Artistic Research Articles

Research on the Deletion and Restoration of Literature Works in Film and Television Drama

Film and television adaptation of literature has become the mainstream of current film and television works, but literature and film and television, as two different art forms, the adaptation process is very complicated. This paper deeply discusses the various forms of adaptation of original works and the reasons behind them through case studies and qualitative analysis. At the same time, the article points out that there are significant differences between the original literature and the adaptation of film and television, and analyzes the reasons and techniques of adaptation. Meanwhile, taking the film and television adaptations of the Four Great Classical Novels and Sherlock as examples, it specifically analyzes the content and plot changes presented after the adaptation, and points out that the purpose of film and television adaptation is to improve the viewing quality and satisfy the needs of modern audiences.

Between the Novel and Other Forms of Literature: Unpacking the Language of Narrative Art through Albert Cook's Lens

This research paper explores the language of narrative art to show the differences between the novel and other forms of literature through the lens of Albert Cook. Using the interdisciplinary approach that combines close reading, textual analysis, and critical discourse analysis, this study unpacks the ways in which Cook's work illuminates the complex relationships between language, form, and meaning in narrative fiction. By tracing the ways in which Cook's ideas have influenced contemporary debates in narrative theory and literary scholarship, this study argues that his work provides a valuable framework for thinking about the role of language in shaping our experience of narrative fiction. Using critical discourse analysis, this research examines the broader implications of Cook's work for our understanding of the relationship between language, form, and meaning in narrative art. Through its interdisciplinary approach, this study makes a significant contribution to the fields of literary theory, narrative theory, and linguistics, and it provides a valuable resource for scholars and researchers interested in the role of language in shaping our understanding of the world around us. The study concludes that while the poem directly arouses our feelings in its lyrical form, a limit that has a consistent and precise connection between hearing, the tone of the voice, and the spoken expression, the novel seeks to arouse and maintain that general and organized waiting in us, which is the waiting for realistic events through the narrative language.

A Neglected Design Style: Colonial Era Hybrid Architecture, Furniture and Interior Decoration in Aotearoa New Zealand

Colonial hybrid design has been a neglected style in Aotearoa New Zealand’s and design history. However, an overview of the corpus, its quantity and plurality, with both Māori and Pākehā makers working into the early twentieth century, indicates that a reappraisal is required. The case study of one Pākehā maker, J.H. Menzies, shows a combination of respect and ignorance of toi Māori (Māori art).[i] Despite the negative connotations of cultural appropriation, a kernel of genuine creative exchange is at the heart of this colonial phenomenon, as exemplified in his work. [i] I use this term generically to include all forms of art customarily practised by Māori, including (but not limited to) hoahoanga (architecture), toi whakairo (the art of carving) and kōwhaiwahi (painted patterns).

Listening ‘with’ children ‘to’ the more-than-human world: A diffractive analysis of the child and the challenge of sustainability

Objective: Listening to children has been frequently adopted by researchers working within a child’s rights paradigm, as an uncontested method that veritably represents children’s ‘voices’. Whether children can be understood to participate, and their voices represented veritably, when their lives are culturally situated and co-constructed with significant adults is debatable. The data this paper engages with were created by adopting Barad’s posthumanist methodology of diffraction to listen with children to the more-than-human world. Design/Method: Diffraction was deployed as both a creative knowledge-making practice and an analytical framework that sought insight into the ways in which children are affected by, and affect, ideologies of sustainability. Art-making was adopted as a method to enable children a medium for communication and expression. As children make sense of their social and material worlds through play, I considered it to be a form of performance art during the research. The art-making took place within a ‘wild’ park space in the UK with children age 18 months to 9 years old. Results: This paper engages with a sense-making story created during the research analysis to highlight one way in which children’s possibilities to know become foreclosed when they are filtered through societal constructions of the child as ‘vulnerable’ and how ideas of food production become framed as ‘taboo’ when talking to children. Conclusion: Children’s possibilities to contribute to discussion on issues that create sustainability dissonance seem to become limited. The agency attributed to children tasked with bringing about sustainability change seems questionable and implications for their health and well-being need to be considered.

