A Study on Korean and Chinese Courtroom Films Based on Spatial Narrative Theory - Taking the Korean Film The Attorney and the Chinese Film Silent Witness as Examples -

2021 ◽  
Vol 22 ◽  
pp. 263-282
Author(s):  
Shi-Jiang Wen ◽  
◽  
Jong-Hoon Yang
Keyword(s):  
Narrative Theory ◽  
Chinese Film ◽  
Spatial Narrative ◽  
Korean Film

scholarly journals Study on the Design of Luxury Exhibition Space Based on Narrative Theory

2021 ◽  
Vol 236 ◽  
pp. 05060
Author(s):  
Liu Ke ◽  
Liu Xiaodong
Keyword(s):  
Interdisciplinary Research ◽  
Research Method ◽  
Narrative Theory ◽  
Emotional Communication ◽  
Luxury Brands ◽  
Analysis Method ◽  
Systematic Analysis ◽  
Exhibition Space ◽  
Spatial Narrative ◽  
The Relationship

This thesis will take the narrative theory as the foundation, analyzing the narrative method of luxury display space. The author adopts the literature research method, systematic analysis method, and interdisciplinary research method to study the luxury display space. By discussing the relationship between the narrative theory and luxury exhibition space, and combining with the cases of luxury brand exhibition space, this paper explores how to apply the narrative theory to the design of luxury exhibition space. Re-examining the spatial narrative from an interdisciplinary perspective is not only conducive to the emotional communication between brands and consumers, but also conducive to the value construction and promotion of luxury brands.

scholarly journals The South Korean film industry and the Chinese film market

Screen ◽  
2019 ◽  
Vol 60 (2) ◽  
pp. 332-341
Author(s):  
Sangjoon Lee
Keyword(s):  
Film Industry ◽  
The South ◽  
Chinese Film ◽  
South Korean ◽  
Korean Film ◽  
Film Market

scholarly journals Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road

2017 ◽  
Vol 2 (1) ◽  
pp. 74-89 ◽  
Author(s):  
Kai Soh ◽  
Brian Yecies
Keyword(s):  
Mainland China ◽  
Social Networking Site ◽  
Chinese Cinema ◽  
New Era ◽  
Chinese Film ◽  
Korean Wave ◽  
Film Content ◽  
Korean Chinese ◽  
The Government ◽  
Korean Film

Since the early 2000s, the Korean Wave (aka Hallyu) has influenced Greater China in enterprising and complex ways that diverge from the ways in which Hallyu has impacted other markets. At the same time, since China joined the Word Trade Organization in 2001, art, culture and media production have been largely transformed from vehicles for state propaganda into new gateways for producing and showcasing popular commercial entertainment. Korean producers have played a significant role in this evolving transformation, albeit in a cultural space that the Government of Mainland China still uses and shapes as an important mouthpiece of the Party-state. While media headlines accentuate these progressive pathways, there is a dearth of scholarly commentary on the ways in which Korean film practitioners are contributing to this new era of cultural globalisation in China. To shed light on this emerging topic, the authors examine Chinese audiences’ reception of the Korean film Miss Granny (2014) and the most successful Korean–Chinese co-production to date, its Chinese remake 20 Once Again (2015). The article utilises data drawn from Douban, a major Chinese entertainment and popular culture social networking site, to assess the ‘inconspicuous’ impact of the cinematic component of the Korean Wave on Chinese cinema. In taking this approach, the authors seek to assess the importance of localized film content for Chinese audiences, as well as canvassing a range of hitherto unknown opinions about ‘Korean’ and ‘Chinese’ styles of storytelling.

Peering Beyond the Imperial Gaze: Using Digital Tools to Construct a Spatial History of Conquest

2017 ◽  
Vol 11 (1) ◽  
pp. 39-54 ◽  
Author(s):  
Jeremy M. Mikecz
Keyword(s):  
Indigenous People ◽  
Indigenous Peoples ◽  
Narrative Analysis ◽  
Digital Tools ◽  
Spanish Conquest ◽  
Digital Maps ◽  
Spatial History ◽  
Colonial Texts ◽  
History Of ◽  
Spatial Narrative

Ethnohistorians and other scholars have long noted how European colonial texts often concealed the presence and participation of indigenous peoples in New World conquests. This scholarship has examined how European sources (both texts and maps) have denied indigenous history, omitted indigenous presence, elided indigenous agency, and ignored indigenous spaces all while exaggerating their own power and importance. These works provide examples of colonial authors performing these erasures, often as a means to dispossess. What they lack, however, is a systematic means of identifying, locating, and measuring these silences in space and time. This article proposes a spatial history methodology which can make visible, as well as measurable and quantifiable the ways in which indigenous people and spaces have been erased by colonial narratives. It presents two methods for doing this. First, narrative analysis and geovisualization are used to deconstruct the imperial histories found in colonial European sources. Second it combines text with maps to tell a new (spatial) narrative of conquest. This new narrative reconstructs indigenous activity through a variety of digital maps, including ‘mood maps’, indigenous activity maps, and maps of indigenous aid. The resulting spatial narrative shows the Spanish conquest of Peru was never inevitable and was dependent on the constant aid of immense numbers of indigenous people.

The Early Chinese Film Narrative

2018 ◽  
Vol 14 (3) ◽  
pp. 251-284
Author(s):  
김서운 ◽  
HyoIn Yi
Keyword(s):  
Chinese Film
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