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female film stardom</title> <meta name="description" content="Search results for: Chinese female film stardom"> <meta name="keywords" content="Chinese female film stardom"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="Chinese female film stardom"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 4824</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Chinese female film stardom</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4824</span> Film Censorship and Female Chastity: Exploring State's Discourses and Patriarchal Values in Reconstructing Chinese Film Stardom of Tang Wei</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xinchen%20Zhu">Xinchen Zhu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The rapid fame of the renowned female film star Tang Wei has made her a typical subject (or object) entangled with sensitive issues involving the official ideology, sexuality, and patriarchal values of contemporary China. In 2008, Tang Wei’s official ban has triggered the wave of debates concerning state power and censorship, actor’s rights, sexual ethics, and feminism in the public sphere. Her ban implies that Chinese film censorship acts as a key factor in reconstructing Chinese film stardom. Following the ban, as sensational media texts are re-interpreting the official discourses, the texts also functioned as a crucial vehicle in reconstructing Tang's female image. Therefore, the case study of Tang's film stardom allows us to further explore how female stardom has been entangled with the issues involving official ideology, female sexual ethics, and patriarchal values in contemporary China. This paper argues that Chinese female film stars shoulder the responsibility of film acting which would conform to the official male-dominated values. However, with the development of the Internet, the state no longer remains an absolute control over the new venues. The netizens’ discussion about her ban reshaped Tang’s image as a victim and scapegoat under the unfair oppression of the official authority. Additionally, this paper argues that similar to State’s discourse, netizens’ discourse did not reject patriarchal values, and in turn emphasized Tang Wei’s female chastity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20censorship" title="film censorship">film censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20film%20stardom" title=" Chinese female film stardom"> Chinese female film stardom</a>, <a href="https://publications.waset.org/abstracts/search?q=party-state%E2%80%99s%20power" title=" party-state’s power"> party-state’s power</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20discourses" title=" national discourses"> national discourses</a>, <a href="https://publications.waset.org/abstracts/search?q=Tang%20Wei" title=" Tang Wei"> Tang Wei</a> </p> <a href="https://publications.waset.org/abstracts/108422/film-censorship-and-female-chastity-exploring-states-discourses-and-patriarchal-values-in-reconstructing-chinese-film-stardom-of-tang-wei" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108422.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">170</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4823</span> Traits and Dilemma: Feminism and Multiple Demands in Young Chinese Female-Directed Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Deng%20Qiaoshan">Deng Qiaoshan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of feminism in the global film industry, feminist expressions in Chinese films have also evolved, reflecting societal focus on gender issues. This article focuses on young Chinese female directors such as Yang Lina, Teng Congcong, and Yang Mingming. Their films now present richer female perspectives and consciously incorporate unique female life experiences. They highlight women's real-life struggles, portraying ’struggling’ female identities—characters facing professional failures and desire identity issues, ultimately returning to family roles. These films commonly explore the ‘mother-daughter relationship’, with some using genre storytelling for commercial appeal and others deconstructing the ‘myth of motherhood’ to reflect reality, rewriting traditional maternal roles. The ‘struggling’ female identity in these directors' films shows an aesthetic of ‘pseudo-reality’, blending realistic situations with poetic, lyrical elements, reflecting their creative traits and internal conflicts. These contradictions are closely related to the unique creative context of Chinese cinema in which they operate. Emerging under China's strict film censorship system, film industrialization, consumerist culture, and internet environment, new-generation directors face multiple demands. How to ‘survive’ amidst complex commercial requirements while creating films with a clear feminist consciousness is the fundamental dilemma faced by young Chinese female directors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20directors" title="female directors">female directors</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism%20film" title=" feminism film"> feminism film</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20dilemma" title=" female dilemma"> female dilemma</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20censorship%20system" title=" film censorship system"> film censorship system</a> </p> <a href="https://publications.waset.org/abstracts/187326/traits-and-dilemma-feminism-and-multiple-demands-in-young-chinese-female-directed-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187326.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">42</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4822</span> Understanding the ‘Third Gender’: A Qualitative Study of the Perception of Being a Leftover Woman among Chinese Female Ph.D. Students </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qian%20Wang">Qian Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent years, a growing number of Chinese women choose to pursue Ph.D. education. Except for the male and female, women with PhD degrees are stigmatized as the ‘third gender’ in Chinese society. People, especially most men, believe that female PhD students challenge the traditional image and gender role of Chinese women. This gender stereotype causes a range of difficulties in finding partners in marriage market for Chinese female PhD students. In this study, the author conducted in-depth interviews with 15 participants who are currently doing their PhD studies in Chinese universities to explore their perceptions of being leftover women on the basis of their experience. All the participants are single. Based on the analysis of qualitative data, this study found that the ‘leftover women’ phenomenon among Chinese female PhD students is the result of the contradictions generated between Chinese patriarchal society and them. Although Chinese female PhD students is an attention-attracting group, the studies about them are very limited in China. This study could not only contribute to the understanding of the ‘third gender’ phenomenon and the ‘leftover women’ studies in China, but also, in practical level, could give some guidance for governments to resolve the social problems of female PhD students. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20Ph.D.%20students" title="Chinese female Ph.D. students">Chinese female Ph.D. students</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20%E2%80%98leftover%20women%E2%80%99" title=" the ‘leftover women’"> the ‘leftover women’</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20Chinese%20patriarchal%20society" title=" the Chinese patriarchal society"> the Chinese patriarchal society</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20role" title=" gender role"> gender role</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20culture" title=" Chinese culture"> Chinese culture</a> </p> <a href="https://publications.waset.org/abstracts/98311/understanding-the-third-gender-a-qualitative-study-of-the-perception-of-being-a-leftover-woman-among-chinese-female-phd-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98311.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">224</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4821</span> ‘Undressed Star’, Sexual Scenes and Discourses in Mass Media: Exploring 1980s Taiwan Female Film Stars’ Onscreen Erotic Acting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xinchen%20Zhu">Xinchen Zhu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the history of Chinese-language film, female stars’ acting is connected with issues of national ideology, consumerism, and sexual politics. In the 1980s, Taiwan entered a period of ‘soft authoritarianism’ in which the economy prospered politics became more democratic, and mass culture became more diverse. Film censorship was more flexible and sexual scenes were increasingly shown on screen. Female stars’ bodies were eroticized and commercialized through sexual and nude scenes and, by challenging conservative film censorship and social taboos, became the focus of mass media. This article will explore how discourses in mass media constructed the erotic images of female stars and, conversely, impacted film censorship, filmmakers and film actresses in 1980s’ Taiwan. This article will regard the eroticized female film stars’ acting as a ‘field’ of internal interaction and continuous reproduction, where the ideology of male dominance and voices of female film stars conflict with each other. Based on textual analysis of female stars’ sexual acting and the debate in mass media, the argument is that the eroticized female bodies were gazed upon on and off the screen. In the discourses of mass media, the artistry of actresses’ erotic acting was not only ignored, devalued and delegitimized, these stars were also labelled as ‘undressed star’ or ‘nude star’ and construed as victims of the film industry. However, the female stars were able to speak through mass media platforms, emphasizing their efforts in erotic acting and highlighting modern female subjectivity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sexual%20scenes" title="sexual scenes">sexual scenes</a>, <a href="https://publications.waset.org/abstracts/search?q=Taiwan%20female%20stars" title=" Taiwan female stars"> Taiwan female stars</a>, <a href="https://publications.waset.org/abstracts/search?q=erotic%20acting" title=" erotic acting"> erotic acting</a>, <a href="https://publications.waset.org/abstracts/search?q=discourses%20in%20mass%20media" title=" discourses in mass media"> discourses in mass media</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20subjectivity" title=" female subjectivity"> female subjectivity</a> </p> <a href="https://publications.waset.org/abstracts/108431/undressed-star-sexual-scenes-and-discourses-in-mass-media-exploring-1980s-taiwan-female-film-stars-onscreen-erotic-acting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108431.