scholarly journals How Culture Influences Emotion Display in Transnational Television Formats: The Case of The Voice of China

2018 ◽  
Vol 6 (3) ◽  
pp. 40-47
Author(s):  
Yuanchen Zhang
Keyword(s):  
Chinese Culture ◽  
Cultural Influence ◽  
Chinese Version ◽  
Social Situations ◽  
Media Communication ◽  
Television Production ◽  
Production Practice ◽  
The Aesthetic ◽  
The Voice ◽  
Television Formats

Both television production practice and academic writings indicate the necessity of the localization of TV formats to fit sociocultural circumstances in different countries. This article narrows its focus to the issue of emotion display during localization. Inspired by Paul Ekman’s <em>neurocultural theory of emotion</em>, which describes human emotion expression in actual social situations, this article attempts to apply Ekman’s ideas about relations between culture and emotion to the field of media communication and to build a theoretical framework for the analysis of cultural influence in emotion display during the adaptation of a TV format. Applying the theoretical findings to the case of the singing competition show <em>The Voice of China </em>(adapted from <em>The Voice of Holland</em>), this article shows how the collectivist nature of Chinese culture influences the aesthetic and dramatic tools used to elicit emotion and to control emotion display in the Chinese version of the show.

scholarly journals Cultural influence on the aesthetic judgment of architecture

2021 ◽  
Author(s):  
ANBANG DAI
Keyword(s):  
Chinese Culture ◽  
Aesthetic Experience ◽  
Cultural Influence ◽  
Aesthetic Judgment ◽  
Open Spaces ◽  
Post Hoc Analysis ◽  
Ceiling Height ◽  
The Aesthetic ◽  
Post Hoc ◽  
Culture Dependent

Architects should consider the aesthetic experience of potential users when designingarchitectures. Previous studies have shown that subjective aesthetic judgment ofarchitectures is influenced by Structure features, and Western observers preferstructures that have curvilinear contours, high ceilings, and open spaces. The commonbuilding styles, however, vary across cultures, and may potentially influence observer'saesthetic preference. It remains unclear whether the preference for contours, ceilingheight, and openness is universal or culture dependent. To investigate this issue, thisstudy analyzes the aesthetic judgment of Chinese observers, and the results demonstratethat Chinese observers also prefer high ceilings and open spaces, similar to previousresults based on Western observers. Preference for curvilinear contours is also observedbut strongly interacts with ceiling height and openness. Post hoc analysis reveals thatChinese observers prefer curvilinear contours only when the ceiling is low and the spaceis closed. In sum, these results suggest that preferences for high ceilings and openspaces are observed in both Western cultures and in the Chinese culture. Thepreference for curvilinear contours, however, is less reliable in the Chinese culture.

Dylan Thomas' Under Milk Wood, ‘a Play for Voices’ on Radio, Stage and Television

2014 ◽  
Vol 9 (3) ◽  
pp. 77-88 ◽  
Author(s):  
Amanda Wrigley
Keyword(s):  
Textual Analysis ◽  
Comparative Approach ◽  
Television Production ◽  
Communicative Strategies ◽  
Visual Dimension ◽  
Radio Play ◽  
Dylan Thomas ◽  
The Aesthetic ◽  
Aesthetic Values

Dylan Thomas' radio play Under Milk Wood was performed on stage and television soon after its BBC radio premiere won the Prix Italia in 1954. Textual analysis of the 1957 BBC television production demonstrates how it contributed new resonances deriving from the medium's performative conventions and communicative strategies. The nature of the aesthetic values sought by the professional critic and the domestic viewer are evaluated: it is observed that the comparative approach of critics, focusing overwhelmingly on the work's originating form, inhibits full engagement with the innovative creative possibilities of performances of Under Milk Wood in forms of representation with a visual dimension.

“Lamaism” and the Disappearance of Tibet

1996 ◽  
Vol 38 (1) ◽  
pp. 3-25 ◽  
Author(s):  
Donald S. Lopez
Keyword(s):  
Nineteenth Century ◽  
National Gallery ◽  
Qing Empire ◽  
The West ◽  
Abstract Noun ◽  
Age Of Exploration ◽  
Coffee Table ◽  
The Aesthetic ◽  
The Individual ◽  
The Voice

At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.

scholarly journals Translation of Classics by JX Native Literati of Song Dynasty from the Perspective of Translation Aesthetics

2018 ◽  
Vol 8 (7) ◽  
pp. 860
Author(s):  
Yuying Li ◽  
Yuming Zhang
Keyword(s):  
Song Dynasty ◽  
Chinese Culture ◽  
Classical Literature ◽  
Aesthetic Value ◽  
The Song Dynasty ◽  
Large Numbers ◽  
Tang And Song Dynasties ◽  
National Power ◽  
Ancient Times ◽  
The Aesthetic

