• Dialogue was shallow and indirect.

• actors much older than characters

• clear religious authority

90's films like Clueless and Can't Hardly Wait

• challenge stereotypes and embrace diversity.

• satirizes high school life

• subtle religious tones

Now, in some coming of age films:

• The dialogue is more direct and honest with emotional issues

• Gender roles are complicated

• irreverent / irreligious

However, with the development of the times and the arrival of the Internet era, the channel for people to obtain news has changed from reading newspapers to reading news.Reading news is more timely than reading newspapers.We can get news by watching it on TV.But this way, there will be limitations in terms of time and location.

With the further development of the internet, news has become something we can easily see with just a few fingers. We can get the news we want on our phones, computers, and within seconds of connecting to the internet.

2. In the Middle Ages, with the invention of printing (such as Gutenberg's printing press), advertising began to spread through printing. The first advertisements were hand-painted posters used to promote market dates, theater performances, etc. In the 17th century, with the rise of newspapers, advertising was first widely spread in the form of printed text. Advertisements during this period were usually short text messages used to buy and sell goods, post job information, etc.

3. In the 19th century, the Industrial Revolution led to a significant increase in the variety and quantity of goods, and the demand for advertising grew accordingly. With the help of lithography technology, large-scale color posters appeared with more vivid designs.

4. In the early 20th century, radio advertising was born and became an important means for merchants to attract a large number of listeners. Advertising began to use sound as a medium to attract consumers through music and stories. In the mid-20th century, the popularity of television marked the entry of advertising into the video era.

5. 1990s: The popularity of Internet technology brought about the rise of digital advertising. Advertising forms are more diverse and more interactive.

6. In the 21st century, the popularity of social media and streaming platforms (such as YouTube and TikTok) has pushed video advertising to new heights. Combining popular culture and entertainment content to attract the younger generation. By clicking or participating in interactions, users can directly experience products or services. .

Over time, music videos have evolved significantly. Now, they frequently incorporate complex storylines, high-quality special effects, and elaborate choreography.

风急天高猿啸哀，渚清沙白鸟飞回。 无边落木萧萧下，不尽长江滚滚来。 万里悲秋常作客，百年多病独登台。 艰难苦恨繁霜鬓，潦倒新停浊酒杯。

《我爱这土地》 艾青

假如我是一只鸟， 我也应该用嘶哑的喉咙歌唱： 这被暴风雨所打击着的土地， 这永远汹涌着我们的悲愤的河流， 这无止息地吹刮着的激怒的风， 和那来自林间的无比温柔的黎明…… ——然后我死了， 连羽毛也腐烂在土地里面。 为什么我的眼里常含泪水？ 因为我对这土地爱得深沉……

予姊丈之祖宋公，讳焘，邑廪生。一日病卧，见吏人持牒，牵白颠马来，云：‘请赴试。’公言：‘文宗未临，何遽得考？’吏不言，但敦促之。公力疾乘马从去，路甚生疏，至一城郭，如王者都。移时入府廨，宫室壮丽。上坐十余官，都不知何人，惟关壮缪可识。檐下设几、凳各二，先有一秀才坐其末，公便与连肩。几上各有笔札。俄题纸飞下，视之有八字，云：‘一人二人，有心无心。’二公文成，呈殿上。公文中有云：‘有心为善，虽善不赏；无心为恶，虽恶不罚。’诸神传赞不已。

《盗墓笔记》

“那虫子还真不客气，直接就用它锋利的爪子割去我脸上的一块皮，我一咬牙，想把它甩开，没想到它几个爪上都有倒钩，牢牢地钩住我的衣服，有几个都直接钩到我肉里去了，疼得眼泪都出来了”。此时闷油瓶出现，“一下子把两根手指插进那虫子的背脊，一发力，一扯，一条白花花的通心粉一样的东西被他扯了出来，可怜那虫子刚才还占尽上风，一秒都不到就歇菜了”

Group 1

- ： “Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, A pair of star-cross'd lovers take their life.”

- Juliet: “O Romeo, Romeo! Wherefore art thou Romeo?Deny thy father, and refuse thy name;Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet.” Romeo: “I take thee at thy word. Call me but love, and I’ll be new baptiz’d;Henceforth I never will be Romeo.”

《Hamilton》

- “One day the kids were out there fighting, no one went out there. They had one boy out on the street. He could have been dead! And all of them stand around him. And you know what they say to me? ‘He might do something to your house!’ But no one even called the cops! I went out there in the streets, and if a little boy said something to me, and I said, ‘I don’t care if you live to be 50 years old, don’t you ever do that again!’ Now every time I see him, he asks, ‘Is there anything I can do for you? Do you need something?’ Kids need discipline, they want to be taught.”