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">202</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4820</span> The Development of Chinese Film Market as Factor of Change in Global Hollywood</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marcin%20Adamczak">Marcin Adamczak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The growth of Chinese film market and its dynamic incomparable to any other historical phenomenon has already made China the second world market and potential future leader in 2-3 years period. The growing power of Chines box-office and its future prospects is then the crucial and potentially disturbing factor for persistence of global Hollywood reality. The paper is based on market statistical data. The main findings of the analysis are defining of essential obstacles for the development of Chinese market and its foreign expansion. However, the new strategies employed by the industry (acquisitions of cinema chains abroad, blockbuster made with the involvement of figures from Hollywood star system, coproduction ties within Pacific basin) could be a successful remedy for current shortcomings. The main factor for development will be wider economical framework and maintenance of growth pace. The future state of Chinese film market will be one of the main factors shaping global film culture and film market in following decades of XXI century. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=production%20studies" title="production studies">production studies</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20market" title=" film market"> film market</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20film%20market" title=" Chinese film market"> Chinese film market</a>, <a href="https://publications.waset.org/abstracts/search?q=distribution" title=" distribution"> distribution</a> </p> <a href="https://publications.waset.org/abstracts/88504/the-development-of-chinese-film-market-as-factor-of-change-in-global-hollywood" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88504.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">215</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4819</span> Sororicide in the Forbidden City: Women Oppressing Each Other in the Chinese TV Drama “The Legend of Zhen Huan”</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muriel%20Canas-Walker">Muriel Canas-Walker</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The 2012 TV series "The Legend of Zhen Huan" is one of the most popular and influential historical dramas on Chinese television and is regularly discussed on Chinese social media such as Weibo. Set in the Qing dynasty, the 76 episodes series features palace intrigues focused on female characters. In the Forbidden City, concubines must survive the cruelty of an extreme polygamy system, constantly competing against each other. The patriarchal oppression of the women sequestred in the harem relies on fierce female competition and does not leave much room for compassion. Using Michel Foucault’s theory of power, feminist theories, and visual anthropology, this paper analyzes the complex relationships between the female characters, from their rise to power to their fall from grace, from alliances to betrayals, from sorority to sororicide. This analysis aims to understand what makes this series particularly popular with young female audiences in China and explain its importance in Chinese media. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20TV%20Drama" title="Chinese TV Drama">Chinese TV Drama</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20culture" title=" popular culture"> popular culture</a>, <a href="https://publications.waset.org/abstracts/search?q=Theory%20of%20Power" title=" Theory of Power"> Theory of Power</a> </p> <a href="https://publications.waset.org/abstracts/169214/sororicide-in-the-forbidden-city-women-oppressing-each-other-in-the-chinese-tv-drama-the-legend-of-zhen-huan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169214.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">193</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4818</span> Gender Disparity in Film Industries: A Conceptual Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Daniel%20Edem%20Adzovie">Daniel Edem Adzovie</a>, <a href="https://publications.waset.org/abstracts/search?q=Jakub%20Kudlac"> Jakub Kudlac</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The subtle institutionalization of male dominance in the film industry in the 1930s and its rippling effect of gender imbalance especially, regarding female active participation in film industries across the globe in terms of number and influence, is a worrying trend. The main purpose of the study is to explore the role of gender themes, especially patriarchal themes in films, in influencing the disparity experienced in film industries. Partially, we examine the motivations vis-à-vis the demotivating factors that attract and or refract females from enrolling in film schools against their male contemporaries. Employing a qualitative inquiry with a specific focus on document analysis as well as experts’ opinions in order to ascertain the antecedents and consequences of patriarchal themes in films on female participation in film industries, we drew extant literature from reputable databases such as EBSCO, Scopus, Web of Science, ERIH Plus, Google Scholar as well as notable books on gender and film. Secondly, we conceptualized a research model for a future qualitative research design that could take into consideration a study from at least three different film industries and analyze using thematic analysis. This could help validate the proposed conceptual model of the study. The literature review revealed that culture, to a large extent, influences the patriarchal themes conveyed in films, which inhibits active female participation in film industries. Research implications have been discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20industry" title="film industry">film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=female" title=" female"> female</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20dominance" title=" male dominance"> male dominance</a>, <a href="https://publications.waset.org/abstracts/search?q=patriarchal%20themes" title=" patriarchal themes"> patriarchal themes</a> </p> <a href="https://publications.waset.org/abstracts/130034/gender-disparity-in-film-industries-a-conceptual-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130034.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">136</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4817</span> The Art of Looking (Back): The Female Gaze in Portrait de la Jeune Fille en Feu and Little Women</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Louisa%20Browne%20Kirk">Louisa Browne Kirk</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent press interviews to promote Portrait de la jeune fille en feu (2019, translated to Portrait of a Lady on Fire in English), director and screenwriter Céline Sciamma and actors Adèle Haenel and Noémie Merlant repeatedly state that they understand the film as (if not uniquely, then unusually) produced via and supportive of ‘the female gaze’. Such a way of seeing stands in opposition to ‘the male gaze’, first theorised by Laura Mulvey as the way in which the female figure is a bearer, not maker, of meaning, a silent signifier through and against whom the male creator/viewer produces his fantasies and obsessions. What, then, is the female gaze? How does a woman produce meaning in and through film? Portrait de la jeune fille en feu and another very recent film, Little Women (2019, directed by Greta Gerwig), are unlikely companion films that understand the female gaze to be the act of one woman looking at another woman, a looking that is mediated through the production of art. In Sciamma’s film this looking is sexual and mediated through painting and in Gerwig’s film looking is familial and mediated through writing. In the schema of these films, art, love, looking and meaning are produced through collaboration. The painted and the painter, the written and the writer, are no longer rendered as subject and object but as dual creators, both always seeing and seen. The gaze of the cinematic woman, mediated through shared artistic practice, is ‘the desire-that-gives’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20gaze" title="female gaze">female gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=Gerwig" title=" Gerwig"> Gerwig</a>, <a href="https://publications.waset.org/abstracts/search?q=Sciamma" title=" Sciamma"> Sciamma</a>, <a href="https://publications.waset.org/abstracts/search?q=shared%20artistic%20practice" title=" shared artistic practice"> shared artistic practice</a> </p> <a href="https://publications.waset.org/abstracts/121171/the-art-of-looking-back-the-female-gaze-in-portrait-de-la-jeune-fille-en-feu-and-little-women" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/121171.