With the significant growth of China's comprehensive national power, Chinese culture should not only "bring in" but also "go out". Chinese culture is extensive and profound, and classical literature has reached its peak in the Tang and Song dynasties. Jiangxi has been full of natural resources and outstanding people since ancient times, especially in the Song dynasty, when people of talent came forth in large numbers and created brilliant heritage of classic literary works for their offspring. Therefore, study on the translation of classics by JX native literati of Song Dynasty has very important academic value, application value and popularization meaning. Based on the modern translation aesthetics theory, this paper discusses how English translation of Chinese classics represents the beauty and the aesthetic value of the original from the perspective of rhetorical devices, form, images, and emotion respectively, in the hope to carry forward Chinese classics and Chinese culture.

scholarly journals CREATION OF A SPIRITUAL ATMOSPHERE OF A SACRED SPACE

2021 ◽  
pp. 16-27
Author(s):  
Liliia Gnatiuk
Keyword(s):  
Historical Development ◽  
Sacred Space ◽  
General Situation ◽  
Social Situations ◽  
History Of ◽  
Constant Feature ◽  
Human Thinking ◽  
The Aesthetic ◽  
Art And Architecture

The article analyzes the history of changes in the role of art and the meaning of the symbol in the formation of the sacred space of architecture, which is presented through the consideration of the symbolic understanding of material forms and objects in the traditional and modernist representation. The historical development of the concept of symbol and its representation in art and architecture is presented. The development of the aesthetic category of "beauty" in historical development is represented. Three theories of understanding the concepts of the symbol are considered: "traditional", "hegelian" and "cashier", which in the twentieth century had almost the same influence. The source of origin and interpretation of the content of the symbol in the sacred space is presented. The role of a person (artist and recipient) is analyzed, which is to read the revealed symbols and write them in language, myths or art in a way accessible to human resources. The phenomenon of perception in certain visible figures of objects is an expression of a more general situation, an expression of a certain type of views or collective beliefs. Symbols pointing out not to the sacred reality, but to certain intellectual tendencies, social situations or expressions of culture are singled out. Contradictions in the perception of sacred space and reading the symbolism of its content are considered. Religion, art, science, language are presented as forms of human thinking about reality with forms of epistemologically understandable symbol. The need to take into account the relationship between certain forms and messages that are transmitted through them in the formation of sacred space. There is also an attempt to adapt the principles of modernism to the needs of the formation of sacred space based on the concept of "seven plans" by Rudolf Schwartz, in which after the suspension of historical knowledge seeks the essence of the phenomenon, understood as its constant feature.

Chinese Rock ‘n’ Roll Film and Cui Jian on Screen

2013 ◽  
Author(s):  
Ying Xiao
Keyword(s):  
Urban Youth ◽  
Rock Music ◽  
First Century ◽  
The Core ◽  
Ambient Sound ◽  
Twenty First Century ◽  
Rock N Roll ◽  
The Aesthetic ◽  
The Voice

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.

Vietnamese Artists in Paris

2018 ◽  
Author(s):  
Ann Proctor
Keyword(s):  
20Th Century ◽  
Cultural Influence ◽  
World's Fair ◽  
International Exhibitions ◽  
Art Works ◽  
Overseas Travel ◽  
French Colonial ◽  
The Aesthetic ◽  
Radical Transformation

Vietnam was a French colony when the artistic and cultural influence of Paris was at its peak. Despite this, few Vietnamese ventured to France in order to establish or further their artistic education. Reasons for this anomaly include the fact that prior to the middle of the 20th century few Vietnamese left the place where they were born, and that French colonial rule restricted overseas travel for their subjects. The very few artists who went to France were from privileged backgrounds, and generally traveled either under a scholarship or in association with international exhibitions, such as the Colonial Exhibition in Paris (1931) or the 1937 World’s Fair. Artists who moved overseas for political reasons rarely returned to Vietnam, but those who did return in the first half of the 20th century contributed to a radical transformation in Vietnamese painting and sculptural practice, moving Vietnamese art into a modern international framework. Changes occurred in the aesthetic and physical appearance of art works, the way arts education was received, the manner in which art works circulated, and ultimately in the societal role of the artist (prior to colonization, Vietnamese art was generally produced within specific guilds).

