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　　The Origin， Development and Connotations of “School of Chinese Film”：An Interview with Prof. WANG Hai-zhou
　　WANG Hai-zhou， GONG Yan， CAO Juan
　　Setting up a System of Chinese Film Industry with Oriental Aesthetic Features to Confront Great Powers
　　ZHANG Qi
　　Abstract： A crucial moment has arrived for Chinese film to improve its efficiency and innovation when confronting with the increasingly intense international competition and thus we need a new tactful cultural strategy to guide the film industry for its development. This paper puts forward some proposals for the development of Chinese film industry aiming to construct a powerful film nation by summarizing the new trends in film industry and international development. And it proposes a system of film industry should be constructed that conforms to Oriental aesthetic features by overcoming flaws in development， keeping traditions during the innovation and being bold in practice and thus to enhance the soft power of culture.
　　An Overview of Film Rhetoric “Fu-bi-xing” from the Perspective of Structuralist Linguistics
　　ZHAO Bin
　　Abstract： “Film linguistics” is a linguistic theory deriving from the structuralist linguistics in a broad sense which is not confined to the study of film discourse but attempts to explore the universal linguistic mechanism by transcending concrete media. This paper applies the theory into the study of Chinese literary language （and the discourse of Chinese film） to gain a deep understanding how this mechanism operates behind the written language （and film） with structuralism as the reference and reinterprets the rhetoric in traditional Chinese poetry. Firstly， this paper clarifies the concepts in Chinese traditional rhetoric “Fu-bi-xing” and those in western rhetoric， and then it studies the theory of “Fu-bi-xing” in the framework of structuralist linguistics and recognizes its working mechanism by associating the theories and cases of its study in film discourse based on the four types of operating mechanism of metaphors and metonymies. This paper concludes that the rhetoric “Fu-bi-xing” is not a peculiar rhetoric and it needs to proceed from the aspects， such as the interactions of sense， images and objects that is beyond linguistic category to seek for the characteristics of traditional Chinese poetics.
　　A Study of Innovations in Religious Art with Tomb Murals along the Silk Road and the Significance of Comparative Study of World Tomb Murals 　　WANG Xiao-yang
　　Abstract： Currently there are mainly three ways to study the innovations in religious art along the Silk Road， that is， new material， new structure and new field. Of them， it is the new field that is the most fruitful， the hardest and the most promising one as well. In Chinese context， there are many researches on grotto arts while it lacks a systematic study of tomb murals. With an investigation of the heritage of tomb murals， it finds that the Central Plains culture had exerted great influences on its neighboring areas and just as the Cliff Buddhist Sculptures of Kong-wang-shan demonstrated， tomb murals learned more from Buddhism than from Taoism in the initial transmission period of Buddhism. In the world context， tomb murals are mainly distributed in three areas， that is， China and its neighboring areas， Mediterranean Area and Central American Area with three types of painted ones， bas-reliefs and line-engravings. And it can be divided into two belief systems depending on whether the transformation between life and death is continuous or not. Therefore， the comparison between world tomb murals offers definite innovations for theoretic study in which tomb murals can enjoy a higher position in the history of world art and it can provide a larger scope to study the civilizations along the Silk Road.
　　Religious Significance of Maya Tomb Murals with a Case Study of Carved Images on Pakal's Sarcophagus
　　WU Si-jia
　　Abstract： Maya civilization is one of the most well-known ancient civilizations and this paper analyzes the images on Pakal's sarcophagus to learn Maya worldview and religious beliefs that reflect the relationship between heaven， earth and human from the following four aspects： the vertical space with three domains， the horizontal space with four directions， the “gate” to the underworld and ancestors & spirits. These religious beliefs penetrated into every aspect of Maya social life that laid the foundation for their view of cosmic space， system of holy spirits， evolution， religious rites， death & rebirth and sustained the social status of the upper class to guarantee the stability of the ancient Maya society.
