Against the backdrop of the experience economy and the rise of emotional consumption, Jubensha (particularly those centered on emotional narratives) have emerged as a quintessential phenomenon of "paying for emotions". Drawing on media theory, emotional labor theory, and consumer society theory, this paper constructs a framework for the emotional commodification industrial chain by using the examples of Eternal Glory (LiuFang in Chinese) and The Seven-Thousand-Mile Homecoming (Gui Tu Qi Wan Li in Chinese). The study systematically elucidates the entire process of emotional commodification in Jubensha, spanning script design, production, venue operations, and symbolic consumption. Findings reveal that emotions are systematically commodified within the Jubensha industry, forming an efficient production and consumption chain. The study further highlights the risks of homogenization, instrumentalization, and diminished authenticity in existing works. This research offers new perspectives on the experience economy and emotional mediation in the digital age.

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In recent years, the impact of education marketization on higher education has been widely concerned and discussed. In the field of international education, the negative effects of marketization are increasing. This study breaks through the traditional argument that "excessive marketization weakens the quality of education", and analyzes the actual performance of higher education in Britain and Australia in the post epidemic era, against the background of Education Marketization from a multi-agent perspective. Specifically, this study adopts a three-tiered framework of "institution-organization-individual" to analyze how the UK and Australia have transformed international students from "educational subjects" into "financial instruments". The study finds that relationships among the state (government), universities, and students are marked by imbalances in rights, gaps in responsibility, and a breakdown of reciprocity. The conclusion is that the international education crisis in the post-pandemic era is essentially a crisis of the global higher education development model. Therefore, this study proposes to establish a sustainable international education ecology with the core principles of "ethical care" and "mutually beneficial development". It also hopes that this research can provide a reference for relevant policies and practices.

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The widespread application of generative artificial intelligence in news image production has not only transformed the production process of news visualization but also sparked academic concerns about how algorithms participate in the construction of visual meaning. Based on algorithmic media theory and visual communication theory, this study conducts a quantitative content analysis of 250 AI-generated news images released by mainstream media outlets such as Xinhua News Agency, The Paper, BBC, and CNN in 2025, exploring the patterns and characteristics of gender representation therein. The results reveal that male images occupy a significant proportion in the overall sample, particularly prevalent in political, economic, and social news, while female images are relatively concentrated in cultural and technological news. Moreover, the relationship between gender and role cues is modulated by emotional tone, exhibiting a clear "male leadership-female neutrality" structure in positive emotional contexts, which tends to disappear in negative contexts. And it further shows that AI-generated news images are not technology-neutral outputs; their representation logic is influenced by training data and algorithmic structure, reflecting the mediating role of algorithms in visual communication.

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Against the backdrop of the continuous integration of the platform economy and the digital entertainment industry, virtual idols have emerged as a crucial media form connecting cultural participation, digital labor, and capital operation. Drawing on theoretical frameworks such as participatory culture, playbour, and platform capitalism, this paper takes Hatsune Miku as a case study to analyze how its platform structure, intellectual property arrangements, and commercialization mechanisms organize the digital participation practices of fans and creators. The research finds that through layered governance and peer production mechanisms, Hatsune Miku has buffered the common risk of labor precarity in platformized production to a certain extent, preventing cultural participation from being fully transformed into exploited digital labor. This paper thus argues that the structural differences in institutional design among different virtual idol platforms are key factors shaping participation forms and labor relations.

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