Shanghai Theatre Academy

The rise of generative artificial intelligence has brought film and television production into a new stage with efficiency as the core. While reducing costs and cycles, it also leads to the weakening of originality and differentiation. At the emotional level, GAI film and television are realistic on the surface, but lack authenticity because they exclude chance and irregularity. The labor structure of film and television has been reconstructed, the creative intention has been compressed into prompt input, and the algorithm and platform have also impacted the director's intention and become a distribution mechanism of cultural meaning. GAI images are thus not only a technological innovation, but also a cultural mechanism for power regeneration. This paper aims to reveal the impact of this transformation on the logic, intersubjectivity, and cultural diversity of film and television creation, in order to provide theoretical support for film and television research and practice in the AI era.

Development and Practice of Integrated Secondary-Higher Vocational Education in Performing Arts, UGC CARE Journal, UGC CARE Approved Journals, UGC CARE Journal List, UGC CARE Journal Impact Factor, UGC CARE Journal Publication Guidelines, UGC CARE Journal Call for Papers, UGC CARE Journal Review Process, UGC CARE Journal Ranking, UGC CARE Journal Author Guidelines, INTERNATIONAL JOURNAL OF ENGINEERING DEVELOPMENT AND RESEARCH, UGC CARE Journal Subscription

Alive Yi 2.0 combines cultural heritage, design innovation, and artificial intelligence (AI) to preserve and reimagine Yi minority embroidery patterns.Using a curated database of traditional Yi embroidery patterns, we implemented LoRA-based AI models to generate new designs that maintain cultural authenticity while enabling contemporary interpretations.This work transforms traditional patterns into modern variations through fine-tuned stable diffusion models, creating designs that respect cultural elements while appealing to younger generations.Our approach demonstrates the potential of AI-assisted design in cultural heritage preservation and provides a framework for using computational creativity to revitalize traditional heritage in the digital era.

Abstract Haikai ink figure paintings are often equipped with localized deformation of the painting form, which brings inconvenience to the feature extraction of the paintings. Based on this, this paper proposes to utilize Contourlet transform to process ink figure images, and the low-frequency and high-frequency energy features in the ink figure paintings are classified by the Contourlet transform. Color space conversion and preprocessing of ink figure paintings, geometric reconstruction of ink figure paintings, expressed as a new composition of ink figure painting creation. Filter the LP filter in Contourlet transform, and test the image fusion effect using objective evaluation indexes, such as information entropy, joint information, mutual information, edge strength, and average gradient. Analyze the advantages of reconstructing images using Contourlet transforms. Apply the image aesthetic evaluation index to aesthetically analyze the ink figure painting based on Contourlet transform. The ink figure paintings processed by Contourlet transform have 0.0661~0.7124, 0.0668~0.5659, 0.0384~0.5657, and 0.0465~0.1782 enhancements in saturation E S, contrast E C, sharpness E R, and composition E M, respectively.

Using the database from China Social Comprehensive Survey (CGSS), this study explores the relationship between fathers’ education background and access to higher education in China based on people who were born from 1961 to 2000. Through the analysis of data and odds ratio method, it can be found that the odds ratio of students from advantaged families varied in a different period from 1978 to 2018. The relationship between expansion policy and equity of higher education could be summarized in different periods. At the initial stage of expansion, it enlarged the odds ratio of students from advantaged families, but with the continuous expansion policy and changes of demography, the odds ratio of students from advantaged families will be reduced significantly. Maximally maintained inequality theory could explain some changes, but the deep reasons for the differences between the trend of expansion and influence of family background should be discussed from different perspectives such as social class structure theory.

