Taking Chinese film and TV works as the research subject, this paper attempts to analyze the development of feminism and the deformation of the female image shaped by film and TV works, summarize and reflect on the motives as well as the results of these works. We deploy a case-study methodology to scrutinize the evolution of feminism and the prevailing trend of distorted female portrayals in film and TV. It identifies three primary modes of distortion in the depiction of women in three mediums. This paper also aims to advocate that film and TV works should reasonably shape female image, veritably reflect the voice of females and convey feminism, and positively promote the development of feminism in China. At the same time, we advocate that filmmakers ought to fathom the true essence of feminism, genuinely reflecting the authentic voices and demands of women. We also hope that this paper will have a deeper significance for the subsequent research.

This paper will talk about the sociolinguistic variations in Urdu Language. The study uses the qualitative method it takes account of the interviews conducted by the various senior citizens of Urdu speakers in Pakistan, each interview is based on 4 questions to find out Urdu language variations for this paper. The questions on the value of the Urdu language in today’s world, what changes took place in the Urdu language over the period from a lexical and dialectical point of view. The interviews were conducted as semi-structured with the use of different modern and simple tools. The study of this paper will be very helpful for the young generation of Pakistan because all the past studies did not solely talk about sociolinguistics in the Urdu language. It guides them to bring their native or national language with original accents and vocabulary which shows their actual culture and purity of Urdu language.

Taking Fuzhou as a case study, this research analyzes tourist network travel notes, online comments, and official website reports of the tourism bureau, and uses the word frequency statistical function of semantic analysis software to extract high-frequency words of tourist perception and official website projection of tourism image, and constructs social relations and semantic networks to compare and analyze tourist perception and official website dissemination of tourism image. The research results show that the Fuzhou tourism image perceived by tourists can be summarized into four dimensions: tourist attractions, tourism environment atmosphere, tourism facilities and services, and tourism experience. Tourists’ perception of tourist attractions is consistent with the official projection, and Sanfang Qixiang and hot springs have become representative resources of Fuzhou. The key points of official propaganda are inconsistent with the focus of tourist perception. The Fuzhou Tourism Bureau should pay more attention to tourism hotspots such as historical buildings in the city and Pingtan Island scenery, and actively create an ecological leisure city, focusing on parent-child study tours and rural revitalization. Tourists prefer historical buildings in the city and Pingtan Island scenery. Finally, based on the research conclusions, targeted suggestions are proposed for Fuzhou’s tourism promotion.

Fuzhou’s cultural roots can be traced back over 6000 years to the Neolithic period. It evolved from a “barbarian” land to a prominent political, economic, and cultural center over 2000 years. The region witnessed the development of various prehistoric cultures like the Keqiutou, Tanshishan, and Huangguashan cultures. These cultures left behind archaeological sites with stone tools, pottery, and other artifacts, reflecting the lives of ancient Fuzhou inhabitants and the significant influences on other regions. The Fucun site in Fuzhou, as it featured the use of stone tools made from Shoushan stone, provided valuable insights into the Neolithic Age. These tools played a crucial role in the daily lives and production activities of the ancient Fuzhou inhabitants, brought the advancement of labor tools and productivity during that era and potentially influenced the later art and culture of the region.

Over the past few decades, niche styles have gradually become part of mainstream trends and have achieved great success in the market. Changes in consumer behavior and technological advances have enabled niche styles to better meet the needs of consumers and become integrated into their lives. At the same time, brand culture has played an important role in connecting niche styles with consumers by creating unique brand images and values. This paper explores the transition from niche styles to mainstream trends and examines the reasons for this, concluding that the main reasons are Changes in consumer demand from material needs to spiritual pursuits and the desire for simpler times in the context of rapid technological advancement. Based on this, this study makes relevant recommendations for the development of niche brands, including Enriching Brand Culture and Philosophy for Meeting Consumer Demands and Assisting Consumers in Adapting to the Fast-Paced Era.