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">182</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4816</span> 'Detective Chinatown' Series: Writing and Rewriting of Orientalism through the Lens of Culture Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cai%20Yiting">Cai Yiting</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As China's globalization has accelerated, Chinese films have begun to explore and express foreign cultures with greater frequency while simultaneously disseminating Chinese culture. Films shot abroad, including Finding Mr. Right (2013), Somewhere Only We Know (2015), and Wolf Warrior 2 (2017), and others, can be viewed as a reflection of how Chinese cinema conceptualizes and represents foreign countries in the context of globalization. Furthermore, they facilitate the exchange of Chinese and foreign cultures in the context of China's ‘going out’ policy and the Belt and Road Initiative. Nevertheless, it is apparent that these films are primarily motivated by commercial considerations with regard to their initial release. The consistent placement of the Chinatown Detective' film series in the Chinese New Year slot is indicative of the significant influence of the cultural industry on the series' creation. Moreover, the series represents Chen Sicheng's inaugural venture into filming in a multitude of international locations. This paper examines the film series Detective Chinatown through the lens of the cultural industry, analyzing how its production and presentation cater to the demands of the cultural industry by presenting Orientalism and contributing new connotations to it. The series, a product of standardized mass production, commodification and global appeal, reflects Orientalist representations through the exoticization of Chinese culture and the stereotypical and commercial-oriented imagination of Bangkok, New York and Tokyo. This study provides an understanding of the film series' role in contributing to contemporary Orientalism in the context of the culture industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=orientalism" title="orientalism">orientalism</a>, <a href="https://publications.waset.org/abstracts/search?q=culture%20industry" title=" culture industry"> culture industry</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20globalisation" title=" Chinese globalisation"> Chinese globalisation</a>, <a href="https://publications.waset.org/abstracts/search?q=Detective%20Chinatown" title=" Detective Chinatown"> Detective Chinatown</a> </p> <a href="https://publications.waset.org/abstracts/192531/detective-chinatown-series-writing-and-rewriting-of-orientalism-through-the-lens-of-culture-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192531.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">16</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4815</span> An Assessment of Female Representation in Philippine Cinema in Comparison to American Cinema (1975 to 2020)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amanda%20Julia%20Binay">Amanda Julia Binay</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Elise%20Suarez"> Patricia Elise Suarez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Female representation in media is an important subject in the discussion of gender equality, especially in impactful and influential media like film. As the Filipino film industry continues to grow and evolve, the need for analysis on Filipino female representation on screen is imperative. Additionally, there has been limited research made on female representation in the Philippine film scene. Thus, the paper aims to analyze the presence and evolution of female representation in Philippine cinema and compare the findings with that of American films to see how Filipino filmmakers hold their own against the standards of international movements that call for more and better female representation, especially in Hollywood. The participants selected were Filipino and American films released within the years 1975 to 2020 in five (5) year intervals. Twenty (20) critically acclaimed and highest-grossing Filipino films and twenty (20) critically acclaimed and highest-grossing Hollywood films were then subject to the Bechdel and Peirce tests to obtain statistical measures of their female representation. The findings of the study reveal that the presence of female representation in Philippine film history has been consistent and has continued to grow and evolve throughout the years, with strong female leads with vibrant characteristics and diverse stories. However, analysis of female representation regarding American films has shown an extreme lack thereof with more misogynistic, sexist, and limiting ideals. Thus, the study concludes that the state of female representation in Philippine cinema and film industry holds its own when compared to American cinema and film industry and even outperforms it in many aspects of female representation, such as consistent inclusion and depiction of multi-dimensional female leads and female relationships. Hence, the study implies that women’s consistent presence in Philippine cinema mirrors Filipino women’s prominent role in Philippine society and that American cinema must continue to make efforts to change their portrayals of female characters, leads, and relationships to make them more grounded in reality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20representation" title="female representation">female representation</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20studies" title=" gender studies"> gender studies</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=philippine%20cinema" title=" philippine cinema"> philippine cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=American%20cinema" title=" American cinema"> American cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=bechdel%20test" title=" bechdel test"> bechdel test</a>, <a href="https://publications.waset.org/abstracts/search?q=peirce%20test" title=" peirce test"> peirce test</a>, <a href="https://publications.waset.org/abstracts/search?q=comparative%20analysis" title=" comparative analysis"> comparative analysis</a> </p> <a href="https://publications.waset.org/abstracts/144689/an-assessment-of-female-representation-in-philippine-cinema-in-comparison-to-american-cinema-1975-to-2020" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144689.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">381</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4814</span> The Death of Ruan Lingyu: Leftist Aesthetics and Cinematic Reality in the 1930s Shanghai</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chen%20Jin">Chen Jin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This topic seeks to re-examine the New Women Incident in 1935 Shanghai from the perspective of the influence of leftist cinematic aesthetics on public discourse in 1930s Shanghai. Accordingly, an original means of interpreting the death of Ruan Lingyu will be provided. On 8th March 1935, Ruan Lingyu, the queen of Chinese silent film, committed suicide through overdosing on sleeping tablets. Her last words, ‘gossip is fearful thing’, interlinks her destiny with the protagonist she played in the film The New Women (Cai Chusheng, 1935). The coincidence was constantly questioned by the masses following her suicide, constituting the enduring question: ‘who killed Ruan Lingyu?’ Responding to this query, previous scholars primarily analyze the characters played by women -particularly new women as part of the leftist movement or public discourse of 1930s Shanghai- as a means of approaching the truth. Nevertheless, alongside her status as a public celebrity, Ruan Lingyu also plays as a screen image of mechanical reproduction. The overlap between her screen image and personal destiny attracts limited academic focus in terms of the effect and implications of leftist aesthetics of reality in relation to her death, which itself has provided impetus to this research. With the reconfiguration of early Chinese film theory in the 1980s, early discourses on the relationship between cinematic reality and consciousness proposed by Hou Yao and Gu Kenfu in the 1920s are integrated into the category of Chinese film ontology, which constitutes a transcultural contrast with the Euro-American ontology that advocates the representation of reality. The discussion of Hou and Gu overlaps cinematic reality with effect, which emphasizes the empathy of cinema that is directly reflected in the leftist aesthetics of the 1930s. As the main purpose of leftist cinema is to encourage revolution through depicting social reality truly, Ruan Lingyu became renowned for her natural and realistic acting proficiency, playing leading roles in several esteemed leftist films. The realistic reproduction and natural acting skill together constitute the empathy of leftist films, which establishes a dialogue with the virtuous female image within the 1930s public discourse. On this basis, this research considers Chinese cinematic ontology and affect theory as the theoretical foundation for investigating the relationship between the screen image of Ruan Lingyu reproduced by the leftist film The New Women and the female image in the 1930s public discourse. Through contextualizing Ruan Lingyu’s death within the Chinese leftist movement, the essay indicates that the empathy embodied within leftist cinematic reality limits viewers’ cognition of the actress, who project their sentiments for the perfect screen image on to Ruan Lingyu’s image in reality. Essentially, Ruan Lingyu is imprisoned in her own perfect replication. Consequently, this article states that alongside leftist anti-female consciousness, the leftist aesthetics of reality restricts women in a passive position within public discourse, which ultimately plays a role in facilitating the death of Ruan Lingyu. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinematic%20reality" title="cinematic reality">cinematic reality</a>, <a href="https://publications.waset.org/abstracts/search?q=leftist%20aesthetics" title=" leftist aesthetics"> leftist aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=Ruan%20Lingyu" title=" Ruan Lingyu"> Ruan Lingyu</a>, <a href="https://publications.waset.org/abstracts/search?q=The%20New%20Women" title=" The New Women"> The New Women</a> </p> <a href="https://publications.waset.org/abstracts/114501/the-death-of-ruan-lingyu-leftist-aesthetics-and-cinematic-reality-in-the-1930s-shanghai" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114501.