‘Soft Rebellion’: Flow art, critical play, and wellbeing in the city

This article discusses the intersections between flow art, critical play, and wellbeing in urban contexts in Finland. Flow art as an art form sits at the intersection of several movement-based creative disciplines, including contemporary circus, dance, and the underground electronic music scene. It is based on DIY in terms of making one's own props and choreographies and peer teaching/learning. The flow artists make use of several props familiar to the circus arts, including contact sticks, poi, hula hoops, diabolos, dragon staffs, and fans. The article explores how urban artistic take-overs can be understood as critical play, including the potential for political subversion and changing the meanings of urban spaces. Further, the article discusses how wellbeing is understood holistically, relationally, and interconnected to the concept of flow. The article is a result of ethnographic research conducted with flow art communities in 2021–2023.

Co-creating a climate comic book: reflections on using comics in intergenerational research and engagement

The places where people live, work and spend leisure time are essential to their health and wellbeing. However, with climate change, these environments are changing. It is paramount that we understand older and younger people’s climate change perspectives, behaviours and visions for the future so that the places that matter to them can be shaped and managed effectively for health, wellbeing and sustainability. This article presents the case for using comic books to explore climate change with diverse intergenerational groups. The bilingual (Welsh/English) Climate Comic was created in South Wales, UK, as part of the ‘Understanding Older and Younger People’s PerspecTives and Imaginaries of Climate Change’ (OPTIC) project. From February to May 2023, 65 older and younger people took part in structured workshops where we used creative methods (games, collaging, comic creation, mobile and online interviews, storyboarding) to elicit intergenerational conversation, articulate intangible values and explore change. Workshops were audio-recorded, and stories were developed into a comic by illustrator Laura Sorvala. We also used comics as part of wider engagement and to stimulate ideas in a design sprint with interested groups. We discuss why comics are suited to exploring climate change with older and younger people, and the process we used to create the Climate Comic. We then reflect on the affordances and limitations of our approach and make recommendations for future research in this area. We hope that this work will stimulate others to consider using this adaptable and engaging art form for further research and engagement with younger and older people.

An Analysis of Non-verbal Performance in Theatre

Theatre, commonly seen as an audiovisual art, has performance at its core. Performance is mainly narrative through language, movement, dance, music, art and other forms to create an artistic image for the stage, which contains verbal and non-verbal elements. Non-verbal elements have crucial implications for theatre practice and theoretical perception. The present research investigates non-verbal performance in theatre based on semiotics and non-verbal communication theory. The study found that non-verbal performance includes (not limited to) posture, movement, gestures, props, and costumes. To make a more comprehensive analysis of non-verbal performance in theatre, a mixed research method combining textual analysis and questionnaire survey to collect data was employed, comprehensively investigate non-verbal performance in theatre, and comprehensively discuss the definition, classification and characteristics of key elements of non-verbal performance in drama based on the research design of analytical study, and reveals how non-verbal performances are expressed in theatre. Then, it provides ideas for the theatre creation and education.

Symbolic Interpretations of Mah Meri Visual Art: A Conceptual Approach Using Peirce’s Semiotic Theory

This study examines the visual art heritage of the Mah Meri tribe through a semiotic analysis. Utilizing Charles Sanders Peirce's Semiotic Theory as the foundational framework, the research decodes the symbolism embedded in Mah Meri's artistic expressions. The aim is to understand and document the deep meanings behind these symbols and their impact on the cultural identity and historical narratives of the Mah Meri tribe. An ethnographic approach is employed for data collection, including field observations, photographic and videographic documentation, and qualitative interviews with community members. The findings reveal that Mah Meri's art is rich in symbolic meanings that reflect the tribe's cultural identity and history. The study also highlights the negative effects of modernization on traditional art forms, necessitating urgent preservation efforts. This research makes significant contributions to the field of visual anthropology by emphasizing the importance of semiotic analysis in understanding and preserving indigenous art. It calls for increased efforts in documenting and protecting the visual heritage of the Mah Meri tribe to ensure its transmission to future generations.

A Brief Discussion on the Singing Evolution and Promotion of the Buyi Folk Song Hao Hua Hong

Folk songs refer to the songs created by each ethnic group in ancient or modern times with their own ethnic style characteristics, and are the traditional songs of the working people of each ethnic group. Despite the occasional sheet music relic, this art form is primarily transmitted dynamically.As the idea of comprehensive national strength has grown, ethnic minorities rich cultures have emerged as a crucial indicator of the health of our nation. Thus, Hao Hua Hong has great cultural potential as a significant representative raised in ethnic minority areas and nourished by a variety of civilizations. In order to strengthen cultural independence, self-improvement, and confidence based on cultural orientation, this article will analyze the singing style and cultural aesthetics of the Buyi folk song Hao Hua Hong and talk about the passing down, preservation, promotion, and dissemination of local culture based on its interpretation.