In the era of information virtualization, entertainment expression has become the ideological tendency of public discourse. Under the dual drive of technical support and market interests, the appreciation of ugliness has been transformed into individual alienation and emotional behaviour, rebelling against the traditional concept of beauty in cognition and forming a popular and spreading trend of network with grotesqueness, ugliness, and specialisation as symbols. This paper will combine psychological and sociological theories, take the popularity of Nikocado Avocado on YouTube as an example, explore the root causes of the proliferation of ugliness appreciation in today’s new media, and further propose ways to purify the social aesthetic environment. Through this study, it was found that the essential reasons are as follows: First, the anti-authority and anti-elite cultural atmosphere formed in the post-modern context makes people more willing to deconstruct beautiful things and oppose traditional mainstream aesthetics; Second, personal jealousy produces subconscious confrontation against beautiful things; third, in order to attract the flow brought by new media and satisfy economic interests, ugliness is performed. To solve this problem, the government needs to play an important role in the media and strengthen the auditing of Internet content. At the same time, relevant departments should disseminate correct aesthetic concepts in society and strengthen the aesthetic education of teenagers.

Xia Yan's Under the Eaves of Shanghai describes the life of five tenants in an alley under the rainy weather in Shanghai in the early days of the Anti-Japanese War. It is Xia Yan's turning work in the 1930s and explores the prospect and hope of China's development from a small perspective into the social level. Among them, female image plays an important role. Their different identity background, thoughts and psychology, habits, emotional experiences, lifestyles, and social relations build the basic framework of the story and enrich the connotation of the story. Their shaping is more typical, echoing the repeated distinctive types of women in modern literature. The academic research on Under the Eaves of Shanghai is relatively abundant, but the research results on the female image in it are still rare. This paper mainly adopts the literature review method, combs and analyzes the related research in different periods according to the research content, summarizes the research experience, and puts forward the existing problems to lay the foundation for the following research on the female image in Under the Eaves of Shanghai.

After the publication of the youth version of The Peony Pavilion in 2004, Kunqu, a classical Chinese theatre, experienced a significant resurgence in both popularity and esteem. This renewal instigated a stronger emphasis on inventive and contemporary adaptations of the traditional repertoire. As culture evolves and advances, there is no doubt that classical theatre must also adapt to keep up with the times. The primary aim of this essay is to examine a contemporary phenomenon through a research methodology that compares and contrasts traditional and modern theatre styles. Specifically, this research focuses on the modern rendition of The Peony Pavilion, a renowned Kunqu opera that illustrates how traditional Chinese theatre can be adjusted to modern contexts while preserving its allure and importance. Additionally, this research project investigates the qualities and mechanisms of modernization in classical Chinese theatre. By concentrating on The Peony Pavilion, this study seeks to disclose how Kunqu integrates and embraces change while retaining its fundamental aspects. As a result, the research aids in crafting efficient techniques for modifying classical art forms to contemporary settings, guaranteeing that these traditional art forms remain significant and appealing over time. This will meet the increasing demand for contemporary performances while ensuring the longevity and preservation of classical arts in the ever-evolving 21st century.

In the social aesthetic system based on patriarchy, the standards and shaping of femininity are usually closely related to the male gaze, which puts forward a series of requirements for the daily behavior norms of women as objects, including clothing, speech, and body shape. Under the long-term moral judgment and social monitoring, while bearing the pressure of aesthetic standards, women have gradually strengthened their self-control and censorship in terms of femininity. This study will take the custom of “female footbinding” in traditional Chinese society as an example, and analyze how men’s gazes contributed to the evolution of this aesthetic standard from the perspective of visual culture, and how women under the influence of this custom have strengthened their sense of self and even same-sex monitoring. The study found that patriarchal social norm constraints and objectified gaze strengthen women’s control over self-image, and women themselves form self-monitoring under the background of habitual pressure, which still affects modern women’s aesthetic self-evaluation today.

