Taking Chinese film and TV works as the research subject, this paper attempts to analyze the development of feminism and the deformation of the female image shaped by film and TV works, summarize and reflect on the motives as well as the results of these works. We deploy a case-study methodology to scrutinize the evolution of feminism and the prevailing trend of distorted female portrayals in film and TV. It identifies three primary modes of distortion in the depiction of women in three mediums. This paper also aims to advocate that film and TV works should reasonably shape female image, veritably reflect the voice of females and convey feminism, and positively promote the development of feminism in China. At the same time, we advocate that filmmakers ought to fathom the true essence of feminism, genuinely reflecting the authentic voices and demands of women. We also hope that this paper will have a deeper significance for the subsequent research.

This paper will talk about the sociolinguistic variations in Urdu Language. The study uses the qualitative method it takes account of the interviews conducted by the various senior citizens of Urdu speakers in Pakistan, each interview is based on 4 questions to find out Urdu language variations for this paper. The questions on the value of the Urdu language in today’s world, what changes took place in the Urdu language over the period from a lexical and dialectical point of view. The interviews were conducted as semi-structured with the use of different modern and simple tools. The study of this paper will be very helpful for the young generation of Pakistan because all the past studies did not solely talk about sociolinguistics in the Urdu language. It guides them to bring their native or national language with original accents and vocabulary which shows their actual culture and purity of Urdu language.

Taking Fuzhou as a case study, this research analyzes tourist network travel notes, online comments, and official website reports of the tourism bureau, and uses the word frequency statistical function of semantic analysis software to extract high-frequency words of tourist perception and official website projection of tourism image, and constructs social relations and semantic networks to compare and analyze tourist perception and official website dissemination of tourism image. The research results show that the Fuzhou tourism image perceived by tourists can be summarized into four dimensions: tourist attractions, tourism environment atmosphere, tourism facilities and services, and tourism experience. Tourists’ perception of tourist attractions is consistent with the official projection, and Sanfang Qixiang and hot springs have become representative resources of Fuzhou. The key points of official propaganda are inconsistent with the focus of tourist perception. The Fuzhou Tourism Bureau should pay more attention to tourism hotspots such as historical buildings in the city and Pingtan Island scenery, and actively create an ecological leisure city, focusing on parent-child study tours and rural revitalization. Tourists prefer historical buildings in the city and Pingtan Island scenery. Finally, based on the research conclusions, targeted suggestions are proposed for Fuzhou’s tourism promotion.

Fuzhou’s cultural roots can be traced back over 6000 years to the Neolithic period. It evolved from a “barbarian” land to a prominent political, economic, and cultural center over 2000 years. The region witnessed the development of various prehistoric cultures like the Keqiutou, Tanshishan, and Huangguashan cultures. These cultures left behind archaeological sites with stone tools, pottery, and other artifacts, reflecting the lives of ancient Fuzhou inhabitants and the significant influences on other regions. The Fucun site in Fuzhou, as it featured the use of stone tools made from Shoushan stone, provided valuable insights into the Neolithic Age. These tools played a crucial role in the daily lives and production activities of the ancient Fuzhou inhabitants, brought the advancement of labor tools and productivity during that era and potentially influenced the later art and culture of the region.

Over the past few decades, niche styles have gradually become part of mainstream trends and have achieved great success in the market. Changes in consumer behavior and technological advances have enabled niche styles to better meet the needs of consumers and become integrated into their lives. At the same time, brand culture has played an important role in connecting niche styles with consumers by creating unique brand images and values. This paper explores the transition from niche styles to mainstream trends and examines the reasons for this, concluding that the main reasons are Changes in consumer demand from material needs to spiritual pursuits and the desire for simpler times in the context of rapid technological advancement. Based on this, this study makes relevant recommendations for the development of niche brands, including Enriching Brand Culture and Philosophy for Meeting Consumer Demands and Assisting Consumers in Adapting to the Fast-Paced Era.

