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Geo-cultural Foundation for the Formation of Northeast Asian Film Culture
Wen Caiyun 인하대학교 다문화융합연구소 2018 다문화와 교육 Vol.3 No.1
Geographic effect is an extremely important factor that affects the formation and development of a civilization. Northeast Asia, including China, Japan, South Korea, North Korea, Russia (the Far East and Siberia) and Mongolia, is a cultural concept formed by geopolitics. As an important part of spiritual culture, the films in Northeast Asian countries originate from the unique geographical features, economic systems and values of Northeast Asia. They have a long history of film culture communication and exchange and jointly form a film culture community in Northeast Asia. Geographic effect is an extremely important factor that affects the formation and development of a civilization. Northeast Asia, including China, Japan, South Korea, North Korea, Russia (the Far East and Siberia) and Mongolia, is a cultural concept formed by geographic relations. As an important part of spiritual culture, the movies in Northeast Asian countries originate from the unique geographical features, economic systems and values of Northeast Asia, and had a long history of film culture communication and exchange, forming a cultural community of Northeast Asian film together. The author believes that from the economic structure point of view, countries in Northeast Asia have the idea of economic integration and specific implementation policies. Northeast Asian regional economic integration has taken shape and constitutes the economic basis of northeast Asian film culture. From the perspective of film policy, countries in Northeast Asia have formulated effective policies on film cooperation and long-term cooperation in filmmaking to form the driving force behind the film culture in Northeast Asia. From the perspective of spiritual cultural core, the strong cohesion of the Confucian cultural circle and the historical long-term film and cultural exchanges have allowed Northeast Asian countries to form a common spiritual bond. The other culture perspective of the Western culture has also given Northeast Asian film culture a holistic image. Of course, at present, the film cooperation in various countries in Northeast Asia also lacks the deviation of policy support from other countries and the deviation of policy direction. There are also differences in culture among different countries. However, the author believes that the common oriental cultural background and the needs of market cooperation will promote the formation of a cultural community in northeast Asia.
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The “Root-seeking” Journey of Chinese Film In the New Era
Wen Caiyun 인하대학교 다문화융합연구소 2019 다문화와 교육 Vol.4 No.1
In the 1980s, responding to the root-seeking literary trend in the field of literature, a wave of cultural root-seeking in the fieldof film art also set off. The fifth-generation and the sixth-generation directors who were deeply influenced by Chinese traditional culture expressed and displayed the deep psychology of the national culture to the audience through the film intentionally or unintentionally. These Chinese films also met the cultural aesthetic psychology of the Chinese audience. These directors had strong cultural awareness. From the perspective of archetype theory, the root-seekingculture is essentially the inheritance and pursuit of the traditional patriarchal culture of the modern sub-culture, which is accompanied by cultural criticism and reflection. This paper attempts to use the method of archetypal criticism to broaden the narrow channel of film criticism, collect and analyze the problems that may have been left behind, and make the seemingly random film works in an orderly state. Through the analysis of the archetype of the father and son in the cultural root-seekingfilm since the new era in China, the author believes that the father and son archetype mainly manifests in two aspects in the film. One aspect is father-searching and Electra complex of cultural root-seeking, the other aspect is patricide and filicide of contradictory confrontation. These father-son archetypes come from ancient myths and are presented in contemporary film art, reflecting the confusion that ancient Chinese traditional culture faced in the process of modernization in the context of globalization. In the impact of the patriarchal traditional culture and the modern subculture, the kids of culture have different cultural choices such as worship and surrender, contradiction and confrontation.
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Research on Symbolic Color System in the Movie Curse of the Golden Flower
Wen Caiyun 인하대학교 다문화융합연구소 2020 다문화와 교육 Vol.5 No.1
In Chinese history, yellow has not been an ordinary color. The movie Curse of the Golden Flower uses yellow a lot, making yellow a complex symbol. The article combines color psychology and archetypal research to analyze yellow in the film, and believes that yellow has four symbolic meanings: one symbolizes the kingship: the highest wealth and power; the second is the symbolic contradiction: the complexity and entanglement of human nature; the third is the symbolic love: the blazing and sin of unrequited love; the fourth is symbolic of gender confrontation.
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WEN Caiyun,PAN Xingmei 인하대학교 다문화융합연구소 2023 다문화와 교육 Vol.8 No.3
Adolescent women are at an important stage in the formation of the concept of marriage and love and the stage of marriage and love preparation, and the concept will have an important impact on them. This thesis takes the female college students in mainland China as the research object, and adopts the questionnaire survey method and the in-depth interview method to explore the influence of the fujoshi culture on the concept of marriage and love of the fujoshi group. On the whole, fujoshi culture has influenced the concept of marriage and love of contemporary female college students as a whole, The greater the exposure of fujoshi culture to female college students, and the larger the number of those reading TANBI works, the bigger the impact on those young women. The fujoshi culture has no significant influence on the mate selection and emotional value dimensions of female college students, and has a greater influence on the nature of marriage, love value, sex ethics and gender orientation. Compared with the non-fujoshi, the fujoshi pays more attention to the equal contribution in the relationship between marriage and love, and fully supports the economic independence of women and opposes the unilateral sacrifice of women in traditional marriage. In all dimensions of the concept of marriage and love, the fujoshi culture has the greatest influence on the sexual concept of the fujoshi group. They are more open to sexual orientation and more likely to accept homosexuality and same-sex marriage, and even pursue homosexuality in their lives.
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