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">119</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4813</span> Out of the Shadows: Constructing a Female Gaze in Neo-Noir: Exegesis and Screenplay, The Lonely Drive</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jade%20Bitomsky">Jade Bitomsky</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We all consume films on a daily basis. Yet, we frequently fail to recognize that these narratives shape our social, political, cultural, and economic values and attitudes. Narratives influence our perception; specifically, for this research, our perception of women within the genre of film noir. This creative research project examines to what extent film noir has perpetuated the male gaze and how noir’s representation of women has scripted female gender identity through perpetuated performative acts of femininity. Evolving from this research will be a deconstruction and (re)presentation of the femininity in noir. It will go beyond reiterated examinations, which developed awareness of Hollywood’s oppressive cinematic structures, to subvert the usual phallic diegesis and construct a female gaze in neo-noir screenplay, The Lonely Drive. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=femme%20fatale" title="femme fatale">femme fatale</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20noir%20%28classic%29" title=" film noir (classic)"> film noir (classic)</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20gaze" title=" male gaze"> male gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-noir%20%28contemporary%29" title=" neo-noir (contemporary)"> neo-noir (contemporary)</a>, <a href="https://publications.waset.org/abstracts/search?q=scopophilia" title=" scopophilia"> scopophilia</a> </p> <a href="https://publications.waset.org/abstracts/42523/out-of-the-shadows-constructing-a-female-gaze-in-neo-noir-exegesis-and-screenplay-the-lonely-drive" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/42523.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">227</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4812</span> An Analysis on the Hidden Transcripts and Power: A Cultural Study on Confliction between Mother and Daughter-in-Law in Contemporary Chinese Television Dramas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xiaohui%20Pan">Xiaohui Pan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As the most influential media for the dissemination of Chinese culture, films and television dramas have played cognitive orientation in guiding young audience to understand its cultural value. Taking a retrospective overview of the Chinese domestic film and television dramas in the last decade, it is tangible to notice that Westernization has become irresistible force in the presentation of Chinese youth culture, such as the rise of sensibility, publicity of subjectivity, and the resistance to mainstream discourse. However, the process of deconstruction and transition of these film and television works on Western youth culture brought about more comprehensive conflicts and integration rather than providing a panoramic interpretation to young Chinese. Issues of tradition and modernization, oriental and Western, and serious thinking and the spirit of entertainment overwhelmed those Chinese works. This study attempts to examine the mechanism of young Chinese’s resistance, compromise and re-construction in their marriages during the dynamic cultural intergration between traditional Chinese culture and Western culture. To investigate such a mechanism, this study analyzed four Chinese television dramas themed on family ethics to reveal the conflictions between two generations, mother-in-law and daughter-in-law, aiming to identify their strategies of their struggles. Incorporating the theory of Scott's weapons of the weak, this study examines the dynamic model of the struggles content analysis on their hidden language and the power. The finding shows that young Chinese identified their self-awakening during the resistance. The study also finds out that the external factors might have the functions of switching the power from the strong end to the weak end. The finding of this study can provide useful insights for researchers in this area and for those in the process of exploring cultural integration issues. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=intergration" title="intergration">intergration</a>, <a href="https://publications.waset.org/abstracts/search?q=integration" title=" integration"> integration</a>, <a href="https://publications.waset.org/abstracts/search?q=resistance" title=" resistance"> resistance</a>, <a href="https://publications.waset.org/abstracts/search?q=youth%20culture" title=" youth culture"> youth culture</a> </p> <a href="https://publications.waset.org/abstracts/55912/an-analysis-on-the-hidden-transcripts-and-power-a-cultural-study-on-confliction-between-mother-and-daughter-in-law-in-contemporary-chinese-television-dramas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55912.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">425</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4811</span> Identifying Missing Component in the Bechdel Test Using Principal Component Analysis Method</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raghav%20Lakhotia">Raghav Lakhotia</a>, <a href="https://publications.waset.org/abstracts/search?q=Chandra%20Kanth%20Nagesh"> Chandra Kanth Nagesh</a>, <a href="https://publications.waset.org/abstracts/search?q=Krishna%20Madgula"> Krishna Madgula</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A lot has been said and discussed regarding the rationale and significance of the Bechdel Score. It became a digital sensation in 2013, when Swedish cinemas began to showcase the Bechdel test score of a film alongside its rating. The test has drawn criticism from experts and the film fraternity regarding its use to rate the female presence in a movie. The pundits believe that the score is too simplified and the underlying criteria of a film to pass the test must include 1) at least two women, 2) who have at least one dialogue, 3) about something other than a man, is egregious. In this research, we have considered a few more parameters which highlight how we represent females in film, like the number of female dialogues in a movie, dialogue genre, and part of speech tags in the dialogue. The parameters were missing in the existing criteria to calculate the Bechdel score. The research aims to analyze 342 movies scripts to test a hypothesis if these extra parameters, above with the current Bechdel criteria, are significant in calculating the female representation score. The result of the Principal Component Analysis method concludes that the female dialogue content is a key component and should be considered while measuring the representation of women in a work of fiction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bechdel%20test" title="Bechdel test">Bechdel test</a>, <a href="https://publications.waset.org/abstracts/search?q=dialogue%20genre" title=" dialogue genre"> dialogue genre</a>, <a href="https://publications.waset.org/abstracts/search?q=parts%20of%20speech%20tags" title=" parts of speech tags"> parts of speech tags</a>, <a href="https://publications.waset.org/abstracts/search?q=principal%20component%20analysis" title=" principal component analysis"> principal component analysis</a> </p> <a href="https://publications.waset.org/abstracts/105826/identifying-missing-component-in-the-bechdel-test-using-principal-component-analysis-method" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/105826.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">142</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4810</span> Innovative Pictogram Chinese Characters Representation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=J.%20H.%20Low">J. H. Low</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20H.%20Hew"> S. H. Hew</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20O.%20Wong"> C. O. Wong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper proposes an innovative approach to represent the pictogram Chinese characters. The advantage of this representation is using an extraordinary to represent the pictogram Chinese character. This extraordinary representation is created accordingly to the original pictogram Chinese characters revolution. The purpose of this innovative creation is to assistant the learner learning Chinese as second language (SCL) in Chinese language learning specifically on memorize Chinese characters. Commonly, the SCL will give up and frustrate easily while memorize the Chinese characters by rote. So, our innovative representation is able to help on memorize the Chinese character by the help of visually storytelling. This innovative representation enhances the Chinese language learning experience of SCL. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20e-learning" title="Chinese e-learning">Chinese e-learning</a>, <a href="https://publications.waset.org/abstracts/search?q=innovative%20Chinese%20character%20representation" title=" innovative Chinese character representation"> innovative Chinese character representation</a>, <a href="https://publications.waset.org/abstracts/search?q=knowledge%20management" title=" knowledge management"> knowledge management</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20learning" title=" language learning"> language learning</a> </p> <a href="https://publications.waset.org/abstracts/4346/innovative-pictogram-chinese-characters-representation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4346.