- “I got along fine. In math, I was with all white men. Sometimes, the professors, being that I was black and a woman, they would ask me questions

During the early Tang Dynasty (618-713), poets such as the "Four Talents of the Early Tang" — Wang Bo, Yang Jiong, Lu Zhaolin, and Luo Binwang — completed the process of rhythmic regularization in poetry, laying the foundation for the metrical poetry of China. Their efforts shifted the themes of poetry from the extravagant court life to the common life of society, and the style transformed from delicate and weak to bright and refreshing. Chen Ziang, the most outstanding poet of this period, advocated restoring the tradition of poetry reflecting real life. His poetry was vigorous and plain, opening the way for the development of Tang poetry.

The period of the High Tang Dynasty (713-766) is considered the most prosperous and accomplished era for poetry. Poets like Li Bai, Du Fu, Wang Wei, Meng Haoran, Gao Shi, and Cen Shen flourished during this time. They created a diverse range of styles and themes, from celebrating nature and the frontier forts to singing the praises of heroism and expressing disappointment. Li Bai and Du Fu are particularly renowned as the greatest poets of the High Tang, with their poems exerting a profound influence on later generations.

In the Mid-Tang Dynasty (766-836), poets such as Bai Juyi, Yuan Zhen, and Li He emerged. Bai Juyi excelled in satirical poetry, criticizing excessive taxation and war, and attacking the powerful and wealthy. His poetry was accessible and moving, loved by many readers. Li He, though short-lived, produced imaginative and innovative poetry with rich romanticism and a strong aesthetic tendency. The mainstream of poetry turned towards realism, with the New Yuefu Movement, represented by Bai Juyi, spanning the entire Mid-Tang period.

During the Late Tang Dynasty (836-907), poets like Li Shangyin and Du Mu were active. Du Mu's poetry blended freshness with coldness, suitable for expressing his political ambitions and passions. Realistic poetry continued to develop, with poets like Pi Rihou continuing the tradition of the New Yuefu Movement, albeit lacking creativity in art. Li Shangyin's poetry was filled with the dreamy atmosphere of twilight, and his love themes flowed smoothly.

观沧海

东临⑴碣⑵石，以观沧⑶海⑷。

水何⑸澹澹⑹，山岛竦峙⑺。

树木丛生，百草丰茂。

秋风萧瑟⑻，洪波⑼涌起。

日月⑽之行，若⑾出其中；

星汉⑿灿烂，若出其里。

幸⒀甚⒁至⒂哉，歌以咏志

近体诗

无题⑴

相见时难别亦难，东风无力百花残⑵。

春蚕到死丝方尽⑶，蜡炬成灰泪始干⑷。

晓镜但愁云鬓改⑸，夜吟应觉月光寒⑹。

蓬山此去无多路⑺，青鸟殷勤为探看⑻。

Group 5

Older Version (Taking "The Drunken Concubine" as an Example)

Characteristics: The language in traditional Beijing Opera like "The Drunken Concubine" was highly classical and formal. It had archaic words, complex sentence structures following strict grammar and rhetoric rules of classical Chinese. The libretto described sceneries and emotions elaborately with allusions and symbolic expressions, requiring a certain knowledge of classical Chinese for the audience to understand.

Representative Work: "The Drunken Concubine" about Yang Yuhuan in the Tang Dynasty. Its libretto is a model of traditional refined language in Beijing

Evolved Version (Taking "The Red Lantern" as an Example)

Characteristics: In modern Beijing Opera like "The Red Lantern", the language is more accessible and closer to modern spoken language. It uses modern vocabulary and simple sentence structures, with more straightforward lyrics expressing plot and emotions, and incorporates modern ideological and political concepts to reflect the modern era.

Representative Work: "The Red Lantern" set in the revolutionary era, with easily understandable language to convey the revolutionary spirit and heroes' stories.

Ways the Genre Has Changed and Reasons

Language Style:

Change: From a very classical and formal style to a modern and accessible one. For example, traditional scene description was elaborate while modern is simple.

Reason: To adapt to modern audiences who may not know much classical Chinese, aiming to attract more viewers and promote inheritance and development.

Expression of Ideology:

Change: From traditional cultural values to modern ideological and political ideas like patriotism and collectivism.

Reason: The change of social and historical background requires art works to reflect modern China's revolutionary and construction process and inspire people.

Narrative Structure:

Change: From fragmented and implicit to more complete and explicit with clear plot lines.

Reason: To meet modern audiences' aesthetic and cognitive habits of preferring straightforward and clear narratives for better communication and wider acceptance.