The Oriental Aesthetic Conception in the Animated Film Chang An

As an art form, film and television works are not only intended to entertain the public, but also a medium to convey ideas, emotions and aesthetic concepts, containing aesthetic value and artistic atmosphere, which can trigger the audience s emotional resonance and thinking. Chang An, a theatrical animation, reconstructs the narrative of historical animated films based on real characters and historical events. With the rhyme of poetry and the melody of music, it embodies the essence of shape dispersing but spirit concentrating in the Oriental aesthetic thought, cleverly constructs a unique Oriental implication of Chinese animated films, and innovatively constructs a new aesthetic paradigm of domestic animated films. It is not only a tribute to cultural inheritance and tradition, but also an exploration of innovation and the pursuit of beauty. This paper analyzes the expression of Oriental aesthetics from the aspects of film narration and art design with examples, in order to provide reference for domestic animation creators.

The Historical and Musical Characteristics of the Henan Qu Chinese Opera Troupe in the Social Context

Background and Aims: Chinese Opera, specifically the Henan Qu Chinese Opera Troupe, embodies a rich tapestry of cultural heritage and artistic expression that has evolved through centuries. The study aims to investigate the historical and musical characteristics of the Henan Qu Chinese opera troupe in the social context. Materials and Methods: Employing a qualitative research design, the study utilizes ethnographic fieldwork, semi-structured interviews, and archival research. Participant observations during performances, rehearsals, and cultural events, along with interviews with troupe performers, directors, and cultural experts, provide a multifaceted perspective on the opera’s evolution and current practices. Archival documents and recordings complement these insights by tracing the troupe's historical development. Results: The research highlights how the Henan Qu Chinese Opera Troupe has navigated significant historical upheavals and adapted to contemporary challenges while maintaining its distinctive musical and theatrical identity. Innovations in performance and outreach have helped sustain interest and relevance among newer audiences, demonstrating a dynamic interplay between preserving traditional art forms and embracing modernity. Conclusion: The Henan Qu Chinese Opera Troupe exemplifies the successful adaptation of traditional cultural expressions to modern contexts, underscoring the importance of innovative strategies in audience engagement and artistic collaboration. The study underscores the potential of traditional arts to remain culturally and socially relevant, offering insights into broader strategies for cultural preservation.

The Singing Techniques of Traditional Chinese Yu Opera in Sociological and Anthropological Perspectives

Background and Aims: Traditional Chinese Yu Opera, a culturally significant art form, embodies unique singing techniques that offer rich insights into the social and cultural dimensions of China. This research aims to investigate the singing techniques of traditional Chinese Yu Opera from sociological and anthropological perspectives. Materials and Methods: The study utilized a mixed-methods approach, combining qualitative analysis, ethnographic observation, and expert interviews. Extensive literature reviews provided a theoretical foundation, while fieldwork included observing performances and conducting interviews with Yu Opera artists and cultural experts. This comprehensive methodological framework aimed to capture the nuances of singing techniques and their socio-cultural implications. Results: The research findings highlight that Yu Opera's singing techniques are not only artistic expressions but also potent cultural symbols that reflect and influence social structures and values. Detailed analyses of performances, particularly the opera "Mulan", revealed how these techniques convey cultural narratives and facilitate social interaction, aligning with sociological theories of cultural capital and anthropological views on cultural transmission. Conclusion: This study underscores the importance of Yu Opera's singing techniques as cultural texts that extend beyond mere performance, serving as vehicles for social cohesion and cultural continuity. The findings advocate for enhanced educational programs and interdisciplinary research to preserve and understand traditional arts like Yu Opera, ensuring their relevance in contemporary society.

Refleksi Budaya Etnis Tionghoa dalam Kesenian Barongsai di Kota Singkawang

The lion dance is a form of ethnic Chinese culture with a beautiful variety of motion and visual ornaments. The purpose of this research is to serve as a reminder of cultural preservation and inheritance. The primary reflection resources paired with Feldman's art criticism method include a historical overview, performance dynamics, ritual/celebration procedures, and cultural heritage. This study also provides a glimpse into and description of ethnic Chinese's effort to express cultural arts following a time of prejudice. The dissection is carried out utilising descriptive qualitative methodologies, with data collected through participant observation, in-depth interviews, and documentation. Triangulation of sources with ethnomusicologists validates the data analysed using an inter-academic model. Cultural reflection produced by Barongsai arts for ethnic Chinese includes reminders and awareness of evaluative materials related to the struggle for discrimination in the historical context, entertainment and sports functions in the context of performance dynamics, meanings and symbols of happy and sad expressions in the context of ritual / celebration processes, and sorting out incoming outside cultures for the younger generation in the context of cultura. It is critical and beneficial that the findings of this study serve as a vehicle and platform for future attempts to maintain and enhance the Barongsai art form. In addition, there needs to be support between elements of the ethnic Chinese community and the government so that the art of Barongsai can be preserved and developed in the future.