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">487</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4809</span> Validation of the Female Sexual Function Index and the Female Sexual Distress Scale-Desire/Arousal/Orgasm in Chinese Women</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lan%20Luo">Lan Luo</a>, <a href="https://publications.waset.org/abstracts/search?q=Jingjing%20Huang"> Jingjing Huang</a>, <a href="https://publications.waset.org/abstracts/search?q=Huafang%20Li"> Huafang Li</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Distressing low sexual desire is common in China, while the lack of reliable and valid instruments to evaluate symptoms of hypoactive sexual desire disorder (HSDD) impedes related research and clinical services. Aim: This study aimed to validate the reliability and validity of the Female Sexual Function Index (FSFI) and the Female Sexual Distress Scale-Desire/Arousal/Orgasm (FSDS-DAO) in Chinese female HSDD patients. Methods: We administered FSFI and FSDS-DAO in a convenient sample of Chinese adult women. Participants were diagnosed by a psychiatrist according to the Diagnostic and Statistical Manual of Mental Disorders, 4th Edition, Text Revision (DSM-IV-TR). Results: We had a valid analysis sample of 279 Chinese women, of which 107 were HSDD patients. The Cronbach's α of FSFI and FSDS-DAO were 0.947 and 0.956, respectively, and the intraclass correlation coefficients of which were 0.86 and 0.89, respectively (the interval was 13-15 days). The correlation coefficient between the Revised Adult Attachment Scale (RAAS) and FSFI (or FSDS-DAO) did not exceed 0.4; the area under the receiver operating characteristic (ROC) curve was 0. 83 when combined FSFI-d (the desire domain of FSFI) and FSDS-DAO to diagnose HSDD, which was significantly different from that of using these scales individually. FSFI-d of less than 2.7 (1.2-6) and FSDS-DAO of no less than 15 (0-60) (Sensitivity 65%, Specificity 83%), or FSFI-d of no more than 3.0 (1.2-6) and FSDS-DAO of no less than 14 (0-60) (Sensitivity 74%, Specificity 77%) can be used as cutoff scores in clinical research or outpatient screening. Clinical implications: FSFI (including FSFI-d) and FSDS-DAO are suitable for the screening and evaluation of Chinese female HSDD patients of childbearing age. Strengths and limitations: Strengths include a thorough validation of FSFI and FSDS-DAO and the exploration of the cutoff score combing FSFI-d and FSDS-DAO. Limitations include a small convenience sample and the requirement of being sexually active for HSDD patients. Conclusion: FSFI (including FSFI-d) and FSDS-DAO have good internal consistency, test-retest reliability, construct validity, and criterion validity in Chinese female HSDD patients of childbearing age. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sexual%20desire" title="sexual desire">sexual desire</a>, <a href="https://publications.waset.org/abstracts/search?q=sexual%20distress" title=" sexual distress"> sexual distress</a>, <a href="https://publications.waset.org/abstracts/search?q=hypoactive%20sexual%20desire%20disorder" title=" hypoactive sexual desire disorder"> hypoactive sexual desire disorder</a>, <a href="https://publications.waset.org/abstracts/search?q=scale" title=" scale"> scale</a> </p> <a href="https://publications.waset.org/abstracts/166915/validation-of-the-female-sexual-function-index-and-the-female-sexual-distress-scale-desirearousalorgasm-in-chinese-women" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166915.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4808</span> A Sociological Exploration of How Chinese Highly Educated Women Respond to the Gender Stereotype in China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qian%20Wang">Qian Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this study, Chinese highly educated women referred to those women who are currently doing their Ph.D. studies, and those who have already had Ph.D. degrees. In ancient Chinese society, women were subordinated to men. The only gender role of women was to be a wife and a mother. With the rapid development of China, women are encouraged to pursue higher education. As a result of this, the number of highly educated women is growing very quickly. However, people, especially men, believe that highly educated women are challenging the traditional image of Chinese women. It is thus believed that highly educated women are very different with the traditional women. They are demonstrating an image of independent and confident women with promising careers. Plus, with the reinforcement of mass media, highly educated women are regarded as non-traditional women. People stigmatize them as the 'third gender' on the basis of male and female. Now, the 'third gender' has become a gender stereotype of highly educated women. In this study, 20 participants were interviewed to explore their perceptions of self and how these highly educated women respond to the stereotype. The study finds that Chinese highly educated women are facing a variety of problems and difficulties in their daily life, and they believe that one of the leading causes is the contradiction between patriarchal values and the views of gender equality in contemporary China. This study gives rich qualitative data in the research of Chinese women and will help to extend the current Chinese gender studies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20highly%20educated%20women" title="Chinese highly educated women">Chinese highly educated women</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20stereotype" title=" gender stereotype"> gender stereotype</a>, <a href="https://publications.waset.org/abstracts/search?q=self" title=" self"> self</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20%E2%80%98third%20gender%E2%80%99" title=" the ‘third gender’"> the ‘third gender’</a> </p> <a href="https://publications.waset.org/abstracts/98816/a-sociological-exploration-of-how-chinese-highly-educated-women-respond-to-the-gender-stereotype-in-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98816.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">195</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4807</span> Cultural Understanding in Chinese Language Education for Foreigners: A Quest for Better Integration</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Linhan%20Sun">Linhan Sun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the gradual strengthening of China's economic development, more and more people around the world are learning Chinese due to economic and trade needs, which has also promoted the research related to Chinese language education for foreigners. Because the Chinese language system is different from the Western language system, learning Chinese is not easy for many learners. In addition, language learning cannot be separated from the learning and understanding of culture. How to integrate cultural learning into the curriculum of Chinese language education for foreigners is the focus of this study. Through a semi-structured in-depth interview method, 15 foreigners who have studied or are studying Chinese participated in this study. This study found that cultural learning and Chinese as a foreign language are relatively disconnected. In other words, learners were able to acquire a certain degree of knowledge of the Chinese language through textbooks or courses but did not gain a deeper understanding of Chinese culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20language%20education" title="Chinese language education">Chinese language education</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20culture" title=" Chinese culture"> Chinese culture</a>, <a href="https://publications.waset.org/abstracts/search?q=qualitative%20methods" title=" qualitative methods"> qualitative methods</a>, <a href="https://publications.waset.org/abstracts/search?q=intercultural%20communication" title=" intercultural communication"> intercultural communication</a> </p> <a href="https://publications.waset.org/abstracts/149458/cultural-understanding-in-chinese-language-education-for-foreigners-a-quest-for-better-integration" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149458.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">171</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4806</span> King Hu’s Manly Cinematic Language but Chinese Martial Arts Feminism in the UK’s 1978 International Movie Guide</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ya-Chen%20Chen">Ya-Chen Chen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The primary objective of this research project is to rectify or supplement the commonly overlooked aspect that the United Kingdom has, in fact, profoundly influenced Director King Hu's cinematic career. Predominantly focused on Hu's connections with Hong Kong, Taiwan, and the United States, thereby neglecting his significant milestones in the UK. Notably, his inclusion in the 1978 International Movie Guide in the UK was instrumental in establishing his reputation and categorizing him among the top five global directors of the time. Additionally, the financial sponsorship from the UK-based Goldcrest Film Company brought his unfinished project, "The Battle for Ono," closer to fruition. Beyond these aspects, this study delves deeply into how Director King Hu and film critic Derek Elley navigated the rise of global (especially British and Hong Kong) feminism and how they reacted to gender dynamics or gender politics—masculine and feminine, yin and yang, male and female—in their cinematic focuses. These are facets often overlooked in the broader film community. Given the scarcity of attention these points usually receive, this research project serves as a targeted intervention, spotlighting these critically under-explored yet crucial topics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=King%20Hu" title="King Hu">King Hu</a>, <a href="https://publications.waset.org/abstracts/search?q=1978%20International%20Movie%20Guide%20in%20the%20UK" title=" 1978 International Movie Guide in the UK"> 1978 International Movie Guide in the UK</a>, <a href="https://publications.waset.org/abstracts/search?q=Derek%20Elley" title=" Derek Elley"> Derek Elley</a>, <a href="https://publications.waset.org/abstracts/search?q=UK-based%20Goldcrest%20Film%20Company" title=" UK-based Goldcrest Film Company"> UK-based Goldcrest Film Company</a> </p> <a href="https://publications.waset.org/abstracts/186718/king-hus-manly-cinematic-language-but-chinese-martial-arts-feminism-in-the-uks-1978-international-movie-guide" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186718.