INTERPRETATION, FILM LANGUAGE AND TOURIST DESTINATIONS: A CASE STUDY OF HIBISCUS TOWN, CHINA

Expression of visual image via brochures, billboards, TV commercials, newspapers, movies, etc. has been widely applied into promotion of tourism products, urban landscape, natural scenery, tourist destinations, and even changed communication way between tourist information and potential visitors. Many scholars have made substantial and valuable researches on still images, however, moving images are very critical to tourism industry, and should be further researched and attended academically. It has been verified and proven from researches of some scholars that movie makes important influence on tourism experience, travel motivations, destination marketing and other aspects as one of dynamic image expressions; however, under different cultural backgrounds, a movie conveys different connotations, but orientalism reason is rarely considered by scholars. In addition, many scholars only consider movie as an influential factor, and few pay attentions to the language and meaning or cultural connotation conveyed by a movie itself. Therefore, the paper interprets two versions of the Chinese movie “Romance on Lushan Mountain”, which production time was separated by three decades, and competitively studies difference in expression and image establishment of the tourist destination Lushan between two versions. Visual analysis method is applied to textual interpretation of the movie; it is shown from results the visual image of Lushan, the tourist destination in the movie, is both adhered and also carried forward through such two versions. The first version focuses on local natural beauty, and integrates values ??of love and historical background into the tourist attractions closely, thus making wide and lasting impact on tourists; the second version highlights to establish an emotional connection with the previous version, and enriches other images of the destination in addition to natural scenery, where modern city life and truelove are combined in the image promotion of tourist destination; however, from the point of expression method, the second version is excessively commercialized, and criticized as a formulaic and conventional story, which influence is poorer than the previous versions.

Acclaimed director Quentin Tarantino is renowned for his masterful depictions of violence. Through his influential filmography, he has meticulously crafted a unique, stylized aesthetic for on-screen brutality, transforming bloodshed into a distinctive and highly recognizable cinematic signature. "Violent aesthetics" in movies often emphasize how to present violent scenes in a suitable and non-repulsive way. Tarantino makes use of this principle and moreover, gives violence a new perspective and presentation through his distinctive cinematic language. This research aims to demonstrate and analyze how Tarantino conducts violence via the usage of diverse cinematic language. More precisely, this essay will employ Kill Bill: Volume 1 (2003), Inglourious Basterds (2009), Django Unchained (2012) as case studies for an in-depth analysis of the connection between cinematic language and violent aesthetics. Furthermore, the paper is built upon a concept of three-stages, referring to the pre-violence, violence scene, and post-violence within a single scene. Besides, these three films shares the plot of revenge, accompanied a similar three-stages rhythm when violence is going to occur, which is comparable to digging into cinematic language. Therefore, it will be concrete and legible for us to understand reconstruction and beautification of violence.

An effective filmmaker needs to have a good understanding of how film language works, and more importantly, how to actively influence an audience's thoughts and feelings and guide their gaze around the screen. Packed with examples from classic and contemporary cinema, The Language of Film reveals the essential building blocks of film and explains how the screen communicates meaning to its audience. You will learn about fundamental theories and concepts, including film semiotics, narrative structures, ideology, and genre, as well as how elements such as shot size, camera movement, editing technique, and color come together to create the cinematic image. With insightful case studies and discussion questions, dozens of practical tips and exercises, and a new chapter on film sound, this new edition of The Language of Film is a must-have guide for aspiring filmmakers.

The article uses Semantic Montage, a cognitive linguist source cited from the idea of montage in film theory, to examine the issue of metaphor in the study of film language in the Chinese context. The researchers created a model for studying film language theory terms, film titles, and film dialogue by combining Semantic Montage and Context. This model addresses an object of study that is distinct from traditional approaches to the study of film language that ignore the issue of metaphor in the field of film studies. The conclusions were as follows: 1.Validate inconsistencies in the Chinese translation of key terms in Christian Metz's film semiotic theory; 2. The model verifies translation errors in film titles; 3. There are three types of semantic montage in the dialogue of contemporary Chinese cinema, all of which need to be analysed in context, not just on a literal level.

