With the continuous development of world cinema, South Korean cinema, through sustained exploration, has risen from a position of near obscurity to become a film-producing force attracting the attention of more than half of global audiences. The efforts behind this achievement and the process of its development merit analysis. From the perspective of post-colonial film criticism, this article discusses the class narrative represented by Parasite and the output of the South Korean local film and television industry, and, drawing on an extensive body of literature, conducts an in-depth study of Parasite's post-colonial class narrative, communication, and audiences. The findings indicate that, through extensive background exposition and spatial narration, including class narration, the film presents a realistic work free from cultural barriers. It is precisely for this reason that the film has been favoured by audiences in countries across the world, meeting the cultural needs of the public and enabling viewers to gain insights from its expression without requiring an excessive understanding of the film itself. The film also successfully enabled Korean cinema to break through its constraints and to present a new image before global audiences.

Aesthetic experiences of the natural environment are shaped by complex interactions among sensory perception, emotional responses, knowledge, imagination, and the environmental context in which natural objects are experienced. This paper explores environmental aesthetic experience through a reflective analysis of the lotus flower, focusing on the feelings of happiness, tranquillity, contentment, and resilience that emerge from its visual and symbolic qualities. The lotus flower provides a useful example for examining how individuals perceive, interpret, and assign aesthetic value to objects within natural environments. Drawing on theories of environmental aesthetics, the discussion considers different approaches to aesthetic appreciation, including scientific cognitivism, non-cognitivism, the aesthetics of engagement, and multisensory appreciation. Scientific knowledge can deepen aesthetic understanding by situating natural objects within their ecological contexts; however, excessive dependence on scientific knowledge may restrict alternative forms of appreciation derived from emotion, imagination, cultural narratives, and direct sensory engagement. The analysis therefore highlights the limitations of relying on a single approach to environmental aesthetic judgment. Instead, it argues for a more integrated and multisensory approach that recognizes the dynamic relationship between the perceiver and the natural environment. Through the example of the lotus flower, the paper further demonstrates that aesthetic appreciation can strengthen individuals' awareness of their relationship with nature and contribute to environmental concern and conservation. Overall, environmental aesthetic experience is best understood as a contextual, participatory, and multisensory process incorporating perception, knowledge, emotion, and imagination.

As autonomous AI systems increasingly cause real-world harm, traditional responsibility frameworks—anchored in free will and the capacity to suffer—have proved inadequate, resulting in what scholars call a "responsibility gap". This study explores the conceptual viability of artificial moral responsibility and delineates its definitional boundaries. Drawing on responsibility theories, functionalist agent frameworks, and punishment theory, alongside psychological findings of retributive intuitions and sociological insights into collective conscience, this paper differentiates regulative responsibility from distributive responsibility and systematically evaluates the extent to which artificial intelligence meets the constitutive criteria of regulative moral responsibility. The analysis shows that AI can legitimately bear corrective responsibility through consequentialist correction mechanisms, yet cannot satisfy victims' retributive demand for desert, which requires a morally responsive human community. The paper concludes by proposing a "dual-layer responsibility model", in which AI assumes corrective responsibility while humans retain residual symbolic responsibility—jointly addressing both the responsibility gap and the retribution gap without fabricating AI minds or abandoning victims' demands for justice.

The interaction between the natural geographical environment and human activities gave rise to distinctive regional cultures throughout Chinese history. However, these cultural regions were by no means isolated from one another; rather, they maintained continuous exchanges through various natural and human-mediated channels. It was precisely this interregional interaction that gradually transformed the Yangtze and Yellow River basins into an integrated center of Chinese civilization, while also facilitating cultural exchanges on a broader international scale. Ultimately, these processes contributed to the emergence of China as a cultural entity extending beyond East Asia and becoming an integral part of world civilization. An examination of the human-geographical context underlying this process is therefore of great significance for understanding the fundamental logic of the evolution of Chinese history and culture.

This paper examines how multimodal resources, including typefaces, layouts, and languages, contribute to the construction of Cantonese identity within the Hong Kong, China language landscape. While previous research has explored text features such as code-mixing, Chinese-English translation, and Cantonese vernacular characters, visual elements have not been adequately addressed. Utilizing multimodal discourse analysis and visual semiotics, this study analyzes samples from cha chaan tengs, dai pai dongs, and trendy local eateries. Handwritten fonts embody grassroots neighborhood culture, decorative fonts signify modern local vitality, and the Chinese-English typographic hierarchy reflects local language subjectivity. Previous studies have exhibited a text-oriented bias. This research provides insights into Cantonese culture, although the sample coverage is limited. Future studies may benefit from a longitudinal perspective.

