摘要：Normal 0 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0pt 5.4pt 0pt 5.4pt; mso-para-margin:0pt; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} The boundary between film studies, screen studies and cultural studies is indeed a difficult one to describe, and we learnt that the hard way in this past year. After many arguments, some hard decisions and a few risks, the second general issue of Wide Screen is finally here. And it serves as a resounding re-recognition of the scope of film studies. As the truism about film studies goes, there is a text, a rich one, and it is there for us to read, and that’s what this discipline is all about – a newer, fancier, literally colourful and sensory version of literature. The weight of that can and has been heatedly debated, but that’s hardly the soul essence of film studies anymore. The growing awareness of films not just as texts with beginnings, middles and ends, but as vital industries, as cultural representatives, and markers of our modernity is what this issue of Wide Screen stands as testament to.
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