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">52</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4805</span> Rewriting the 'Sick Man' History: Imagining Chinese Masculinity in the Contemporary Military Action Genre</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yongde%20Dai">Yongde Dai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The recent Chinese military action blockbusters, notably known as, Wolf Warrior/Zhan Lang (2015), Operation Mekong/Mei gong he xing dong (2016), Warrior 2/Zhan Lang 2 (2017) and Operation Red Sea/Hong hai xing dong (2018), have achieved phenomenal box-office successes and in particular, Wolf Warrior 2 became China’s highest-grossing film of all time. However, their yearly presence tends to show a paradigmic shift from China’s primacy of wen manliness (soft) to wu masculinity (hard). With the increasing cinematic exposure of a more muscular image manifesting in both the Chinese heroic soldiers and China itself as a rising global power, the backlash of the Chinese public against the proliferation of the feminized masculinity influenced by the ‘pretty-boy’ pop-culture and China’s harder approach to the current Sino-US tensions have correspondingly emerged and continued to brew. Chinese masculinity imagined in these films is one of the key factors that enable a gendered interpretation of the correlation between the Chinese on-screen fantasy and off-screen reality, that is, China’s public and official discourse about the hegemonic masculinity and non-hegemonic masculinity as well as China’s international profile on cinematic appearance and in today’s Sino-US relation. By reading closely at the four megahits as visual-audio texts with Chinese masculinity studies by Kam Louie and Geng Song, this paper attempts to examine the Chinese construction of manliness with historical accounts and argue why and how the recurrent emphasis of hard/military masculinity (wu) on screen are viewed as China’s contemporary rewriting of the ‘sick-man’ history in the film form. Through this investigation, the paper finds that the rewriting of the ‘sick-man’ history in the cinematic world through heroic brawny soldiers comes to resonate a collective anxiety of China in countering the real-life increasing feminized masculinity on the public appearance, particularly on the male celebrities. In addition, the superpower fantasy about China illuminates a hypermasculine imaginary of China as a global rising power and this coincidently echoes China’s current tougher diplomatic strategy tackling the Sino-US trade war, South China sea dispute and Huawei-US lawsuits. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20masculinity" title="Chinese masculinity">Chinese masculinity</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20military%20action%20film" title=" Chinese military action film"> Chinese military action film</a>, <a href="https://publications.waset.org/abstracts/search?q=feminized%20masculinity" title=" feminized masculinity"> feminized masculinity</a>, <a href="https://publications.waset.org/abstracts/search?q=manhood%20and%20nationhood" title=" manhood and nationhood"> manhood and nationhood</a>, <a href="https://publications.waset.org/abstracts/search?q=sick%20man%20of%20Asia" title=" sick man of Asia"> sick man of Asia</a> </p> <a href="https://publications.waset.org/abstracts/112198/rewriting-the-sick-man-history-imagining-chinese-masculinity-in-the-contemporary-military-action-genre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112198.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">146</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4804</span> Queer Lesbian Experience within Chinese Girl's Love Manga Fandom: An Qualitative Study of Sexuality among Chinese Yuri Fans</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ka%20Yi%20Yeung">Ka Yi Yeung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Yuri is a manga culture which refers to the works (manga, literature, TV shows) that depict the intimacy between two girls. It is originally a Japanese culture which then implanted in Chinese fandom after the airing of Maria-sama ga Miteru. There has been a growing fanbase of Yuri culture and most of them are attracted by the subtle and sentimental relationship between girls. The culture is characterized by the spiritual bonding and interactions within girls. A high proportion of female fans in Chinese Yuri community was recorded, and Yamibo forum is their major site for socializing and discussion on Yuri’s work. There is a high tendency that female Yuri fans engaged in a homosexual relationship. However, they seldom directly address themselves as lesbian but non-heterosexual. It is due to the fact that Yuri fans community largely disagrees with the butch-femme role in the mainstream lesbianism. Within Chinese Yuri community, femininity is highly being appreciated. Members with high degree of feminine characteristics are popular among fans community. Besides, since the fans community-based at the online forum, there has been a high tendency that members developed the long-distance relationship. From the in-depth interviews of the research, Yuri fans are mostly pessimistic towards their relationship due to the social and geographical barriers, yet at the same time, they do not lose hope in searching for their true love. This research explored how Chinese Yuri fans challenge the homonormativity in mainstream lesbianism and how they construct their sexual identity through varies discourses on sexuality and homosexual experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20fandom" title="Chinese fandom">Chinese fandom</a>, <a href="https://publications.waset.org/abstracts/search?q=femininity" title=" femininity"> femininity</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=homonormativity" title=" homonormativity"> homonormativity</a>, <a href="https://publications.waset.org/abstracts/search?q=Japanese%20manga" title=" Japanese manga"> Japanese manga</a>, <a href="https://publications.waset.org/abstracts/search?q=lesbianism" title=" lesbianism"> lesbianism</a>, <a href="https://publications.waset.org/abstracts/search?q=sexuality" title=" sexuality"> sexuality</a>, <a href="https://publications.waset.org/abstracts/search?q=queer%20culture" title=" queer culture "> queer culture </a> </p> <a href="https://publications.waset.org/abstracts/64661/queer-lesbian-experience-within-chinese-girls-love-manga-fandom-an-qualitative-study-of-sexuality-among-chinese-yuri-fans" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64661.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">391</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4803</span> Uncovering Consumer Culture-Driven Media in Disguise of Feminism: A Multimodal Content Analysis of Sisters Who Make Wave</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhen%20Li">Zhen Li</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In contemporary China, the rise of consumer culture and feminism has facilitated the ‘She-Economy’, where Chinese women’s consumption power has been boosted along with the thriving Chinese economy. Domestic reality TV shows such as Sisters Who Make Waves (hereafter SWMW) target female audiences by bringing women's issues such as age, appearance, and balance between family and career to the discussion. Against this backdrop, this study adopted multimodal content analysis to investigate how SWMW failed to live up to the feminist goals the show had claimed and how serious women’s issues were consumed and capitalized by the consumer media culture from consumer culture and feminist perspectives. The findings reveal that while the female-themed work claims to uncover the charm that age brings to women over their thirties, it merely mentions female anxiety and uses feminism in disguise to achieve commercial success without in-depth thinking and discussion of what real-life issues women in China are tackling. They further show that the mass media-promoted modern femininity combined with consumerism deepens anxiety over aging among female audiences. The study sheds light on understanding the new development of Chinese femininity and the impact of consumer culture on feminist consciousness in contemporary China. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=consumer%20culture" title="consumer culture">consumer culture</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=multimodal%20content%20analysis" title=" multimodal content analysis"> multimodal content analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=she-economy" title=" she-economy"> she-economy</a> </p> <a href="https://publications.waset.org/abstracts/181420/uncovering-consumer-culture-driven-media-in-disguise-of-feminism-a-multimodal-content-analysis-of-sisters-who-make-wave" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/181420.