　　On Ancient Egyptian Concept of “Other-world Time” from the Images of Tomb Mural
　　WANG Shi-xiao
　　Abstract： Egypt as one important country with ancient civilization in the world has two dimensions to express their concept of time. One is “this world” in which ancient Egyptians still had an appeal to prolong their limited life though the appeal was not that strong. The other is the afterworld in which a concept of “other-world time” that transcends time itself developed and became the unique appeal of ancient Egyptian religious experiences and their distinctive way to express religious beliefs after death. Viewed from the concrete tomb murals， Egyptians had a clear cognition and definite belief expectations for the time concept of afterworld， that is， to help the owner of the tomb to gain an eternal life in the afterworld and a life experience transcending the temporal dimension. 　　On the Inheritance Ways of Nuo-tang-xi Drama
　　XU Gang-wei
　　Abstract： The inheritance way of Nuo-tang-xi drama mostly is described as the “combination of inheriting from family and master together” which actually is not accurate. The inheritance form can be categorized into two types depending on whether there is a blood lineage or not. One is the internal inheritance， the so-called family inheritance， most of which is father-son （sometimes grandfather-grandson or uncle-nephew） inheritance and the other is the external inheritance， meaning there is no blood lineage between the master and apprentice. The internal inheritance essentially is also a master-apprentice inheritance in which the father and the son function as the master and apprentice respectively. And thus both the internal and external inheritance of Nuo-tang-xi drama is master-apprentice inheritance which takes internal inheritance as priority supplemented by the external inheritance. It is just because of this inheritance form that guarantees the inheritance of Nuo-tang-xi drama in history.
　　The Dissemination of Nuo Culture in Japan Viewed from Kagura
　　XU Zhuo
　　Abstract： The forms and connotations of Nuo culture have been permeating deeply into Japanese culture as their ancient mythology and cultivation practice Syugendou with performing arts of tsuina， bugaku and Kagura. This paper compares the features of several representatives of Kagura and discussed two characteristics shared by two musical pieces of Kagura from two places in Japan and thus infers their inherent inheritance relationship. It also analyzes their origins and discriminates the inheritance and coincidence of the artistic images during the cultural communication.
　　The Site Evolution of Nuo Performance
　　GONG Lang-lang
　　Abstract： There are generally three ways to conduct the study of Nuo culture in recent years： whether to research literatures for origins， or to carry out field investigations for rites， or to integrate diverse studies for extensions. This paper investigates the site where Nuo performance is held to display the cultural deposit of Nuo culture through its evolution with literatures and investigations focusing on its essential changes.
　　On the Relationship between “Zhao-ming-hui” and Nuo Culture in Gui-chi City
　　TAN Xin-jian
　　Abstract： “Zhao-ming-hui” is a god-greeting and sacrifice-offering activity held in the memorial temple for Prince “Zhao Ming” in the west of Gui-chi city， Anhui Province during the Mid-Autumn Festival. Nuo culture in Gui-chi city has a strong sacrificial tint while “Zhao-ming-hui” as a ritual activity of Nuo folklore acquires other features as the traditional Chinese autumn sacrificial activity with Nuo Drama Association as the organizer and participant. So far there have been some new absorptions， integrations and transformations of some festivals including “Zhao-ming-hui” concerning Nuo folklore and traditions. Yet， no matter how it changes， festival activities are still the important forms and carriers of Nuo activities in Gui-chi City on festival occasions to “eschew disaster and pray for bliss”. 　　“Crisis” or “Opportunity”： the Inspiration of Dewey’s “Experience” to the Contemporary Study of Art History
　　LI Xiao-yan
　　Abstract： Facing with the crisis concerning the research criteria and boundary in the current study of art history， we might as well find a way out from Dewey’s theory. Dewey’s philosophy offers a theoretical reference to solve the current crisis and he defined art as “the artist transforms the experience of daily life into a work of art and propagates it to an audience， for the purpose of arousing the audience's aesthetic experience" from the perspective of communication and viewed art essentially as a sharing activity of human aesthetic experiences to provide a revelation for resolving the crisis in the current art history.
　　A Discrimination between Confucius’s “You-yu-yi” and Chuang-tzu’s “You-xin” and the Relationship between Tao and Art
　　WU Dan-dan
　　Abstract： A series of aesthetic and artistic thoughts emerged centering on “You” that can be traced back to Confucius’s “You-yu-yi” and Chuang-tzu’s “You-xin” while later scholars hold diverse opinions towards this term and some of them ignored the differences between Confucius and Chuang-tzu and mixed them up. It is conductive to the clarification of these two schools’ definitions of “You” by putting it into its respective ideological system which can offer some insight to understand their thoughts of the relationship between “Tao” and “Art”.
