—— Taking original micro film "THE MEANING OF EMOTION" as an example

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.

In film studies, the Auteur Theory is mainly employed to explore film directors’ signature styles in creating their mastery artifacts. Individual style of a director in filmmaking is based on his/her preferences; genre, theme, mise-en-scéne, cinematography or even casts line-up. Disciplinary indiscipline characterizes the post-industrial, post-modern, post-disciplinary intellectual environment. The certainties offered by normative theories are lost in a post-disciplinary virtual world that appears to be no longer fully grounded on modernist assumptions or even material reality. It has become common practice to meld many different and sometimes incompatible academic approaches in order to pander to students’ preferences. Contemporary approaches now especially mimic Karl Marx’s phase ‘all that is solid melts into air’, as many un-, ill- and in-disciplined post-disciplinary disciples shield students from knowing about disciplinary epistemologies, disciplinary histories and the paradigmatic evolution of film theories across different periods, contexts and conditions. Keyan G Tomaselli critically examines some of these issues by applying the framework of langue (structure) and parole (accent) to make sense of film studies in a post-disciplinary media world dominated by economic implosion.

7.Materials and methods