Promotions of the destinations are seen in many written and visual platforms. Literature is one of them. Since the places where the events occur in many of the literary works are also tourist destinations, these works can make significant contributions to the promotion of the destinations. In the context of interdisciplinary studies, it is important to conduct studies on the interaction of tourism and literature. In the light of this information, it is aimed to examine the destination attraction elements mentioned in the literary works. In this context, the novel of Ahmet Ümit titled "A Memento for Istanbul" was examined. The novel was read simultaneously by the researchers who carried out the study. In the literary work examined, it was found that there are descriptions and information that promote Istanbul as a tourist destination. Afterwards, descriptions and information determined by different researchers were compared and the common ones were included in the research. According to the results of the study, it is observed that the historical events and artifacts, natural beauties, accessibility, food&beverage and accommodation in Istanbul are handled strongly in the context of destination attractiveness. This study shows that tourist destinations in literary works are processed in the context of destination attractiveness. In this aspect, it can be stated that the novels contribute to the promotion of tourist destinations.
 Keywords: Tourism. Travel Literature. Touristic Destination. “A Memento for Istanbul”.

While it is well known that film scripts generally fall short of capturing the varied and subtle characteristics of spontaneous dialogue, it is less clear exactly how and to what extent such language fails to ‘ring true’. Extensive investigation into the components of both spontaneous talk and film discourse over a wide range of film and television material have proved a solid basis on which to extend research in this field. With the aid of corpus linguistics and the assistance of statistics experts, some interesting phenomena have been uncovered relating directly and indirectly to the original aims of the research.For example, comparisons of British and American film and TV scripts with spoken language corpora such as those within the Bank of English project and the San Diego spoken language corpus, have already provided material to prove the hypotheses about the lack of authenticity in film material. But observing the changes that take place between an original script and the transcription of the final version of a film text is more illuminating, as are the statistical analyses that show how particular language features occur in clusters and bundles (Biber et al 2004), and how combinations of word and word groups seem primed (Hoey 2004) for different film genres. This paper therefore sets out to illustrate the methodology employed in this particular study of film language, explain the results obtained and present the serendipitous findings that the research threw up, with particular reference to the film Notting Hill.

Communication consists of basic units of information transferred between emitters and receivers, often functioning inside a whole structure called language that allows the formation of an unlimited multiplicity of relationships. Conscious or tacit, communication ranges from the explanation of a complex idea, to the natural reading of body conditions that manifest that an individual is up to reproduction. That natural sense of decoding, lets us automatically recognize a certain relationship between whatever two objects we put together, like how a black object relates to a white one, or a top one to the bottom, or even one to the many, constituting a primitive sense of idea, order or thought, without even a representation of the subject. Applied to Film, those kinds of relationships between forms are rhythmic relationships, and rythm is basically the essence of filmmaking, as film (same as music) is a form of art that takes place along time and in the rendition of movement, but rather precisely in the temporal distribution of connected blocks of image/movement, timed chains of tension and release that give a certain sense of mathematical relationships settling the base for an universal language, Giving these considerations , what happens when the language of film is ranslated into a computer programming language in order to emulate cinematic properties? What tensions and nuances emerge? This paper will address these issues using an arts based research project of recreating a short abstract film using entirely the popular media arts prototyping language Processing.