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">92</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4802</span> Gynocentrism and Self-Orientalization: A Visual Trend in Chinese Fashion Photography </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhen%20Sun">Zhen Sun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study adopts the method of visual social semiotics to analyze a sample of fashion photos that were recently published in Chinese fashion magazines that target towards both male and female readers. It identifies a new visual trend in fashion photography, which is characterized by two features. First, the photos represent young, confident, and stylish female models with lower-class sloppy old men. The visual inharmony between the sexually desirable women and the aged men has suggested an impossibly accomplished sexuality and eroticism. Though the women are still under the male gaze, they are depicted as unreachable objects of voyeurism other than sexual objects subordinated to men. Second, the represented people are usually put in the backdrop of tasteless or vulgar Chinese town life, which is congruent with the images of men but makes the modern city girls out of place. The photographers intentionally contrast the images of women with that of men and with the background, which implies an imaginary binary division of modern Orientalism and the photographers’ self-orientalization strategy. Under the theoretical umbrella of neoliberal postfeminism, this study defines a new kind of gynocentric stereotype in Chinese fashion photography, which challenges the previous observations on gender portrayals in fashion magazines. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion%20photography" title="fashion photography">fashion photography</a>, <a href="https://publications.waset.org/abstracts/search?q=gynocentrism" title=" gynocentrism"> gynocentrism</a>, <a href="https://publications.waset.org/abstracts/search?q=neoliberal%20postfeminism" title=" neoliberal postfeminism"> neoliberal postfeminism</a>, <a href="https://publications.waset.org/abstracts/search?q=self-orientalization" title=" self-orientalization"> self-orientalization</a> </p> <a href="https://publications.waset.org/abstracts/72723/gynocentrism-and-self-orientalization-a-visual-trend-in-chinese-fashion-photography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/72723.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">424</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4801</span> Cultural Identity of Mainland Chinese, Hongkonger and Taiwanese: A Glimpse from Hollywood Film Title Translation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ling%20Yu%20Debbie%20Tsoi">Ling Yu Debbie Tsoi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> After China has just exceeded the USA as the top Hollywood film market in 2018, Hollywood studios have been adapting the taste, preference, casting and even film title translation to resonate with the Chinese audience. Due to the huge foreign demands, Hollywood film directors are paying closer attention to the translation of their products, as film titles are entry gates to the film and serve advertising, informative, aesthetic functions. Other than film directors and studios, comments over quality film title translation also appear on various online clip viewing platforms, online media, and magazines. In particular, netizens in mainland China, Hong Kong, and Taiwan seems to defend film titles in their own region while despising the other two regions. In view of the endless debates and lack of systematic analysis on film title translation in Greater China, the study aims at investigating the translation of Hollywood film titles (from English to Chinese) across Greater China based on Venuti’s (1991; 1995; 1998; 2001) concept of domestication and foreignization. To offer a comparison over time, a mini-corpus was built comprised of the top 70 most popular Hollywood film titles in 1987- 1988, 1997- 1998, 2007- 2008 and 2017- 2018 of Greater China respectively. Altogether, 560 source texts and 1680 target texts of mainland China, Hong Kong, and Taiwan were compared against each other. The three regions are found to have a distinctive style and patterns of translation. For instance, a sizable number of film titles are foreignized in mainland China by adopting literal translation and transliteration, whereas Hong Kong and Taiwan prefer domestication. Hong Kong tends to adopt a more vulgar style by using colloquial Cantonese slangs and even swear words, associating characters with negative connotations. Also, English is used as a form of domestication in Hong Kong from 1987 till 2018. Use of English as a strategy of domestication was never found in mainland nor Taiwan. On the contrary, Taiwanese target texts tend to adopt a cute and child-like style by using repetitive words and positive connotations. Even if English was used, it was used as foreignization. As film titles represent cultural products of popular culture, it is suspected that Hongkongers would like to develop cultural identity via adopting style distinctive from mainland China by vulgarization and negativity. Hongkongers also identify themselves as international cosmopolitan, leading to their identification with English. It is also suspected that due to former colonial rule of Japan, Taiwan adopts a popular culture similar to Japan, with cute and childlike expressions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20identification" title="cultural identification">cultural identification</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnic%20identification" title=" ethnic identification"> ethnic identification</a>, <a href="https://publications.waset.org/abstracts/search?q=Greater%20China" title=" Greater China"> Greater China</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20title%20translation" title=" film title translation"> film title translation</a> </p> <a href="https://publications.waset.org/abstracts/102793/cultural-identity-of-mainland-chinese-hongkonger-and-taiwanese-a-glimpse-from-hollywood-film-title-translation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102793.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">151</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4800</span> Relationships between Chinese Talented Educated Women</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jianghe%20Niu">Jianghe Niu</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhu%20Xiao%20Di"> Zhu Xiao Di</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research uses a qualitative case study of the literature review approach to explore and analyze the relationship between three pairs of famous and talented women in China and uncovers certain regularities. From all kinds of available Chinese materials, such as biographies, memoirs, and news reports, both in papers and from the internet, we carefully selected the following 3 pairs of 6 Chinese women, whose relationships went through upheavals from friendship to jealousy and hostility, and we analyzed many factors contributing to this kind of relationship. (1) Hong Huang and Su Mang, both are leaders in the contemporary Chinese fashion industry as editors-in-chief of major fashion magazines. (2) Lin Huiyin and Xie Bingxin, both are phenomenally successful women in the field of literature and/or architecture throughout most of the 20th century. They are also quite similar in terms of age, family background, professional achievements, and celebrity status, but the former has multiple men's pursuit and admiration, while the latter has fewer. (3) Zhang Ailing and Su Qing, their achievements in the field of literature are remarkably similar, as top two female authors in metropolitan Shanghai during 1940s. They once admired each other's talents very much. Zhang’s husband used to have a relationship with Su Qing, and it was through Su Qing that he met Zhang Ailing. Major Findings: (1) Across the three pairs of case studies, it is observed that the more they are similar to each other in age, family background, education level, career positions, and social statues, the more they are likely to be in discord, jealousy, and hostility. (2) In the relationship between Chinese women, especially between talented, educated women, if there are men involved and one is more adored and favored by men than the other, such as in the 2nd and third pairs, the resulting jealousy deepens the negative relationship between them. (3) The relationship between talented and successful Chinese women, as shown in the third example, where a man was introduced by a woman to her close female friend, and then the man fell in love with her and married her, would undoubtedly deteriorate until jealousy, hatred, and hostility reached climax. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=relationship" title="relationship">relationship</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese" title=" Chinese"> Chinese</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women"> women</a>, <a href="https://publications.waset.org/abstracts/search?q=men" title=" men"> men</a> </p> <a href="https://publications.waset.org/abstracts/159186/relationships-between-chinese-talented-educated-women" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159186.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">86</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4799</span> An Exploratory Study of Chinese Paper-Cut Art in Household Product Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruining%20%20Wu">Ruining Wu</a>, <a href="https://publications.waset.org/abstracts/search?q=Na%20Song"> Na Song</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Paper-cut, as one of the Chinese traditional folk decoration art, has become a unique visual aesthetic characteristics of the Chinese nation in the long-term evolution of cultural symbols. Chinese paper-cut art is the treasure-house for product design in natural resources. This paper first analyzed Chinese folk art of historical origin, cultural background, cultural values, aesthetic value, style features of Chinese paper cut art, then analyzed the design thought and design cases of paper-cut art application in different areas, such as clothing design, logo design and product design areas. Through the research of Chinese paper-cut art culture and design elements, this paper aims to build a household product design concept of Chinese traditional culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=paper-cut%20art" title="paper-cut art">paper-cut art</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=household%20products" title=" household products"> household products</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a> </p> <a href="https://publications.waset.org/abstracts/64971/an-exploratory-study-of-chinese-paper-cut-art-in-household-product-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64971.