ISSN : 2950-869X
Background: With the rapid development of the social economy, women’s status is gradually improving. Many feminist films are entering the film market. It has becomea new hot topic recently. The development of feminist film theory can be traced back to the 1960s. The scholars began to pay attention to the presentation of women in films and the ideology of gender narrative in films. At the same time, its development trend rapidly expanded globally with the rise of the first feminist movement. In this process, feminist ideas also began to influence the film industry, gradually making female characters and themes important film components. Purpose: Feminist film theory is an important genre of contemporary film theory, originating in the 1960s. It is a theoretical school that integrates various theories and methods, such as psychoanalysis, post-structuralism, and semiotics, for comprehensive research. This article explores how feminist films should avoid existing problems and continue to develop based on Freud's theory of sexual development trends in his " Three Essays on the Theory of Sexuality ". Methods: This article adopts methods such as literature review, comparative research, and case analysis to explore the future development trends of feminist films from multiple perspectives. Results: This article explored and analyzed the development process of feminism as portrayed in Freud's " Three Essays on the Theory of Sexuality " and Laura Mulvey's feminist film theory from multiple aspects and proposed its future development strategies. Conclusion: In recent years, feminist films have been continuously developed and show diversified themes and genres. However, feminist films, both domestically and internationally, have not yet formed a complete system and corresponding theories. For example, their in-depth exploration of the core theme and innovation in films’ content and themes needs development. Therefore, in response to such issues, the future development measures for feminist films are as follows: 1. Increase the proportion of female directors; 2. Increase the diversity of female characters; 3. Pay attention to women's issues and conduct in-depth exploration; 4. Enhance the innovation of its localized story; 5. Strengthen international cooperation; 6. Provide National policy support.
Background: Bainayi is a Chinese garment made of scraps of fabric spliced together. Its history is 1,000 years old and still widely used today. Because of its practicality, in the development of thousands of years, immersed in the Chinese folk culture, it has long carried too much far beyond its function of the profound heritage and cultural connotation. Therefore, today's fashion field also has a wide range of applications. Purpose：This paper discusses the meaning and history of Bainayi, analyzes its cultural connotation from national wisdom, innovative spirit, and life attitude aspects, and discusses the various possibilities of inheritance and application in current fashion design. Methods: The literature on Bainayi is analyzed. The splicing art in Bainayi was defined and summarized to support the research. The effect of the splicing art in different fabrics is analyzed through comparative analysis. Also, the diversity of splicing art in the clothing design is analyzed. Finally, through a case study, this paper conducts an in-depth study on the artwork of splicing, and analyzes art’s the common meaning, aesthetics, and design methods to provide experience for future research. Results: Through analyzing the application of splicing art, the designer presents unique designs and aesthetic ideas by using different colors, structures, and fabrics. The designs have a distinctive splicing art clothing style that enhances its artistic sense and practicality. It breaks the monotonous and boring fabric and creates a unique visual effect. Conclusion: The splicing art of Bainayi combined with today's clothing culture, the meeting point of the splicing art in modern clothing design is excavated, and the rules are summarized to guide practice. Splicing art is also the public's demand for clothing, personality, fashion, and other aspects. Throughout domestic and foreign fashion shows and press conferences, splicing art has become the mainstream trend in fashion design and has great design potential.
Background: With the advancements in digital technology, Chinese fantasy films are developing rapidly. This study analyzed over 200 Chinese fantasy-themed films released online or in theaters from September 25, 2008, to July 20, 2023. The results show that the average audience score for such films is about 5.49 (Rating data comes from Douban). The narrative of Chinese fantasy films has fallen into trouble, gradually becoming a constraint for producing this genre. Purpose: The narrative model of Chinese fantasy films is the core of this type of film, representing East’s openness to the oldest historical and cultural characteristics. Therefore, studying Chinese fantasy film narratives that integrate video games can better promote these films. It can expand the new direction of Chinese fantasy film narratives from immersion, cross-media, and expansibility perspectives. Methods: Analyze and study Chinese fantasy films' narrative problems and advantages and integrate narrative modes with similar film narrative modes (video game fusion films). In the first stage, through literature research, this article analyzes the development status of narratives in Chinese fantasy films and the narrative mode of film and game fusion from a general direction. In the second stage, through case analysis, it elaborates on the shortcomings in Chinese fantasy film narratives. In the third stage, comparative research analyzed the feasibility of innovative development of Chinese fantasy film narratives by focusing on the narrative method of film and game fusion. Results: This article systematically proposes that Chinese fantasy film narratives should be centered on film-game fusion narratives. Also, these narratives require improvement in immersion, cross-media, and story expansion perspectives. Conclusion: The following conclusions are drawn: 1) Enrich the interactivity of narratives and use the gamified narrative elements to increase audience stickiness; 2) Use cross-media to express stories, expand multiple story worlds, and focus on media narrative; 3) Build a narrative ecosystem. Emphasize the correlation between mutual narratives and shape the narrative world of Chinese fantasy films.