Against the backdrop of the overall downturn in the film market, realistic films such as Dear You have been well received by audiences. Taking the film Dear You as a case study and based on the narrative transportation theory, this study constructs an integrated analytical framework for the impact of film attribute characteristics (including story verisimilitude, story innovation, and character depth) on audience emotional resonance. Data analysis of 292 valid questionnaires shows that both story innovation and character depth exert significant positive effects on audience emotional resonance, with character depth having a stronger effect. However, the impact of story verisimilitude on emotional resonance is not supported by the data. Focusing on the specific genre of warm realistic films, this study enriches the research on audience emotional resonance with this type of film, and aims to provide practical references for the creation, promotion and distribution of similar films.

As a fundamental backdrop to the evolution of historical culture, the topography, river systems, climate, and temperature of eastern Eurasia have consistently played an important role in the development of Chinese civilization, while also contributing to the formation of its distinctive national culture. At the same time, the natural environment itself has continually been transformed by human activities throughout this process. From this perspective, an examination of these factors and their respective roles is undoubtedly indispensable for gaining a deeper understanding of the underlying logic of the evolution of Chinese historical culture and of the long-term impact of human–nature interactions on the history of civilization.

As digital technology becomes deeply embedded in the national governance system, clean governance faces real challenges such as data silos, lagging oversight, and insufficient transparency in the exercise of power. This paper uses Marxist theory of national governance as its analytical framework, employing a combination of literature review and case analysis. First, it reviews the core Marxist discourses on power supervision and the subjectivity of the people, constructing a three-dimensional analytical model of "institution-technology-subjectivity". Second, it selects 31 provincial-level digital platforms for clean governance nationwide as samples, using fuzzy-set Qualitative Comparative Analysis (fsQCA) to identify the configuration paths of digital clean governance. Finally, it explains the path mechanisms through in-depth interviews. The study found that the synergistic improvement of data sharing and algorithmic supervision coverage is the core driving condition. High-efficiency configurations covered 78.6% of high-integrity-index cases, with a consistency rate of 0.92. Platforms embedding blockchain evidence storage mechanisms improved the efficiency of handling complaints and reports by approximately 37%, and achieved a 96.7% completeness rate of power operation record keeping. This paper provides theoretical basis and practical reference for digital empowerment of integrity governance.

Early Central Plains culture in China attached importance to ritual sacrifice and military conquest while Sanxingdui culture lacked bronze ritual objects and weapons. Writing system functioned as a tool for divine communication in the early Central Plains culture. However, Sanxingdui culture had no evidence of a writing system. Objects related to deities were used to mediate interactions between humans and deities in the culture. Moreover, the sophisticated burial system of the early Central Plains culture was different from the tradition of the Sanxingdui culture not valuing tombs, a pattern likely resulting from the allocation of massive social resources to religious worship. These three absences showed that Sanxingdui culture represented a theocratic civilization with religious affairs at its core. Its particularity was shaped by the natural‑geographical setting, indigenous cultural traditions, and cross‑civilizational interaction. In the future, the application of AI tools and other archaeological science methods can further advance our understanding of the theocratic state nature of Sanxingdui culture.

In the museum exhibition system where visual centrism has long dominated, viewing has become the primary means through which visitors acquire knowledge and understand exhibits, while bodily experience, auditory perception, and spatial participation have been neglected to some extent. With the development of experiential exhibition concepts, sound, as a medium characterized by spatial permeability, contextual generation, and the capacity to evoke bodily responses, is becoming an important pathway for the sensory transformation of museums. Based on embodied cognition theory, Maurice Merleau-Ponty's phenomenology of the body, and Marshall McLuhan's media theory, and incorporating R. Murray Schafer's soundscape theory, this paper explores how museum soundscapes can shift from traditional background elements to a mediating mechanism for sensory extension and spatial reconstruction. Taking the "Century Artery: The Ancient Tea Horse Road" exhibition at the Inner Mongolia Museum as a case study, the study employs audience behavioral observation and semi-structured interviews to analyze soundscape experiences from three dimensions: spatial behavior, bodily responses, and cultural cognition. The study finds that soundscapes break through the singular logic of visual display, transforming visitors from passive viewers into active perceivers. Directional sound fields, environmental sounds, and multisensory interaction design jointly construct an auditory space characterized by bodily participation. Sound not only enhances the immersive experience of historical contexts but also facilitates the transformation of museums from static exhibition spaces into dynamic experiential environments. On this basis, the paper further proposes a three-dimensional "sound–body–space" interaction model, arguing that museum soundscapes are not merely supplementary technologies in exhibitions but a form of media practice that reorganizes the relationship between people and cultural heritage. The study may provide a reference for future research on multisensory museum experiences, exhibition design, and spatial art.