Media Study Frontiers in China

Wu Minsu, Cui Lin

Description

A peak at new frontiers of media research in a fast-changing China.
This collection of papers comprises over ten papers published in recent years, with topics on new phenomena, new problems, new thinking, and new views in the fields of “barrier-free communication”, “new technologies and new media”, “Internet and society”, etc. They present and reflect on the new developments and new trends of current Chinese media research from different aspects, and to a certain extent outline and depict the landscape of the accelerating informatization of the Chinese society. They show the important influences of the media in the evolution of contemporary Chinese society.

Sujets

• Social Science
• Sociologie, société et politique
• Sociology
• People
• Equality
• Accessibility
• Technological convergence
• Television
• Cinema
• Personnage public
• Film

Informations

• Publié par: AuthorHouse
• Date de parution: 28 novembre 2022
• Nombre de lectures: 0
• EAN13: 9781665575362
• Langue: English

Extrait

MEDIA STUDY FRONTIERS IN CHINA







EDITED BY
CUI LIN AND WU MINSU











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© 2022 Cui Lin and Wu Minsu. All rights reserved.

No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author.

Published by AuthorHouse 11/22/2022

ISBN: 978-1-6655-7538-6 (sc)
ISBN: 978-1-6655-7537-9 (hc)
ISBN: 978-1-6655-7536-2 (e)

Library of Congress Control Number: 2022920855




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Certain stock imagery © Getty Images.



Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.



Contents
Free From Barriers: An Analysis Of The Current Situation Of China’s Barrier-Free Film Industry
Gao Xiaohong And Cai Yu
Subversion And Rebuilding: Media Use In A Group Of Visually Impaired People Against The Background Of Media Convergence
Qin Yuming And Song Junyi
The New-Era Landscape Of Barrier-Free Films And Television: Genre Trends, Research Directions, And The Chinese Model
Wu Weihua, Wang Nian, And Gao Yinfeng
Empowerment With Technology And Alleviation Of Knowledge Shortage: Information Accessibility And New Development In Communication For Development
Hu Fang And Liu Wen
The Role Of Barrier-Free Films On The “Viewing Rights” Of The Visually Impaired — A Case Study On Cuc’s Guangming Cinema
Daniel Long Zhang, Sisy Xijing Zhao, And Chenshan Rong
Social Values And Aesthetic Orientations Of Barrier-Free Films
Fu Haizheng And Pan Yue
Technologies And Development Trends Of New Audio-Visual Communication
Wang Xiaohong
News Game: Concepts, Meanings, Functions And Patterns Of Interactive Narratives
Zeng Xiangmin And Fang Xueyue
Narrative Strategy Of The Co-Text Of Online Spring Festival Gala—An Analysis On Ten Years Of Cctv Online Spring Festival Gala
Zhao Shuping, Wu Hao, And Wang Yueru
Knowledge Communication In Audio Publishing From The Perspective Of Oral Communication
Liu Hong And Teng Cheng
Behavioral Ladder For Information-Based Income Growth: A Study Based On Information Use Of Urban Populations With Relative Deprivation
Ye Mingrui And Jiang Wenxi
Towards A Practical Approach In Media Studies: Frameworks, Routes, And Implications
Gu Jie
Global Governance Of Online Content: Current Situation, Disputes, And Perspectives
Xu Peixi
Technology, Society, And Civilization: The Internet-Induced Shift In Media Theory
Cui Lin And You Keke
On The Logical Features Of Ai News Writing: A Comparative Analysis Of Dreamwriter Reports And Human Reports
Fu Xiaoguang And Wu Yutong
Blockchain News: Technologies, Scenarios, Values, And Limitations
Tu Lingbo