Background: The classical gardens of China and South Korea, rich in traditional cultural connotations, provide a respite from the emptiness and anxiety brought by modern society. This is closely tied to the involvement of scholarly hermits, who represented the learned and morally cultivated class in the ancient garden constructions of both countries. Studying the spatial characteristics of these hermitage gardens is important for modern spatial design. Purpose：This research compares representative residential hermitage gardens in China and South Korea - the Lüdao Fang Residence Garden and the Yin Zheng Ancient Residence. It identifies the similarities and differences in their spatial features and the reasons behind these variations.It also explores the potential applications of these characteristics in contemporary spatial design. Methods: The study begins with a literature review to define the concept of hermitage gardens. It then proceeds with on-site and documentary research of the Lüdao Fang Residence Garden and the Yunjeong Gotaek, analyzing and comparing the spatial attributes of these two gardens. Results: Both gardens reflect the hermitage philosophies of "Moderate Reclusion" and "Confucian Hermitage," chosen for their locations in scenic, tranquil, and harmonious settings. However, their relationships with urban areas differ; both prioritize the creation of spaces that are secluded yet connected. Conclusion: Analyzing and comparing their reclusive cultural characteristics deepens and refines the understanding of Chinese garden art theory and hermit culture. It also provides a theoretical foundation for further exploring their revitalization and promoting creative transformation and innovative development in Eastern classical garden art.
Background: In recent years, China's established many institutions and introduced reform programs to protect cultural heritage. Purpose：This research analyzes the protection status and development mode of endangered traditional ceramics in southern Fujian to better protect the endangered traditional ceramic technology in southern Fujian. It further researches ceramic process protection and inheritance development strategy. Methods: The attitudes of relevant national organizations towards protecting endangered traditional crafts are analyzed in the ceramic factory areas around Chaoshan and Foshan. The Dehua white porcelain, Jingdezhen porcelain mothers, and Foshan Shiwan dolls are compared through comparative research and literature to study various methods for protecting endangered traditional crafts. Further analyses on the strategies for the protection and development of the inheritance of endangered traditional ceramic crafts in the folklore of southern Fujian are also performed. Results: This article analyzes the protection and inheritance strategies of traditional ceramic crafts endangered in southern Fujian. It summarizes the three inheritance strategies of supporting inheritance talents, improving the protection mechanism, and establishing the protection and inheritance of traditional ceramic crafts on campus. Conclusion: The study of ceramic process protection strategy can summarize three points. First, to strengthen the precision support; second, to improve the inheritance and protection mechanism; and third, to establish research on the protection and inheritance of traditional ceramic processes.
Background: the recovery of the adventure genre has been relatively slow. This subtle change in the market promotes the artistic innovation of traditional genre films. Robert Stamm's film genre theory provides an important reference. As a typical adventure film, “Where Nothing Grows” provides a case to explore artistic innovation. Purpose: This paper will sort the development status of Chinese adventure films based on Robert's genre film theory. “Where Nothing Grows” as the research object, this paper discusses promoting artistic innovation of domestic adventure films from three aspects: narrative expression, character construction, and visual image. Methods: In the first stage, through literature research, this paper analyzes and summarizes the development status of adventure films. The second stage discusses Chinese adventure films' problems and innovative means through cases based on Robert Stamm's genre theory. In the third stage, through comparative research, the film“Where Nothing Grows” is used as a yardstick/control/base film for comparison against other adventure films since 2015. Then, the differences in artistic innovation of their genre characteristics are discussed. Results: The research found that developing Chinese adventure films in the post-epidemic era faces some difficulties and challenges. However, these films' narrative expression, character construction, and visual impact can be improved/needs improvement. Conclusion: Domestic adventure films can complete the innovation of plot structure through 1. Narrative expression; 2. Construct characters that challenge established concepts of traditional roles; 3. Visual images to break the aesthetic fatigue of "visual wonders". These three aspects open up a diversified path for the artistic innovation of domestic adventure films and achieve the result of expanding the artistic innovation space of domestic genre films.