Typically, translation is conceived of as a process in which the translator is presented with source elements to be rendered into the target language. In this paper we focus on a decision-making phase that is taken for granted in the above formulation but emerges in the context of audiovisual translation, where the source material is semiotically complex. That phase consists in deciding whether certain source elements are to be translated. Language in film is canonically thought of as dialogues or monologues that are delivered orally, and it comes as no surprise that research into the translator’s decisions has been mostly concerned with this mode of communication. An under-examined case is when rather than being spoken, language is shown on the screen. As is argued in this paper, such scenarios have rich meaning-making potential and clearly deserve scholarly attention. The paper has two main objectives. The first one is to offer insights into how different types of visual verbal coding (VVC) function in film, with an emphasis on the implications for the translator’s decisions. The second objective is to offer a methodological perspective. To that end, the reported research into VVC is two-pronged. First, we offer an introspection-based qualitative analysis of a representative selection of VVC cases. That line of inquiry is then combined with input obtained from a reception experiment.

在中国电影研究领域，“游民”是一个崭新的视角。本文第一次针对“中国当代电影中的城市游民”这一议题进行了完整而综合的考察，不仅梳理了“城市游民”这一类银幕形象的当代谱系，而且详细探讨了后新时期的中国电影对于这一社会群体的再现。通过对电影思想内容、艺术技巧和制片方式的考察，本文剖析了城市代导演如何在市场、政府和西方三种力量作用下对同一类底边人群进行了不同方式的艺术再现。笔者认为，这些不同方式的艺术再现，同其制片方式密切相关。而游民及其艺术再现，对中国后社会主义时期城市化与现代化的主流话语及意识形态构成了一种挑战。围绕这一核心观点，笔者通过细读重要的城市代电影本文，考察了这些作品对于流浪艺人、青少年游民、民工游民、市民游民等不同社会群体的再现，并结合摇滚文化、城市拆迁、身体书写、底层旅行等角度讨论了电影的主题和内容，且围绕游民的底层、边缘、叛逆、流浪、放逐等特质进行了深入分析，最终集中探讨了中国电影“游民再现”的意义。本文也借由“游民再现”这一研究视角，同目前中国电影研究学界的“底层影像”、“民间书写”等相关论述进行对话。 During the twenty years of the post-New Era, Chinese society has undergone tremendous changes in the fields of politics, economy and culture. Since the 1990s, urban vagrants have gradually become a social class that cannot be neglected, whose formation and development expose many social problems emerging in post-socialist China. This dissertation proceeds from a single idea: it is timely and of great importance to chart the artistic representations of city migrants in Chinese films. The study explores how, conditioned by the three forces of market, government and the West, the images of urban vagrants—a marginalized social class—are represented in Urban Generation films by examining film texts, the cinematic language, and the process of production, distribution and consumption. This study also aims to demonstrate that films dealing with artistic representations of vagrants pose a challenge to the mainstream discourse and ideology of urbanization and modernization in post-socialist China. Specifically, through discussing cinematic representations of various social groups (which fall into the category of vagrants), such as travelling artists, homeless youth, migrant workers, and city dwellers, this study attempts to reveal how the cultural traits of vagrants—subaltern, marginalized, rebellious and exiled—and the cultural phenomena of rock culture, urban demolition, body writing and subaltern travel are closely related to and influenced by social and cultural changes in the transformation period of China in the post-New Era. The significance of cinematic representations of vagrants, as shown in this study, lies in the fact that the subaltern voices from the lower class (either from vagrants or as represented by filmmakers) are constructive for the development of contemporary China.

This article conceives of comparative film studies as a subfield larger than transnational film studies and argues that film studies, apart from rethinking issues of Eurocentrism, should go beyond the imperative of following money and should simultaneously address contextual as well as textual, intertextual and subtextual aspects of film production, distribution, exhibition, and reception. Within a general comparative framework, the article identifies neglected and underdeveloped areas in Chinese film studies, such as audience research, piracy matter, literary adaptation, and crossmediality between of film and other arts (theatre, photography, and video). An emphasis on interdisciplinarity is crucial to our understanding of transcultural visuality embodied by film language and technology.

