• Asian Journal for Public Opinion Research
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• v.11 no.2
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• pp.145-162
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• 2023

This research investigates how users of Bilibili, a video sharing website based in China have responded to carbon neutrality. By conducting quantitative textual analyses on 3,311 comments on Bilibili using LDA topic extraction and content statistics, this research discovers that: (1) Bilibili users have assigned more weight to geopolitical topics (56.3%) than energy (22.0%) and environmental topics (21.7%). (2) When assessing carbon neutrality, Bilibili users considered geopolitical (53.8%) and energy factors (15.8%) more heavily than factors related to the class (9.2%), economy (8.9%), environment (8.7%), and definition (3.6%). (3) More Bilibili users had negative (64.6%) attitudes towards carbon neutrality, with only a small portion of them expressing positive (26.8%) and neutral (8.6%) attitudes. (4) Negative attitudes towards carbon neutrality were mainly driven by geopolitical concerns about the West's approach to China, other countries' free-riding on China's efforts and the West's manipulation of rules, doubts about the feasibility of energy transition and suspicion of capitalists exploiting consumers through this concept. This research highlights the geopolitical concerns behind the environmental attitudes of Chinese people, deepening our understanding to psychological constructs and crisis sensitivity of Chinese people towards environmental issues.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.628-642
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• 2018

Modern TV public advertisements of China began in 1986. As messages were spread and expanded to the public through TV media, the society as a whole started to accept the public advertisements and the influence of public advertisements increased ever more. Successful persuasion is an important prerequisite for realizing the effects of TV public advertisements and this study sought to examine persuasion strategy at this moment when media, messages and the audience are becoming diversified. It sought to know of the present situation of China's TV public advertisements particularly from the standpoint of Chinese and analyze persuasion strategy and usage based on the theory of persuasive communication.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.111-124
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• 2014

This dissertation is to seek new valuable possibility of the 100 best Chinese films on storytelling in Chinese films as considering about content development of Korea and China's Collaborative film production and extension, that being magnified as a new content for variety of Korean film production. The moment to the Korean wave is getting cold in Japan, Korean wave is attempt to receive attention in new field through China by various image field with Korean drama's appeal. However, film content fall short of our expectation than media content, even if supporting much various attempts with Korea and China's Collaborative film production content. Specially, there are not satisfied films for Korea and China both counties's audience, although Korea and China's Collaborative film production has been produced steadily. The writer studies on stories of Chinese essential 100 films for searching deeply this problem. Among them, in selected 'The 100 Best Chinese Films' by China in 2005, films in 1930's are selected as the first step to study, and this dissertation searches to communicate storytelling's meaning in Chinese films through that time image. This studies what is the point of selected story by China, and there are what kind of worries. This dissertation considers that focused on characters, event and background. Chinese film in 1930's represented life in times through process of play development that is connected with poverty, reality of society, death, tragedy and tragicomedy.

• Journal of Contemporary Eastern Asia
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• v.17 no.2
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• pp.147-175
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• 2018

Under authoritarian regimes, citizen-led NGOs such as environmental NGOs (ENGOs) often operate under close scrutiny of the government. While this presents a challenge to a single ENGO, we propose here - in line with existing research on network effects - that there are opportunities for multiple ENGOs to coordinate and thus work in ways that supersede government controls, affect public opinion, and contribute to policy revision and/or creation. In this paper, we specifically examine the possibility that the gamut of citizen-based ENGOs in China are coordinating. Based on network analysis of ENGOs web pages as well as interviews with more than a dozen ENGO leaders between 2014 and 2016, we find that ENGOs have few direct and public connections to each other, but social media sites and personal connections offline provide a crucial function in creating bridges. A closer examination of these bridges reveals, however, that they can be substantive to the environmental discussion or functional to the dissemination of web page information but typically not both. In short, ENGOs in China are not directly connected but rather are connected in a way that responds to the available social media and the government's censorship practices.

• Korean Journal of Comparative Education
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• v.28 no.2
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• pp.53-75
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• 2018

This study explores and compares how rural teachers and Chinese newspapers representing the dominant ideology of the state and the local government construct left behind children's problems and solutions. I draw on teacher interviews in two rural schools and the reports of three major Chinese newspapers (2011 to 2015). Teacher and media narratives largely agreed that parental absence and negative mental health consequences were the biggest source of the problem, placing the blame largely on families. However, the narratives diverged when discussing solutions as teachers largely sought institutional structural solutions while the media emphasized the individual role that volunteers could play. School-based activities and teachers' contributions extensively discussed in teacher interviews were muted from newspaper reports that emphasized contributions from government officials and local representatives.