As a mature work of ancient Chinese tragedy, Dou E Yuan not only accuses the cruel reality of disregard for human life, but also has a great influence on later literature and drama. Up to now, it has also appeared as a classic in stage performances, teaching books, etc. Many dramas are deeply inspired by its artistry, theme and realism. The "red literary works" with the same goal as "two for the road" also need a strong political propaganda means to publicize revolutionary thoughts by means of this art form. From the perspective of female images in Dou E Yuan and Two for the Road, this paper comprehensively analyzes the embodiment of female personality characteristics, values and artistic techniques in the two dramas, and compares and investigates the characteristics, situations and changes of gender consciousness of female images in the two dramas.

Slashers, a subdivision of horror peaked during the 1900s, had a lasting impact in the cinematic world as a wide range of audience continues to watch them today. Often centered around a masked killer that targeted their audience against female victims, an explosion of cinematic violence against women prevailed. Though young white males were initially the targeted audience, females craved slashers as well due to the genre’s features of enabling them to acquire masculine traits, such as anger, frustrations and violence by overturning stereotypical gender roles propelled by women’s movement during the period. Through diving into various elements of slashers, including motives of killers, reasons behind the audience’s crave for slashers, characteristics of the survivors and the symbolic utilizations of pre-technological weapons in the genre, this paper examines this violence through contrasting typical female victims with the Final Girl, who becomes the only one that survived the seeming impossible. Aspects of film and literary theories, gender studies, and psychoanalysis were examined throughout research.

From the perspective of cultural dimension, this paper discusses the importance of cross-cultural management for business leaders and how to enhance cross-cultural leadership in the context of globalisation. Firstly, it proposes to cultivate cross-cultural awareness and multicultural wisdom so that business leaders can reduce misunderstanding and cultural conflicts and enhance team cohesion. Secondly, establishing effective cross-cultural communication is proposed to promote co-operation, enhance influence and create a positive work environment. In addition, adopting appropriate cross-cultural employee incentives is pointed out to meet the needs of employees from different cultural backgrounds and to increase team enthusiasm and innovation. Finally, the importance of continuous learning of cross-cultural leadership thinking and approaches to continuously optimise leadership effectiveness is emphasised. These strategies help business leaders to better adapt to multicultural environments, cope with the challenges posed by cultural differences, and achieve improved teamwork and performance, thus achieving sustained success in the context of globalisation.

This paper shows that postmodern identity is closely related to the image of cyborg in science fiction. Analyzing the environment and characters in Do Androids Dream of Electric Sheep?, written by Philip K.Dick, offers a deep understanding of characteristics of postmodern identity, which is unstable, fragmented and changeable. The bleak urban landscape where only few people live presents a post war and high tech world that shares features of postmodernism. Besides, the character John Isidore, who is a special, and many escaped androids are all considered as “others” that should be excluded from the normal society. Hence the dilemma of postmodern identity can be uncovered. To be specific, the android character Rachael Rosen illustrates the fragmentation and reconstruction of postmodern female identity because she is a humanoid robot designed as a woman. Also the combination between a cyborg and a woman gives an insight into the similarities between its identity and her identity. Based on the cyborg theory by Donna Haraway, the criticism by Anne Balsamo in “Reading Cyborgs Writing Feminism” and the postmodern identity theory by Elena Abrudan, the extent to which Do Androids Dream of Electric Sheep? explored the identity can be disclosed.

An extended cognitive mediation model was tested in this study which adds risk perception as an outcome of elaboration and interpersonal communication to investigate the impact of verbal and non-verbal symbols in cervical cancer related videos on public viewing media platforms among Chinese women, which could help promote the popularization of science on cervical cancer in China, help more women understand the process of cervical cancer and learn prevention methods, thereby reducing the death caused by cervical cancer. Results of study based on survey data with a nationally sample of women (N=231) aged from 18 to 50 years old. Results showed that attention to verbal signs and attention to non-verbal sign were positively associated with elaboration. Moreover, attention to verbal signs was related positively to interpersonal communication, while attention to non-verbal signs had no association with it. Next, both elaboration and interpersonal communication were correlated positively with perceived risk. Impact of theory and practice were discussed.