This article investigates the cinematic adaptation of Mircea Eliade’s prose in three Romanian films: Miss Christina (1992, director Viorel Sergovici; 2013, director Alexandru Maftei), I am Adam! (1996, dir. Dan Pița) and The Snake (1996, director Viorel Sergovici). Eliade’s literary work is deeply infused with mythological structures, reflections on the sacred and profane, and metaphysical inquiries of human existence. These characteristics render his narrative both captivating and complex for cinematic interpretation, as filmmakers face the challenge of converting symbolic, abstract, and frequently philosophical prose into a format that depends on visual and auditory elements. The research begins with the assertion that Eliade’s works should not be assessed merely on the basis of fidelity, but rather as interpretive endeavours that re-mediate and re-contextualize literature for diverse audiences, eras and cultural contexts. The article employs an interdisciplinary approach grounded in five major theoretical frameworks within adaptation studies. The foundation for examining the interplay between narrative, medium, and audience reception during the transition from prose to film is established by Linda Hutcheon’s adaptation theory (2006). To interpret visual metaphors, cultural codes, and the dialogic aspect of adaptation, Robert Stam’s intertextual and semiotic model (2005) is employed. The discourse on fragmentation, nonlinearity, and ontological instability in cinematic portrayals of Eliade’s mythic time is directed by Gordon Slethaug’s postmodern perspective (2014). Alex Piñar’s methodological view (2019), which encompasses textual, contextual, and interdisciplinary elements, provides a robust framework for the comparative case studies. Lastly, Deborah Cartmell’s pedagogical and cultural lens (2005) sheds light on how adaptation functions as a means of cultural transmission, influenced by national identity, historical trauma and ideological transformation. Through close readings of the films, this article tries to identify significant adaptive techniques. In Miss Christina, both Sergovici (1992) and Maftei (2013) contend with Eliade’s fusion of Ghotic ambiance, eroticism and myth; however, Maftei’s interpretation places a stronger focus on trauma, memory and gendered violence, thereby situating the film within the larger cultural discussion of the post-communist era. Conversely, I am Adam! (1996) poses a distinct challenge as Pița weaves together various Eliade narratives into a mosaic format, emphasizing themes of identity, exile, and metaphysical duality. The disjointed narrative underscores Eliade’s preoccupation with the fluidity of reality and the boundaries between the sacred and the profane, while also mirroring the confusion experienced by Romania in the 1990s. In The Snake (1996), Sergovici transforms Eliade’s allegorical narrative into a cinematic parable exploring temptation, illusion, and moral complexity. By utilizing surreal visuals and symbolic duality, the film highlights psychological and spiritual disorientation, providing a reflection on freedom and limitation in a society transitioning from authoritarian rule. The comparative analysis indicates that these adaptations serve not only as retellings but also as cultural re-mediations that engage with collective identity, memory, and national trauma. While Miss Christina (1992, 2013) emphasizes themes of gender, desire and intergenerational conflict, I am Adam! (1996) prioritizes the concepts of confusion and ontological uncertainty, and The Snake (1996) provides a more allegorical exploration of temptation and freedom. Collectively, these films demonstrate the variety of strategies that can be employed to translate Eliade’s mythic universe into the language of cinema. In conclusion, the article illustrates that adaptation theory offers essential frameworks for comprehending the ways in which Eliade’s literary works have been reinterpreted in Romanian cinema. By placing these films within the context of theoretical discussion and cultural history, the research contends that Eliade’s cinematic adaptations are valuable not only as artistic reinterpretations but also as cultural artifacts that embody Romania’s process of identity negotiation during the late and post-communist periods.

This paper examines the similarities and differences between on-camera performance and stage drama performance from the perspective of dialogue. Firstly, film and television performance and theatrical performance share certain commonalities in dialogue, such as constraints, action orientation, character development, and a tendency toward naturalism. Both require advancing the plot and shaping character personalities within specific contexts. However, due to differences in media environments and audience interaction modes, they exhibit distinct contrasts in aspects such as volume, tone, and coherence of dialogue. The language of theater emphasizes stage expressiveness and emotional tension, whereas the language of film and television is closer to real life, focusing on detail and authenticity. By analyzing both the theatrical and film versions of Devil and Angel, this paper uncovers the core elements and adaptive features of dialogue in film and theater, aiming to provide theoretical references and practical insights for practitioners in the performing arts.