The creative act in the studio: A plea for rethinking potentiality in art education

This article outlines three dominant ways in which the concept of potentiality is discussed in art educational literature, and in particular the connections between actualizing potentialities and creation. It then pivots to the works of Giorgio Agamben in order to problematize some of the basic ontological assumptions embedded within the three dominant views of the potentiality–actuality–creativity relationship. Agamben focuses his analysis on the (im)potential remnant of potentiality that remains within any given actualization and highlights the role of such (im)potentiality in creative acts. To illustrate this role, the article offers four ways that (im)potentiality exhibits itself in various art forms before concluding with implications for imagining the artist’s studio as a space and time for (im)potential acts of creation.

The Transformation of Animated Character Images: A Perspective on the Shift in Contemporary Chinese Public Aesthetics

As a rising star among various film categories in China, animated films hold a pivotal position. Directly targeting a vast audience of children and teenagers, they enjoy a natural advantage in cultural dissemination and ideological guidance. Since the creation of China’s first animated film, The Big Stir in the Studio in 1926, a distinctive national style has been one of the most prominent hallmarks of domestic animation. With the integration of modern artistic concepts and advanced animation production technologies, Chinese animation has, after a rich developmental journey, ultimately formed its unique creative paradigm and aesthetic philosophy. As a “young” art form, animation employs a wide array of content expression methods, encompassing artistic forms such as ink wash painting, sculpture, watercolor, and oil painting. Its “all-encompassing” nature also determines that animation art possesses a strong “moldability,” making it more susceptible to the influence of various cultural trends during the creation process. This is particularly evident in the evolution of character design influenced by aesthetic preferences in different periods since the founding of New China. This article will delve into the transformation of public aesthetics since the establishment of New China by examining the artistic expression and gender body structures in characters from domestic animated films. It aims to contribute to the development of China’s animation industry and promote outstanding Chinese culture.

On the Road to the “Manifesto”: The Surrealists’ March Between Blois and Romorantin from May 5 to May 15, 1924

Abstract: This article aims to demonstrate that, in a sense, the 1924 “Manifesto of Surrealism” of André Breton was written by walking as a way to reassess its impact in the light of the recent revival of the “manifesto” form in contemporary art. The “Manifesto Marathon” held on October 18–19, 2008, at the Serpentine Gallery in London on the initiative of Hans-Ulrich Obrist enabled some sixty artists to propose manifestos that were subsequently published. It is interesting to note that the artists hardly mention, and in any case that the catalogue never reproduces, the Surrealist ” Manifesto,” which appears totally absent and invisible alongside the Futurist Manifesto (1909), the Dada, Constructivist, and Situationist manifestos, and so on. This is undoubtedly because the Surrealist “Manifesto" is not sufficiently inscribed in our cultural and visual landscape, in our memory or is considered purely literary. From our point of view, however, it is clearly a performative form. The ten-day journey that Breton, Louis Aragon, Max Morise, and Roger Vitrac made on foot between Blois and Romorantin (Sologne) in the first half of May 1924, just before Breton wrote the Surrealist “Manifesto,” which was published in October 1924, appears as an ironic and distanced response to the Olympic Games, which began in Paris on May 4, 1924. It was a sort of “countermarch,” in the spirit of the nineteenth-century wanderings of Verlaine and Rimbaud, or of the Grand Meaulnes in Alain-Fournier's 1914 novel of the same name. Breton told André Parinaud that it was an "initiatory" journey. Walking has something to do with automatic writing, which in a different way expresses the need for continuous movement, differential speeds and physical and nervous exhaustion. In fact, from March to May 1924, Breton had once again engaged in automatic writing and had even organized it collectively by distributing writing notebooks to the members of the group.

