权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Soft Power, Cinema and the BRICS

软实力、电影和金砖国家

基本信息

批准号：
AH/N001761/1
负责人：
Stephanie Dennison
金额：
$ 4.06万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN001761%2F1
关键词：
Soft Power Cinema BRICS

项目摘要

Coined by political scientist Joseph Nye at the end of the 1980s, but only in the last 10 years "making it out of academia and onto the front pages of newspapers and into world leaders' speeches" (Nye), soft power refers to the ability of a country to influence through attraction rather than persuasion. It implies recognising what those from other countries already find attractive about a given country, creating new attractive features (as a way of countering unattractive features associated with one's country) and producing a coherent narrative that incorporates these attractive features, so that they might be mobilised in an effort to gain favour. The growing interest in soft power is, for Nye, a reflection of geo-political shifts brought about by globalisation, which themselves are notably illustrated in the formation and formal association of the BRICS group of emerging nations.There is, then, an explicit connection between the growing interest in soft power and emerging nations (namely Brazil, Russia, India, China and South Africa). However, while Nye suggests that there are three aspects to soft power: foreign policy, political values and culture, it is notable that nation-branding indexes (such as Monocle's) pay rather less attention to the impact of cultural factors in their assessment of nations' soft-power assets. Likewise, to date academic interest in the issue of soft power has tended to focus on its impact on international relations. Yet, at least anecdotally, we know that attractive features of emerging nations are often linked to popular culture (Brazil has carnival and football, India has Bollywood, etc).Perhaps as a result of a widespread awareness of such expressions of popular culture, they are taken as read by soft power observers and not scrutinised to any extent, as if serving merely as the window-dressing for other, more easily quantifiable soft-power manifestations, such as globally recognised brands, tourism revenue, membership of international organisations, etc. The proposed network seeks to redress the balance, by bringing culture, and specifically film, to the centre of discussions on soft power, and bringing together for the first time scholars who will explore these connections. Specifically, it aims to achieve the following:1) To investigate how non-state actors in the BRICS nations understand and are influenced by soft-power strategies, by focusing on the nature and function of the film industry. 2) To look comparatively at the engagement by filmmakers, producers, distributors and funders in the soft power/nation-branding agendas of their country in order to ascertain whether this engagement is explicit or implicit, what forms it takes, and with what results.3) To bring culture, and specifically film, to the centre of discussions on soft power, by focusing on big-screen narratives, and their on-and off-screen stories, with a view to analysing the extent to which film industries are being harnessed in the exercise of cultural diplomacy and the generation of soft power.4) To develop a methodology to evaluate the success of soft-power strategies in relation to film cultureResearch outputs, which include an edited collection of essays, a bilingual co-produced report on BRICS film-making and soft power, and a regularly updated website will be of interest to academics in a number of fields, to culture industry professionals, and to the wide body of state- and super-state-level institutions with a vested interest in both soft power and the BRICS.

由政治学家约瑟夫·奈（Joseph Nye）在20世纪80年代末创造，但仅在过去10年“使其走出学术界，登上报纸头版，进入世界领导人的演讲”（奈），软实力指的是一个国家通过吸引力而不是说服力来影响的能力。它意味着认识到来自其他国家的人已经发现某个国家的吸引力，创造新的吸引力特征（作为对抗与一个国家相关的不吸引力特征的一种方式），并产生一个连贯的叙述，将这些吸引力特征结合起来，以便他们可能被动员起来以获得青睐。在奈看来，人们对软实力的兴趣日益增长，反映了全球化带来的地缘政治变化，而这种变化本身在金砖国家（BRICS）的形成和正式结盟中得到了明显的体现。因此，人们对软实力的兴趣日益增长与新兴国家（即巴西、俄罗斯、印度、中国和南非）之间存在着明显的联系。然而，尽管奈认为软实力有三个方面：外交政策、政治价值观和文化，但值得注意的是，国家品牌指数（如Monocle）在评估国家软实力资产时很少关注文化因素的影响。同样，迄今为止，学术界对软实力问题的兴趣往往集中在其对国际关系的影响上。然而，至少从坊间的说法来看，我们知道新兴国家的吸引人的特征往往与流行文化有关（巴西有狂欢节和足球，印度有宝莱坞，等等）。也许是由于对这种流行文化表达的广泛认识，它们被软实力观察者视为阅读，而不是在任何程度上进行审查，好像只是作为其他人的橱窗装饰，拟议的网络试图通过将文化，特别是电影，带到软实力讨论的中心，并首次将探索这些联系的学者聚集在一起，来纠正这种平衡。具体而言，本研究旨在实现以下目标：1）通过关注电影产业的性质和功能，研究金砖国家的非国家行为体如何理解软实力战略并受其影响。2)比较研究电影制作人、制片人、发行人和资助者在其国家的软实力/国家品牌议程中的参与情况，以确定这种参与是明确的还是隐含的，采取何种形式，以及产生何种结果。4）制定一种方法来评估与电影文化有关的软实力战略的成功研究成果，其中包括编辑的论文集，关于金砖国家电影制作和软实力的双语联合制作报告，一个定期更新的网站将吸引多个领域的学者、文化产业专业人士以及对软实力和金砖国家都有既得利益的国家和超国家级机构。