Social networks function as a strategy for the promotion and dissemination of tourism destinations. The objective of this systematic review is to determine what is known about the use of social networks as a tool for tourism promotion, in the scientific literature between 2012 and 2022. The Prisma methodology (Preferred Reporting Items for Systematic Reviews and Meta - Analyses) was used, the databases were Science direct, Taylor and Francis, Dialnet, Redalyc and Scielo, with a total of 49 systematized articles, the inclusion criteria were those that are published between 2012 and 2022, are in Spanish, English or Portuguese language, and that have free access. The results obtained determine that, 78 % of the articles are current as of 2017, with a significant decrease during 2020 due to the global health crisis. It is concluded that the use of social networks by tourists allows them to publicize a destination indirectly, and they do so by posting photos and videos, accompanied by texts, either with information about the destination or with inspirational phrases. Finally, it is mentioned that there is a wide variety of social networks that could be used to promote a destination; but, among the most relevant we have Instagram, Facebook and Twitter, which have been observed in most of the articles, regardless of the category, are used as the main social networks for the dissemination and promotion of destinations. Tiktok could also be included as a social network with a lot of diffusion power; however, there are still not many studies that support this information.

The past decade of austerity in the UK has accelerated changes in the relationship between citizens and the state. Cuts to welfare spending have resulted in uneven geographical impacts, further distorting the UK society and economy. Analysing specific policies within the new patterns of welfare spending, we argue that austerity policies have compromised the UK state’s promotion of an ethics of care. We distinguish between welfare changes which intensify long standing policy trends, and others, such as automation and digitalisation of the welfare system, which are qualitatively different to previous reforms. To offer an example of how this is playing out in place, we explore a detailed case study of the English coastal town of Great Yarmouth, which was an early pilot town for contemporary welfare reform in the UK. The case study situates welfare changes within the widespread and uneven austerity measures of the past decade, showing how public services of the local state are weakened despite increased need. We find that many non-profit organisations try to fill some of the gaps in the tattered social safety net. However, they too are dependent on state funding, and so austerity also depletes their capacity to care. In this sense, care is interdependent, multi-sited, and interlocking. Through this case study of a town with high claimant counts, we show how these changes in the redistributive state precipitated a crisis in care, and exacerbated poverty and territorial injustice in an already highly divided country. UK austerity has drastically altered the role of the state, leaving many people more susceptible to other crises.

Part memoir and part meditation on memory, history and photography, The Silences is a feature-length personal essay documentary about the tangled bonds, secret histories and unspoken traumas of family life that stretches from New Zealand to the Australian suburbs. It is an exploration of early childhood and the ‘silences’ of the past that resonate in the present. It is a film about family secrets and the ties of love, loss and kinship between a mother and daughter. In this chapter I will investigate how a long, discovery-driven creative development process allowed for a ‘brooding’, questioning space where the veracity of family stories, designed to hide the socially unacceptable, was challenged and stories that had ‘lived outside the boundaries of cultural knowledge’ were uncovered. I have taken The Silences as a case study, because it investigates the gaps and silences in my own family history and because, when constructing it, I decided to put ideas about creativity that I had been researching into practice. I will share the challenge of a story that resisted a linear chronological structure and instead required a non-linear elliptical structure in order to break chronology and create subtext, mystery and suspense. I will argue that searching for the key that might unlock the story meant experimenting with form and cinematic language and ‘writing’ with images as well as words; and that through a close examination of family photographs, my parents’ letters and clips from personal recordings, old memories were challenged and new memories were produced.