Background: Since the 21st century, Chinese children's films have developed and flourished. However, their themes often use rigid preaching forms to showcase educational themes. These themes are detached from childlike thoughts and not conducive to film development. Purpose: This article reflects on the old adult-centered ideology in the theme of Chinese children's films. It attempts to face the impact of the capitalist market and how children's films can maintain a child-centered perspective and avoid excessive adulthood and entertainment. Methods: This article uses case analysis, literature research, and comparative research methods to analyze childern’s films creation and educational inspiration based on children's standards. Results: Sorting out the creative commonalities and characteristics of children's films in the early stages of reform and opening up, exploring the elimination of adult-oriented ideas in old children's films through creation, innovating fresh and natural blank lens language, and returning to a child-oriented perspective. Conclusion: From an adult-centered to a child-centered approach, creators should change the following aspects: 1) The plot narrative should not be too heavy and direct, and political and ideological colors should be weakened and return to a childlike nature. 2) From neglecting children to discovering children, highlighting the independent status of children's image subject. The lens language shifts from an adult perspective to a children's perspective, creating the artistic world with children's eyes.
Background: In today's Internet era, the development of network technology and new media has enriched the transmission channels of film works. Since the birth of film, it is necessary to connect with its audience through media. The use of multiple media to help the transmission of film has entered the strategic level of film and television culture construction, and has become an important research direction for future development. Purpose: This paper aims to combine the current media fusion environment, provide the possibility of communication channel innovation and the lasting power of wide dissemination for excellent films, and study the development strategy of multi-media communication for film works. Methods: This paper uses literature research, case analysis and comparative research to analyze the important influence of multiple media on film communication. Results: The paper concludes that film communication should be audience-centered, multi-platform communication of new media, and a stable and clear communication system of domestic film culture under the global information background. Conclusion: Based on the research on the communication strategy of multi-media assisted film from the perspective of media convergence, this paper draws the following. Conclusions: 1) take the audience as the center; 2) The use of new media diversified information platforms for linkage communication; 3) Create a new pattern of perfect integration of new media technology and Chinese film international communication road. Taking the above three aspects as an important way to improve the dissemination scope and influence of Chinese realistic literary films and other excellent films.
Background: Due to the homogenization of the global commodity market, tourism cultural, and creative products are gradually losing their uniqueness. This research studies puppet carving art in southern Fujian, which also faces the problem of homogenization of cultural and creative products. It digs deep into the Minnan puppet head carving art, explores cultural connotations, and finds a new market differentiation method. Purpose: This paper studies the status quo of Minnan puppet head sculpture art, tourism cultural, and creative products. It explores the historical origin of Minnan puppet head carving art and excavates artistic modeling expression. It injects deep cultural connotations into the culture and creative products. This research solves the homogenization problem by achieving differentiation in the commodity market, increasing consumers’ interest. Methods: 1) Literature review to understand the influence of homogenization trend on traditional culture art and artistic characteristics of southern Fujian puppet head sculpture art and tourism cultural and creative products. 2) Comparative study to explore the connection between the puppet head carving art of southern Fujian and tourism cultural and creative products. 3) Case study method to provide innovative inspiration for the research of Minnan puppet head sculpture art tourism cultural and creative products. Results: The design should highlight the regional characteristics of Minnan puppet carving art, present its unique characteristics through personalized design, emphasize the individuality of local culture, and give the product a unique competitive advantage in the homogenized market. Conclusion: The following conclusions can be drawn from this study: 1) Cultural integration and innovation provide a more engaging experience; 2) Establish the differentiation advantage of cultural and creative products to get rid of the homogenization problem; 3) Narrative expression combined with the puppet show elements of southern Fujian makes cultural and creative products more story-telling; 4) Balance tradition and modernity. This research provides practical strategies for promoting cultural and creative products that stand out in the homogenized market.