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">613</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4798</span> Digital Development of Cultural Heritage: Construction of Traditional Chinese Pattern Database</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaojian%20Li">Shaojian Li</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The traditional Chinese patterns, as an integral part of Chinese culture, possess unique values in history, culture, and art. However, with the passage of time and societal changes, many of these traditional patterns are at risk of being lost, damaged, or forgotten. To undertake the digital preservation and protection of these traditional patterns, this paper will collect and organize images of traditional Chinese patterns. It will provide exhaustive and comprehensive semantic annotations, creating a resource library of traditional Chinese pattern images. This will support the digital preservation and application of traditional Chinese patterns. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digitization%20of%20cultural%20heritage" title="digitization of cultural heritage">digitization of cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20Chinese%20patterns" title=" traditional Chinese patterns"> traditional Chinese patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20humanities" title=" digital humanities"> digital humanities</a>, <a href="https://publications.waset.org/abstracts/search?q=database%20construction" title=" database construction"> database construction</a> </p> <a href="https://publications.waset.org/abstracts/182148/digital-development-of-cultural-heritage-construction-of-traditional-chinese-pattern-database" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182148.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">59</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4797</span> Corpus-Assisted Study of Gender Related Tiger Metaphors in the Chinese Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Na%20Xiao">Na Xiao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Animal metaphors have many different connotations, ranging from loving emotions to derogatory epithets, but gender expressions using animal metaphors are often imbalanced. Generally, animal metaphors related to females tend to be negative. Little known about the reasons for the negative expressions of animal female metaphors in Chinese contexts still have not been quantified. The Modern Chinese Corpus at the Center for Chinese Linguistics at Peking University (CCL Corpus) provided the data for this research, which aims to identify the influencing variables of gender differences in the description of animal metaphors mapping humans in Chinese by observing the percentage of "tiger" metaphor, which is based on the conceptual metaphor theory. A quantitative research method was used in this study to statistically examine the gender attitude percentage of the "tiger" metaphor using corpus data. This study has proved that the tiger metaphors associated with humans in the Chinese context tend to be negative. Importantly, this study has also shown that the high proportion of tiger metaphorical idioms is what causes the high proportion of negative tiger metaphors that are related to women. This finding can be used as crucial information for future studies on other gender-related animal metaphorical idioms and can offer additional insights for understanding trends in other animal metaphors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese" title="Chinese">Chinese</a>, <a href="https://publications.waset.org/abstracts/search?q=CCL%20corpus" title=" CCL corpus"> CCL corpus</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20differences" title=" gender differences"> gender differences</a>, <a href="https://publications.waset.org/abstracts/search?q=metaphorical%20idioms" title=" metaphorical idioms"> metaphorical idioms</a>, <a href="https://publications.waset.org/abstracts/search?q=tigers" title=" tigers"> tigers</a> </p> <a href="https://publications.waset.org/abstracts/152992/corpus-assisted-study-of-gender-related-tiger-metaphors-in-the-chinese-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152992.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">108</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4796</span> The Stereotypes of Female Roles in TV Drama of Taiwan and Japan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ya%20Ting%20Tang">Ya Ting Tang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Social learning theory has told us that the cognitions of gender roles come from learning. Thus, the images of gender roles which media describes will shape our cognitions. Taiwan and Japan are both in the East Asian cultural Sphere, and more or less influenced by the traditional Chinese culture. But our social structure and changes must be different. Others, the study also concerns that, with the rise of female consciousness in society, whether the female stereotype in drama of Taiwan and Japan are improved. This research first uses content analysis to analyze drama of Taiwan and Japan in 2003 and 2013 on how to shape female roles. Then use text analysis to conduct a qualitative analysis. Result of this study showed that drama on how to depict women indeed have changed, women are no longer just talk about love, but can serve as president or doctor, and show its mettle in the workplace. In Japanese drama, the female roles have diverse occupation than Taiwanese drama, and not just a background character set. But in most Taiwanese drama, female roles are given a career, but it always put emphasis on women emotionally. To include, although the stereotype in the drama of Taiwan and Japan are improved, female will still be derided due to their ages, love or marriage situations. Taiwanese drama must depict the occupation of female more diverse and let the female roles have more space to play, rather than focusing on romance which women of any occupation can have. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20images" title="female images">female images</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotype" title=" stereotype"> stereotype</a>, <a href="https://publications.waset.org/abstracts/search?q=TV%20drama" title=" TV drama"> TV drama</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20roles" title=" gender roles"> gender roles</a> </p> <a href="https://publications.waset.org/abstracts/13666/the-stereotypes-of-female-roles-in-tv-drama-of-taiwan-and-japan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13666.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">278</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4795</span> Commodification of the Chinese Language: Investigating Language Ideology in the Chinese Complementary Schools’ Online Discourse</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yuying%20Liu">Yuying Liu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Despite the increasing popularity of Chinese and the recognition of the growing commodifying ideology of Chinese language in many contexts (Liu and Gao, 2020; Guo, Shin and Shen 2020), the ideological orientations of the Chinese diaspora community towards the Chinese language remain under-researched. This research contributes seeks to bridge this gap by investigating the micro-level language ideologies embedded in the Chinese complementary schools in the Republic of Ireland. Informed by Ruíz’s (1984) metaphorical representations of language, 11 Chinese complementary schools’ websites were analysed as discursive texts that signal the language policy and ideology to prospective learners and parents were analysed. The results of the analysis suggest that a move from a portrayal of Chinese as linked to student heritage identity, to the commodification of linguistic and cultural diversity, is evident. It denotes the growing commodifying ideology among the Chinese complementary schools in the Republic of Ireland. The changing profile of the complementary school, from serving an ethnical community to teaching Chinese as a foreign language for the wider community, indicates the possibility of creating the a positive synergy between the Complementary school and the mainstream education. This study contributes to the wider discussions of language ideology and language planning, with regards to modern language learning and heritage language maintenance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=the%20Chinese%20language%3B" title="the Chinese language;">the Chinese language;</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20as%20heritage%20language" title="Chinese as heritage language">Chinese as heritage language</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20as%20foreign%20language" title="Chinese as foreign language">Chinese as foreign language</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20community%20schools" title="Chinese community schools">Chinese community schools</a> </p> <a href="https://publications.waset.org/abstracts/149725/commodification-of-the-chinese-language-investigating-language-ideology-in-the-chinese-complementary-schools-online-discourse" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149725.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">135</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20film%20stardom&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20film%20stardom&page=3">3</a></li> <li class="page-item"><a class="page-link" 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href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20film%20stardom&page=10">10</a></li> <li class="page-item disabled"><span class="page-link">...</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20film%20stardom&page=160">160</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20film%20stardom&page=161">161</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20film%20stardom&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a 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