Johann Sebastian Bach (1685 March 21st – 1750 July 28th), born in Eisenach, Thuringia, Germany, was a German composer and keyboard player of the Baroque period. This paper focuses on the musical analysis of Bach’s “Goldberg Variations” to explore Bach’s “musical game” world from four aspects: historical background, counterpoint and fugue, musical analysis of “Goldberg Variations,” and the essence of Bach’s musical games. It aims to provide valuable insights for relevant researchers.

This research paper examines and compares the coverage of the Fukushima water dispute by the Associated Press (AP) and China Global Television Network (CGTN). The study utilizes framing theory analysis to identify differences arising from biases and priorities in news reporting. The paper analyzes the framing used by both outlets and discusses variations in perspectives on Japan's plan and responsibility. It examines the attributions of different narratives and their impact on the audience in each country. Possible causes for these differences are explored, including geopolitical factors, political polarization, and cultural influences. The findings highlight the significant role of media in shaping public opinion and the importance of understanding the diverse influences that contribute to news coverage. The paper concludes that recognizing these influences and seeking diverse viewpoints is crucial for developing a comprehensive understanding of complex issues. However, it acknowledges the limitations of the analysis and highlights the need to consider editorial biases and commercial interests in news reporting.

This paper shows how the media accomplishes its goals through the language and structure of the article about the Spy Balloon Incident. The analytical process is discussed from agenda-setting theory, Framing theory, and Priming theory, showing the underlying logic of the media and how they increase the hatred of the people of two countries towards each other's country through the spy balloon incident. With this thesis, the paper hope to make readers realize that the media is not necessarily presenting the real facts, but instead may be leading them to think what the polity or consortium behind the media wants them to think. This paper is different from the previous ones because it takes examples from the mainstream media outlets in two separate countries, rather than just looking at media outlets in a single country alone since they might work for the same polity and consortium, which means they have the same interest, and truth will not be revealed to people. This gives a more comprehensive perspective and logical integrity since it considers the issue from opposing sides. Unsurprisingly, the media are leading the crowd by adjusting the language and structure of their paragraphs.

The study of love is extensive and affects many areas within relationships between individuals. The following paper examines the concepts of mindfulness and mindlessness, as defined by Langerian mindfulness, within the context of love. The objective of this report is to define the differences and similarities between loving mindfully versus mindlessly and evaluate the impact of both types of love within relationships. The process of engaging in mindful love and enhancing the quality of relationships will be explored, as well as how engaging in mindless love results in emotional disengagement, dissatisfaction, and even conflict. The contrast between the healthy effects of mindful love and the detrimental influences of mindless love is ultimately highlighted. Although being mindlessly in love provides the benefit of “ignorance is bliss”, mindful love engages all parties in the relationship, constantly bettering each other for a greater change. Essentially, this research paper emphasizes the significance of mindfulness and mindlessness and highlights their coexistence- not only in love- but also in the aspects of life.

Chinese horror, a rapidly developed genre, is closely connected with customs and traditions. Women being the majority of ghosts and villains is a distinct feature of Chinese horror. This phenomenon is closely bonded with the Chinese cultural background, especially the ancient literature pieces and the yin-yang theory. As the sex belonging to yin, women villains contribute to the eeriness of the horror work, and this property also makes women easy victims in the story. The duality of the female victim and villain identity is portrayed in many works featuring female villains, as most of these women figures have tragic marriages and domestic life, and they want revenge. Typical forms of marriage-related suffering are domestic violence, arranged marriage, and posthumous marriage and human sacrifice. Through analyzing the elements above, this paper discusses female tragedy in Chinese horror works and its reflection of reality and showcases how different kinds of marriage-related sufferings of females serve as the manifestations of patriarchal oppression.

Printing has played an unparalleled key role in the transmission of culture and the advancement of human civilization. The woodblock printing technology of China during the Sui and Tang periods ignited an innovation in book replication and dissemination, facilitating an enhancement in cultural production capacity and the transmission of culture. During the Song dynasty, advancements in printing technology, whether directly or indirectly, influenced global culture dissemination and the progress of civilization during its overseas transmission, marking a brilliant period in the history of ancient Chinese book publishing and distribution.