Studi Banding Pola Gerak Tari Kataga dengan Seni Gambar Cadas di Situs Tron Bon Lei, Alor, Nusa Tenggara Timur (Tinjauan Etno Arkeologi)

The rock art of the Tron Bon Lei Site, Alor, East Nusa Tenggara has unique form because it is depicted in anthropomorphic figures. The figure is depicted in a certain movement pose and has attributes in the form of traditional clothing and weapons. Kataga dance is a traditional dance that was previously performed in death rituals after war in Sumba, East Nusa Tenggara. This article discusses the form of the anthropomorphic figures of the Tron Bon Lei Site Rock Art and the Kataga Traditional Dance forms with the aim of seeing the similarities and differences between the two objects in relation to the meaning of the rock art. This research was conducted using a qualitative method, namely a descriptive analytical approach. Data collection was carried out using field surveys and literature studies. The results of the research show that there are similarities between the rock art form and the Kataga Dance form. The similarities are in the movement poses, attributes and dance formations. It is hoped that this article can provide a new perspective in interpreting rock art, by looking at similar forms in contextual situation.

Проблематика информационного шума в контексте современного кинематографа

The article is devoted to the study of the ‘information noise’ phenomenon in the context of modern cinema. As a comprehensive art form, cinema in the current era confronts this multifaceted issue. This study critically analyses the concept of information noise scrutinizing its manifestations across diverse cultural and social contexts. The author highlights various dimensions of information noise and assesses its impact on the perception and interpretation of cinematic productions, encompassing aspects like historical authenticity, value stereotyping, the preservation or substitution of core ideas, censorship influence, narrative complexity, and verbal imperfections. The article also addresses the current state of scientific development of the topic under study. It underscores people’s limitations in processing information and how perception is influenced by their socio-cultural origins. The necessity for a standardized approach to identify characteristics of information noise in film production is also emphasized.

손드하임 뮤지컬 <조지와 함께한 일요일 공원에서>에 나타난 음악적 분할과 병치적 특성

The musical Sunday in the Park with George (1984) is based on the pointillist painting A Sunday Afternoon on the Island of La Grande Jatte and portrays the life and art of the painter Georges Seurat. Composer Stephen Sondheim adapted the concept of ‘dots' from the painting into the elements of the musical, including stage design, drama, and music, creating a new form of musical distinct from traditional ones. This study analyzes how the techniques of division and juxtaposition in Sunday in the Park with George enable new artistic expressions through the fusion of music and painting. Focusing on the representative songs ‘Color and Light, ‘Eulogies,' and ‘Move On,' this research explores the implementation of pointillistic scenarios and musical pointillism. The results show that Sondheim extended the possibilities of artistic expression by applying Seurat's pointillism to the concepts of musical division and juxtaposition. Specifically, he expressed the division and juxtaposition of colors through short, monosyllabic words and fragmented melodies, while reinforcing the work's coherence and unity through the repetition of leitmotifs and the use of intersecting harmonies. This study provides foundational insights into evaluating the impact of Sondheim's techniques on modern musical creation and understanding how his works pioneer new artistic boundaries through interaction with other art forms.

Inked Expressions: An appreciation of selected contemporary tattoo art among Ghanaians in Kumasi and Accra metropolises

Tattooing has been practiced for several years across the world. It is considered an art form that transmits cultural expressions and reflects the differences between groups of people globally. In Ghana, the popularity of contemporary tattooing has soared for various reasons. However, there is little scholarly research on tattoo culture in Ghana. Therefore, the study attempts to appreciate the aesthetic elements of selected contemporary tattoos in Kumasi and Accra metropolitan areas to reveal their social, philosophical, and other underpinnings. Qualitative ethnographic approach was employed in which a total of twenty-two (22) tattooed respondents were obtained for data collection using homogenous purposive and exponential discriminative snowball sampling techniques. Unstructured-Interviews and naturalistic observations constituted the data collection instruments. The study found that contemporary tattoo designs in Kumasi and Accra metropolises diversely included minimalist designs, religious symbols, portraits, decorative designs, philosophical symbols, among others, which aesthetically convey the religious identity, philosophy of life, and self-expression of tattoo wearers. While the study concludes that contemporary tattoo art in Ghana (Kumasi & Accra) is an embodiment of a dynamic and evolving art form that symbolically resonates with the persona, philosophy of life, sociocultural and religious expressions of tattoo wearers, it is recommended that further research should be conducted on the side effect of tattoo art on the health of tattoo wearers in Ghana. This will help determine whether or not tattoo art should be formalised as an acceptable academic field of study as well as be promoted by art institutions, galleries and museums in Ghana.