FREE FROM BARRIERS: AN ANALYSIS OF THE CURRENT SITUATION OF CHINA’S BARRIER-FREE FILM INDUSTRY
Gao Xiaohong and Cai Yu
Abstract: Barrier-free films, as the name implies, are movies that help people with visual or auditory disabilities to remove barriers from watching movies, and enable people with disabilities to understand what the stories mean by “listening” or “watching”. It usually translates, decomposes, and transforms the audio-visual language of the film by adding sign language, subtitles, or explanations on the basis of the original film, so as to be appreciated by people with hearing impairment and visual impairment. China’s barrier-free film industry began in the beginning of this century. In 2019, after investigating the public welfare project Guangming Cinema of Communication University of China, Jia Zhangke, the vice chairman of the China Film Directors Association, presented the “Proposal on the Development of Barrier-free Film Industry in China”, suggested to support the development of barrier-free movies from the aspects of legal policy, theater construction, and social care. This shows China’s emphasis on the development of a barrier-free film industry, while also reflecting that the industry is still in the initial stage of development and faces many problems and challenges. This paper aims to sort out and discuss the creation methods, social values, and future challenges of barrier-free movies in China, so as to form a clear and accurate understanding of the past and present life of China’s barrier-free movies, and to provide some new ideas and new means for the development of China’s barrier-free film industry.
Keywords: Barrier-Free Movies, Visually Impaired People, Accessibility
The Chinese term “ 无障碍 ” (no barrier) is translated from “barrier free” or “accessibility”, which means that anyone should be able to access and utilize information equally, easily, and without barriers under any circumstances. In the early 1960s, with the influence and promotion of international social groups, the concept of “barrier-free” began to take shape 1 . Its predecessor comes from the “normalization principle” proposed by N.E. Bank-Mikkelsen of Denmark.
Meeting the growing intellectual and cultural needs of the visually impaired, improving their social welfare, and assisting the high-quality development of the social and cultural life of the visually impaired - these are important parts of the country’s modernization drive. As we usher in the “new era”, in addition to accessible physical facilities such as roads, ramps, handrails, etc., accessibility at the intellectual and cultural level that demonstrates humanistic care and shares cultural achievements demands equal or even more attention.
1. Concepts and Practices of Barrier-free Films
Film, as an important carrier of cultural communication, has gradually entered into the scope of barrier-free communication in communication studies. The first research topic is on the accessibility of audio-visual languages in film and television content. Therefore, the research on barrier-free films starts from the study of how to make accessible films and eliminate the barriers of information reception for visually and hearing-impaired people.
(1) Definition of the Concept of Barrier-free Films
Barrier-free films, as the name suggests, are movies that help people with visual and hearing impairments to remove obstacles, so that people with disabilities can “listen” or “see” and understand. It is generally made by adding sign language, subtitles, or commentary on the basis of the original film, and then synthesized by professional technology, which is specially designed for visually impaired and hearing impaired people to use.
According to different audiences they serve, barrier-free movies can be simply divided into three versions: 1) those that are convenient for visually impaired people to “listen”, 2) those that are convenient for hearing-impaired people to “see”, and 3) those that are convenient for both visually impaired people to “listen” and for hearing-impaired people to “see”. Among them, accessible movies that can either be “listened to” and “watched” have their corresponding accessible content translation methods to make up for accessibility. The production of the two-in-one version that can allow the audience to both “listen” and “see” is done with superposition of the first two translation methods - there are subtitles or sign language to compensate for hearing impairments, and video descriptions to compensate for visual impairments.
Humans’ acquisition of information mainly depends on the senses. The visual sense dominates the five senses, accounting for almost 80% of the available information. Since vision is the most important source of information for human beings, visually impaired people face a much greater obstacle than hearing impaired people when appreciating film and television works. Therefore, in barrier-free communication studies of films and television, it is particularly important to answer the question of how to translate film and television works to visually impaired people to make up for the lack of visual information, therefore making the works accessible. It is because of this that barrier-free films discussed in this paper are mainly ones that use the video description method and are oriented to visually impaired groups.
(2) Barrier-Free Films for Visually Impaired Groups
Video description is a method of converting visual images into audio descriptions. It is also known as visuals in the oral form. Its modus operandi is explaining and describing the visual components in film and television works without increasing or decreasing the length of the original film and disturbing the original dialogues and sounds. Generally speaking, the visual components that need to be explained and described include: changes in time, changes of space, shifts of scenes, characters’ actions and body language, relationships between characters, and key details and foreshadowing that will affect the plot.
Current video description methods can be divided into two types: Live Audio Description and Pre-recorded Description.
Live Audio Description refers to volunteers serving as docents at the film screening site, explaining the film for the visually impaired. This generally occurs in a movie theater or screening place. The working mode is showing the original film while asking a film interpreter to exp