In the current era, where extended reality (XR) technology is prevalent, museums and visitors have experienced a huge breakthrough from passive viewing of "static objects" to active interaction with "living objects". Museums that utilize XR technology to create immersive exhibitions have received considerable attention. However, many technical issues have arisen, such as the adaptability of virtual content and the level of participation in the visitor interaction. To understand the immersive experience created by XR technology and its impact on visitors, this paper will analyze recent museum exhibitions that integrate XR technology with other theories to construct a framework. The paper ultimately concluded that the flow effect is the key to shaping immersive experience with XR technology, enabling visitors to achieve a high-dimensional immersive experience. Based on this conclusion, this paper argues that XR technology serving people should match with interaction and narration to shape immersive experience, and awaken people's emotions and cognition, as the primary focus.

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This research draws on Xinjiang-related writing as its background, responds to the daily experiences of women that are easily obscured by macro narratives in existing discussions, and puts forward the research theme of "how space generates experience". The article chooses Eighty-eight Cavalry, Centennial Blood, and Winter Ranch as the core text. It employs careful reading and comparative analysis of the text. Starting from the action details and physical feelings in the narrative, it examines how the living environment and community order specifically stipulate the boundaries of liveable, feasible, and bearable. The research results show that all three works write space as a condition for continuous pressure, so that the experience is gradually formed in the process of maintaining livelihood, travelling through migration and responding to discipline, and presenting the temporary order generated by night road deflection, survival maintenance, and boundary review in the context of disaster, and nomadic life respectively. The position change and language deformation brought about by "entering". From this, the study further concludes that Xinjiang women's frontier experience does not come from the thematic a priori generalisation, but is generated in the interaction between spatial conditions and daily practice. Therefore, "negotiation" has become a key entrance to understanding women's frontier writing.

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Indian American writer Bharati Mukherjee is a prominent figure in immigrant writing. Her works offer penetrating explorations of female agency, the vicissitudes of immigrant existence, cross-cultural tensions, interethnic relations, and postcolonial dynamics. In light of Mukherjee's immigration experiences at different stages of her life, the topographical space, discourse space and humanistic space intertwine in her novels, which reflects the dynamics of identity positioning, recognition and deconstruction for exiles, expatriates and immigrants. Her narrative practice demonstrates a layered intellectual complexity, encompassing both the expansive geographical and psychological journeys of her characters and the subtle transformations of their lived experiences. The theoretical framework of the "Third Space," by dismantling binary oppositions, creates a conceptual locus that accommodates contradiction, heterogeneity, and otherness, which is highly illuminating for revealing the matrix of ethnic American literature. Through the aesthetic interpretation of the space theory, this article aims to provide reference for the identity exploration of the marginalized, contributing to broader discussions of displacement, belonging, and transcultural poetics.

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This article takes the Korean TV drama When Life Gives You Tangerines as an example to explore the relationship among three generations of mothers and daughters in Korean society. This study selected two scenes from the film as examples for visual text analysis. By focusing on the research of the film's lighting design, I demonstrated the different value systems and emotional connections between women of different generations in terms of family and work. This study combines film theory with feminist theory to explore the hidden needs and desires of women within the family. Based on the experiences of three women from different eras, Gwang-rye Jeon, Ae-sun Oh, and Geum-myeong Yang, combined with the 30 years of changes of the women's movement in South Korea, I reflect on the visibility of mother-daughter relationships and the subjectivity of women in the family. This essay also provides new visual and textual interpretations of the mother-daughter relationship in feminism in cinema studies.

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