This innovative study ventures into the less-trodden domain of mysticism studies, unveiling the complex interplay between totemic mysticism and distinctive spiritual phenomena. Moving away from the conventional confines of Abrahamic religious interpretations, it boldly questions established views that have either marginalized or misinterpreted these spiritual experiences. Through a comprehensive approach that blends insights from religious studies, anthropology, and psychoanalysis, the research embarks on a thorough examination of scholarly literature, indigenous narratives, and historical documentation. The conclusions drawn challenge the outdated notion of totemic mysticism as merely a 'primitive' belief system, showcasing it instead as a vital framework for understanding cognitive and emotional experiences. The study reveals the profound connection between totemic symbols and extraordinary spiritual occurrences, highlighting their capacity for spiritual transformation. By shedding new light on the significance of totemic symbols in cognitive and emotional realms, this research prompts a reconsideration of the role of unique spiritual experiences in mysticism. Its groundbreaking insights contribute significantly to the discourse, echoing the principles of postcolonial, postorientalist, and posthumanist thought.

Abstract In this paper, we use motion capture technology to collect typical movements of Chinese folk dances and establish three-dimensional character models with the characteristics of human motion continuity and bone length invariance to discriminate the trajectory of skeletal movements. Video is used to export the data of Chinese folk dance. Design methods for extracting folk music and dance features to form a model for creating dances. Suppressing the noise of the original dance music, improving the accuracy of the fundamental frequency extraction of the music signal, and manually scoring the dance creation generation program are all benefits of using the Chebyshev filter. We propose the teaching method of Chinese folk dance in online broadcasting mode and carry out teaching experiments to compare the cooperative learning effect and dance technique evaluation effect between traditional dance teaching method and online broadcasting video lecture teaching method. The dance creation and generation program proposed in this paper is able to achieve a dance movement similarity of 0.92, which is able to preserve the original dance posture of Chinese folk dances to a greater extent. The results of the technical evaluation show that the teaching effects of the two teaching methods present significant differences in the four methods of basic technique, pair cooperation, dance expression, and total score, i.e., P<0.05, which shows that the online live video explanation method is more suitable for the teaching of ethnic folk dance in the information age.

Abstract Phantasmagoria (幻景 huanjing) is a term commonly seen in historical materials on early Chinese cinema. In this thesis, “Phantasmagoria” is taken as the localization of Western cinema tricks in early China. According to sources, “phantasmagoria” is valuable and rich in content, although it has no clear definition. This thesis seeks to define “phantasmagoria” and through a comparison of Chinese and Western cinema investigate which Western cinema tricks were appropriated and eventually labelled phantasmagoria. This article takes phantasmagoria to be a Chinese term, the meaning and application of which carry the traditional cultural ideas behind the localization of cinema tricks.

The religious nature of Joseph Beuys’ works was ignored or intentionally avoided by mainstream criticism since his artistic practice was ridiculed for its potential spirituality. It is argued that Beuys’ works are work meditations on the issues of potential ego in totemic art, which are frequent topics of theological concern. For example, what is the nature of our consciousness after death, and how does it relate to the consciousness of others? Beuys’ conceptual artworks reveal his engagement with the “witchcraft etiquette” of totemic art and his exploration of theological questions such as the relation between human consciousness and divinity, the role of sacrifice and resurrection, and the meaning of self-awareness. In other words, we can draw inspiration from the theological theories of Alfred North Whitehead and Georg Wilhelm Friedrich Hegel to examine Beuys’ choice of conceptual art through the lens of his deep self-consciousness of totem worship. In general, Beuys’ works pose an important question: how can we awaken our chaotic consciousness to new or forgotten sprouts which may rejuvenate our existence in the world?

The emergence of holographic stage art has made the concrete space of the dance theater fragmented, the virtuality and multiplicity place the dancers’ performances in a kind of phantom space beyond the object. In this kind of cross-border cooperation of visual arts, a new interactive space is formed between dancers and audiences, dancers and holographic images, and audiences and holographic images. This paper believes that there are three types of interaction modes in the holographic dance theater. The first is the interaction between technology and the body, the second is the interaction between technology and space, and the third is the interaction between technology and emotion. Among the three interactions, the interaction between technology and emotion is the developmental direction of the holographic dance theater in the future. The beauty presented by dance art is the unique beauty of human life organisms. The new media tools should extend the senses of dance and inject new cultural attitudes and aesthetic interests into the development of dance.