The “Coming” Epic of Freedom: Reading Sri Aurobindo’s Savitri as a Mythopoesis in Opposition to Sovereign Control

2021 ◽  
Vol 9 (2) ◽  
pp. 201-218
Author(s):  
Dr. Indrani Datta Chaudhuri
Keyword(s):  
Third World ◽  
General Trend ◽  
Future Generations ◽  
The West ◽  
Epic Poem ◽  
Aesthetic Autonomy ◽  
New Nation ◽  
The Aesthetic ◽  
The Voice

There is a general trend among Western critics, and scholars influenced by the West, to stereotype Third World Literatures, particularly those from India, either as the voice of national consolidation or as providing the emancipated West with the required dose of mysticism and spiritualism. Sri Aurobindo’s works have fallen within either of these two categories. As a result, much of the aesthetic autonomy of his writings have been ignored. This article focuses on the unique quality of Sri Aurobindo’s works, with particular reference to his epic poem Savitri, and shows how he recreates indigenous and classical Indian legends, myths and symbols to subvert sovereign control initiated by the West. Savitri emerges as the representative epic for a new nation that has much more to offer to the future generations apart from the intangible ideas of mysticism and spiritualism. By reinforcing the concept of Shakti and the Mother as the primal Universal Consciousness the mythopoesis in Savitri stands in opposition to the anthropocentric and the anthropogenic machines of sovereignty, both ancient and modern. It establishes the fact that in the human resides the divine and that divinity is a kind of life that can be lived on this earth.

scholarly journals Nothingness in motion: Theorizing Bruce Lee’s action aesthetics

2019 ◽  
Vol 4 (3) ◽  
pp. 362-380
Author(s):  
Wayne Wong
Keyword(s):  
Chinese Culture ◽  
Cultural Significance ◽  
Kung Fu ◽  
Bruce Lee ◽  
Political Implications ◽  
Chinese Aesthetics ◽  
Global Action ◽  
The Aesthetic ◽  
Action Cinema ◽  
Shed Light

This article argues that Bruce Lee revolutionized kung fu cinema not only by increasing its authenticity and combativity but also by revealing its inherent connection to wuyi (武意), or martial ideation. Martial ideation refers to a specific negotiation of action and stasis in martial arts performance which contains a powerful overflow of emotion in tranquility. Since the early 1970s, Bruce Lee’s kung fu films have been labeled “chop-socky,” offering only fleeting visual and visceral pleasures. Subsequently, several studies explored the cultural significance and political implications of Lee’s films. However, not much attention has been paid to their aesthetic composition—in particular, how cinematic kung fu manifests Chinese aesthetics and philosophy on choreographic, cinematographic, and narrative levels. In Lee’s films, the concept of martial ideation is embodied in the Daoist notion of wu (nothingness), a metaphysical void that is invisible, nameless, and formless. Through a close reading of Laozi’s Daodejing (道德經), it is possible to discover two traits of nothingness—namely, reversal and return—which are characteristics of Lee’s representation of martial ideation. The former refers to a paradigmatic shift from concreteness to emptiness, while the latter makes such a shift reversible and perennial via the motif of circularity. The discussion focuses on films in which Lee’s creative influence is clearly discernible, such as Fist of Fury (1972), The Way of the Dragon (1972), and the surviving footage intended for The Game of Death featured in Bruce Lee: A Warrior’s Journey (2000). These films shed light on the complicated relationship between the cinematic (action and stasis), the martial (Jeet Kune Do), the aesthetic (ideation), and the philosophical (Daoism). The goal is to stimulate a more balanced discussion of Lee’s films both from the perspective of global action cinema and Chinese culture.

scholarly journals New Practice of International Communication of Chinese Films under the Sight of “The Belt and Road”—— Taking the Film “Xuan Zang” as an Example

2019 ◽  
Vol 2 (3) ◽  
pp. 16
Author(s):  
Dengyi Wang
Keyword(s):  
Chinese Culture ◽  
Cultural Influence ◽  
International Communication ◽  
Belt And Road Initiative ◽  
International Consensus ◽  
Communication Practice ◽  
Belt And Road ◽  
Communication Practices ◽  
Chinese Films ◽  
The Belt And Road

At present, “The Belt and Road” initiative has risen from the China initiative to an international consensus and has become a popular international public product and a high-profle international cooperation platform. As the soul of the “Belt and Road”, culture’s leading advantages can promote the all-round and multi-feld exchanges and cooperation between China and various countries along “The Belt and Road”. As an important carrier for spreading Chinese culture, domestic flms play an important role in further expanding the international communication practice of Chinese cultural influence. This paper takes the flm “Xuan Zang” as an example, explores the new international communication practices of domestic flms under the framework of “The Belt and Road”, sums up the new path of domestic flm international communication, and looks forward to the new opportunities and bright prospects of cooperation in the feld of flm and television art under the framework of “The Belt and Road”.

Sign in / Sign up

Export Citation Format

Share Document