In the era of information virtualization, entertainment expression has become the ideological tendency of public discourse. Under the dual drive of technical support and market interests, the appreciation of ugliness has been transformed into individual alienation and emotional behaviour, rebelling against the traditional concept of beauty in cognition and forming a popular and spreading trend of network with grotesqueness, ugliness, and specialisation as symbols. This paper will combine psychological and sociological theories, take the popularity of Nikocado Avocado on YouTube as an example, explore the root causes of the proliferation of ugliness appreciation in today’s new media, and further propose ways to purify the social aesthetic environment. Through this study, it was found that the essential reasons are as follows: First, the anti-authority and anti-elite cultural atmosphere formed in the post-modern context makes people more willing to deconstruct beautiful things and oppose traditional mainstream aesthetics; Second, personal jealousy produces subconscious confrontation against beautiful things; third, in order to attract the flow brought by new media and satisfy economic interests, ugliness is performed. To solve this problem, the government needs to play an important role in the media and strengthen the auditing of Internet content. At the same time, relevant departments should disseminate correct aesthetic concepts in society and strengthen the aesthetic education of teenagers.

Xia Yan's Under the Eaves of Shanghai describes the life of five tenants in an alley under the rainy weather in Shanghai in the early days of the Anti-Japanese War. It is Xia Yan's turning work in the 1930s and explores the prospect and hope of China's development from a small perspective into the social level. Among them, female image plays an important role. Their different identity background, thoughts and psychology, habits, emotional experiences, lifestyles, and social relations build the basic framework of the story and enrich the connotation of the story. Their shaping is more typical, echoing the repeated distinctive types of women in modern literature. The academic research on Under the Eaves of Shanghai is relatively abundant, but the research results on the female image in it are still rare. This paper mainly adopts the literature review method, combs and analyzes the related research in different periods according to the research content, summarizes the research experience, and puts forward the existing problems to lay the foundation for the following research on the female image in Under the Eaves of Shanghai.

After the publication of the youth version of The Peony Pavilion in 2004, Kunqu, a classical Chinese theatre, experienced a significant resurgence in both popularity and esteem. This renewal instigated a stronger emphasis on inventive and contemporary adaptations of the traditional repertoire. As culture evolves and advances, there is no doubt that classical theatre must also adapt to keep up with the times. The primary aim of this essay is to examine a contemporary phenomenon through a research methodology that compares and contrasts traditional and modern theatre styles. Specifically, this research focuses on the modern rendition of The Peony Pavilion, a renowned Kunqu opera that illustrates how traditional Chinese theatre can be adjusted to modern contexts while preserving its allure and importance. Additionally, this research project investigates the qualities and mechanisms of modernization in classical Chinese theatre. By concentrating on The Peony Pavilion, this study seeks to disclose how Kunqu integrates and embraces change while retaining its fundamental aspects. As a result, the research aids in crafting efficient techniques for modifying classical art forms to contemporary settings, guaranteeing that these traditional art forms remain significant and appealing over time. This will meet the increasing demand for contemporary performances while ensuring the longevity and preservation of classical arts in the ever-evolving 21st century.

In the social aesthetic system based on patriarchy, the standards and shaping of femininity are usually closely related to the male gaze, which puts forward a series of requirements for the daily behavior norms of women as objects, including clothing, speech, and body shape. Under the long-term moral judgment and social monitoring, while bearing the pressure of aesthetic standards, women have gradually strengthened their self-control and censorship in terms of femininity. This study will take the custom of “female footbinding” in traditional Chinese society as an example, and analyze how men’s gazes contributed to the evolution of this aesthetic standard from the perspective of visual culture, and how women under the influence of this custom have strengthened their sense of self and even same-sex monitoring. The study found that patriarchal social norm constraints and objectified gaze strengthen women’s control over self-image, and women themselves form self-monitoring under the background of habitual pressure, which still affects modern women’s aesthetic self-evaluation today.

As a mature work of ancient Chinese tragedy, Dou E Yuan not only accuses the cruel reality of disregard for human life, but also has a great influence on later literature and drama. Up to now, it has also appeared as a classic in stage performances, teaching books, etc. Many dramas are deeply inspired by its artistry, theme and realism. The "red literary works" with the same goal as "two for the road" also need a strong political propaganda means to publicize revolutionary thoughts by means of this art form. From the perspective of female images in Dou E Yuan and Two for the Road, this paper comprehensively analyzes the embodiment of female personality characteristics, values and artistic techniques in the two dramas, and compares and investigates the characteristics, situations and changes of gender consciousness of female images in the two dramas.