　　A Cultural Interpretation of Manchukuo Theatre
　　XU Ming-jun
　　Abstract： The reality and surreality embodied in a drama make it to be mimetic and prophetic. Just like the ancient divination book Wei-shu that can foretel， Manchukuo theatre has the similar features. Japan put the play LIN Ze-xu on stage during the period of Manchukuo aiming to shift conflicts and achieve cultural identity which actually aroused Chinese people’s anti-Japanese wave. While Roar， China！ Predicted the realistic trend as a result of interaction between behavior art and art behavior. The political discourse of the ancient divination books Chen & Wei turned into an artistic technique of metaphor “Bi-xing” and thus constructed the contemporary political witchcrafts.
　　Awakening and Liberation： Freedom of Marriage in the Plays A Big Deal in Life and The Cuckoo Calls Again
　　LU Nuan
　　Abstract： This paper illustrates some democratic revolution issues， such as， the gender equality and freedom of marriage by representing the evolution in modern history of Chinese ideology with references to the changes in dramatic creation based on two plays A Big Deal in Life and The Cuckoo Calls Again and demonstrates the historical wrestling between liberalism and Marxism. A Big Deal in Life by Mr. HU Shi marked the beginning of Chinese modern drama whose form and thoughts not only stood for the general social issues during the period of New Culture Movement， but also reflected qualities of liberalism that were against the feudal rites and promoted advanced ideas. Meanwhile， it got confined for a lack of the necessary social analysis and thus it failed to inquire the root of social ills and offer no solutions. As Marxism became the main trends of thought， people began to view gender equality and freedom of marriage with new ideological scope and The Cuckoo Calls Again offered a model to review marriage as the “fourth play”. Therefore， these two plays form a historical dialogue which undoubtedly will provide a precious view and analytical method dealing with our contemporary gender issues. 　　A Study of Chinese One-act Play in 30 Years （1919-1949） Themed with the Ideological Changes in Plays
　　MIAO Fang
　　Abstract： The one-act play is a branch of drama that has its own distinctiveness， notable for its abrupt turn in event， the dramatic change in the character's fate， and the sharp contrast of emotions in a short period of time. From 1919 to 1949， Chinese one-act play can be divided into three periods according to the ideological changes in different plays. The first phase is a period of an uneven exploration that lasted from 1919 to 1929 with two ideological thoughts coexisting that focused on democracy &freedom and traditional rituals respectively. The second phase （from 1930 to 1937） is a period of tortuous growth that was represented by the left-wing plays oriented with class struggle and supplemented by the rethinking of the new culture and the calling for unity and reconciliation; And the third phase was from July 1937 to September 1949， a tremor period of soaring quantity and slackening quality that summoned people to fight against Japanese imperialism collectively and revealed the squalid human nature individually.
　　On the Performance of WEI Ming-lun’s Sichuan Opera PAN Jin-lian in Taiwan
　　XU Wei
　　Abstract： At the end of 1980s， WEI Ming-lun’s absurd Sichuan Opera PAN Jin-lian was put on the stage and aroused heated response from peers. Two troupes in Taiwan adapted the play and performed it in 1994 and 2018 that displayed different interpretations of the traditional female issues from Taiwan and Mainland cultural circles and impressed Taiwan audience with distinctive performing style. The performance of PAN Jin-lian in Taiwan reflected the changes of cultural thoughts in Taiwan area over the past two decades which are closely related to the phasic changes of Taiwan Peking Opera.
　　The Cultural Connotations of the Evolving Paper-Cutting Techniques of Shui Nationality：A Case Study of the Intangible Cultural Heritage Paper-cutting of Shui Nationality in Duyun City
　　DING Wen-tao
　　Abstract： With the changes of their original living environment， the lifestyle and the concept of paper-cutting that the paper-cutting artists of Shui nationality have also evolve. The changes of the cultural ecological environment leads to changes in that of the orientation and creating mentality of the folk paper-cutting and this influence of alien culture on the connotations of the paper cutting poses as a cultural phenomenon for us to confront it.
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