Background: Feng Youlan is one of the prominent figures in 20th-century Chinese philosophy, renowned for his contributions not only in the field of philosophy but also as an important aesthete. His ideas span various domains including philosophy, aesthetics, and social ethics, and are considered to have had a significant impact on traditional Chinese thought. Feng Youlan's aesthetic philosophy has garnered widespread attention and discussion in Chinese academic circles, marking it as a crucial milestone in the development of Chinese aesthetics in the 20th century. Purpose: The purpose of this paper is to delve into Feng Youlan's aesthetic philosophy and to analyze its significance and influence in the realm of aesthetics. Through a systematic examination of Feng Youlan's aesthetic ideas, a better understanding of the evolution, core concepts, and characteristics of traditional Chinese aesthetics can be achieved. Furthermore, an interpretation of his ideas can offer new insights and directions for contemporary aesthetic research. Methods: This paper employs a methodological approach involving literature review and analysis. By collecting, organizing, and analyzing relevant literature, it delves deeply into the core content and main viewpoints of Feng Youlan's aesthetic philosophy. Drawing on the research findings of other scholars, a comprehensive and thorough analysis and evaluation of Feng Youlan's "Vital Beauty" aesthetic ideas are conducted to ensure a comprehensive understanding and accurate grasp of his philosophy. Results: Feng Youlan's aesthetic philosophy encompasses various aspects, including discussions on the essence of beauty, standards of beauty, and the relationship between beauty, morality, and society. He posits that beauty not only possesses objective material attributes but also embodies a spiritual realm and intrinsic values. Feng Youlan advocates for the integration of aesthetics with morality and social ethics, emphasizing the practicality and value orientation of beauty in achieving the perfection of human existence. Conclusion: Feng Youlan's aesthetic philosophy has exerted a profound influence on traditional Chinese aesthetics, providing subsequent scholars with an important theoretical foundation and inspiration. Through an in-depth study and understanding of his ideas, the enrichment and development of traditional Chinese aesthetics can be facilitated, offering valuable insights and guidance for contemporary aesthetic research. Feng Youlan's aesthetic philosophy holds significant relevance in advancing the development and flourishing of Chinese aesthetics, and his intellectual legacy warrants deep contemplation and exploration.
Background: The visual rhythm in the theatrical presentation is of great importance in building the visual and aesthetic image. The rhythm organizes movement Sound in temporal space and movement Sound in spatial space and interruption. The importance of research and the need for it lies in providing the scientific library with a topic that requires entry into a mechanism to address cognitive theory and benefit students in the field of fine arts. Objective: The Aim of This study is revealing the mechanism of visual rhythm work in theatrical presentation and visual rhythm is one of the elements of composition in theatrical performance. Methods: Utilize the descriptive-analytical method in analyzing the research sample, and employ content analysis as the approach for examining the contexts within this study. Results: The director employed kinetic dramatic presentation, highlighting physical capabilities to emphasize the unique potential of conveying meaning through expressions, gestures, and signals, effectively communicating the show's concept and characters' resilience through dynamic formations and imaginative features, with lighting playing a crucial role in enhancing the overall theatrical production and increasing audience engagement. And all of this is aimed at creating a visual rhythm for the theatrical performance. Conclusion: The physical system is pivotal in creating movements and dynamic positions to enrich the aesthetic and creative expression of the theatrical presentation, utilizing structured language for effective conveyance of intended meaning. It symbolically represents the internal struggle between internal power and external domination, involving intellectual and aesthetic implications, where the body interacts with the theatrical space. The presentation's concept stimulates greater imaginative thinking. The use of dim lighting initially captivates spectators and enhances their focus on the visual representation and the need for this study is providing the topic that requires entry into a mechanism to address cognitive theory in the field of theatrical Arts.
Background: China's economy and film industry are still recovering. The traditional culture is reviving. The Tang Dynasty culture is getting popular in film and television dramas. The Tang Dynasty costumes that are classic symbols, are reflected in the current films and TV dramas. Purpose：Tang dynasty Ru Skirt has always contained a deep cultural kernel, and artis’s costume design still has rich research and practical value. This paper focuses on the elements, artistic language, and cultural expression of the Tang Dynasty’s Ru Skirt in film and television. It explores integrating the aesthetic and cultural qualities of the Tang dynasty Ru Skirt into modern fashion design. Methods: Firstly, the study demonstrates the definition of the Ru Skirt and its artistic and cultural characteristics by highlighting its cultural value. It analyzes the unique value of the Tang dynasty Ru Skirt by comparing color, shape, and pattern and its use in film and TV series. Finally, the Ru Skirt of female characters in Tang Dynasty films and television dramas is taken as a case study to analyze its use and symbolic significance. Results: The article describes the development, style, artistic characteristics, and cultural attributes of the Tang Dynasty Ru Skirt. It provides significance for the styling of the Ru Skirt in Tang dynasty film and television dramas and its application in modern clothing. Conclusion: Starting from the historical evolution and characteristics of the development of the Tang dynasty Ru Skirt, we study the design features, overall style, and aesthetic characteristics of the top to the skirt and accessories of the Tang dynasty Ru Skirt in film and TV dramas. This research provides theoretical references for exploring new fashionable and culturally oriented strategies and a new generation of dress design.