• Asian Journal for Public Opinion Research
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• v.1 no.4
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• pp.249-267
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• 2014

Social media is being increasingly utilized in disaster relief work to identify safety issues, locate displaced-victims, and seek or provide support for those who need help. The presence of social media in disaster management has changed significantly in recent years, as it was not prevalent in the 2008 Wenchuan earthquake, but had become a powerful force in the 2013 Ya'an earthquake. This paper discusses the development of social media in disaster management via making a comparison between how it functioned in the two earthquakes. It examines the following aspects: who are the stakeholders that use social media in the earthquake management; how do they adopt this means in response to the earthquakes; and what are the outcomes of adopting social media with regards to public engagement and collaboration in an emergency event. As Sina Weibo acts as the equivalent of China's Twitter, the methodology relies on an analysis of posts in Weibo. The outcomes primarily show that: (1) authorities, celebrities and the public actively adopted social media for the purpose of information dissemination and resource mobilization; and (2) social media users are both content consumers and content generators in the times of earthquakes. The study concludes that social media as a backchannel communication tool is helpful for government institutions, corporations, and nonprofit organizations to build relationships with their stakeholders in the disaster management cycle. The result will interest academics and emergency management practitioners who are concerned with improving disaster communication.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.141-151
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• 2022

Taking the different inheritance methods of representative successors, dance education at university, and convergent media as a research object, this research discusses the changes in the development direction of inheritance of traditional dances of China's intangible cultural heritage, analyzes the inheritance and development path of traditional dances. The purpose of this research is to realize the inheritance of dance culture and strengthen the influence of Chinese traditional dance culture in the world.

• Cartoon and Animation Studies
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• s.17
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• pp.83-95
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• 2009

As an exploratory research on China's animation, this study aims to enhance an understanding of the trends and characteristics of China's animation through examining its history and to forecast its future development trajectory. From its founding to recent period, China tried to maintain Communist political system through imbuing national identity to its people through management and supervision of media products under direct government's leadership in combination with ideological education. Such policy was also implemented in animation, major audience of which is children. With regard to the introduction of the policy and its influence, five historical phases could be identified as follows. During the first phase, from the founding of the Republic until the Cultural Revolution, national culture was introduced to China's animation. The second phase, which corresponds with the Cultural Revolution period, marks the decline of national culture. National culture was reemphasized during the third phase that follows the Cultural Revolution, which led to the nomination of the 'China school,' followed by the fourth phase, during which China's animation suffered the second decline due to the spread of TVs and foreign animation imports. Reintroduction of national culture on China's animation in the context of rapid industrialization process before and after 2000 characterizes the recent phase. It can be expected that although there could be some change in methods and forms, China's animation, which introduced national culture from its inception and maintained remarkable resilience following the period of decline, will continuously stress the its own national cultural identity.

• Asia Pacific Journal of Corpus Research
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• v.3 no.1
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• pp.1-20
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• 2022

As a milestone progression in China's space exploration history, Chang'e Project has attracted a lot of media attention since its first launching. This study aims to examine and compare the similarities and differences between the Chinese media and the British media in using nouns, verbs, and adjectives to report the Chang'e Project. After categorising the documents based on specific project phases, we created two diachronic corpora to explore the linguistic shifts and similarities and differences of diction employed by the Chinese and British media on the Chang'e Project ideology. This longitudinal study was performed with Lancsbox and the CLAWS web tagger through critical discourse analysis as the theoretical framework. The findings of the current study showed that the Chang'e Project coverage in both media increased on an annual basis, especially after 2019. In contrast to the objectivity and positivity in the Chinese Media, the British Media seemed to be more subjective with more appraisal adjectives in the news reports. Nonetheless, both countries were trying to be objective and formal in choosing nouns and verbs. Ideology-wise, the Chinese news media reports portrayed more positivity on domestic circumstances while the British counterpart was typically more critical. Notably, the study outcomes could catalyse future research on the Chang'e Project and facilitate diplomatic policies.