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	<id>https://bou.de/u/index.php?action=history&amp;feed=atom&amp;title=20220630_Culture_11</id>
	<title>20220630 Culture 11 - Revision history</title>
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	<updated>2026-04-07T17:09:59Z</updated>
	<subtitle>Revision history for this page on the wiki</subtitle>
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	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Culture_11&amp;diff=146786&amp;oldid=prev</id>
		<title>Hu Wenwen: /* 英语口译	方楚晗	Fang Chuhan	202170081616 */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Culture_11&amp;diff=146786&amp;oldid=prev"/>
		<updated>2022-07-07T03:16:26Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;英语口译	方楚晗	Fang Chuhan	202170081616&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;table class=&quot;diff diff-contentalign-left diff-editfont-monospace&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 03:16, 7 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l273&quot; &gt;Line 273:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 273:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Due to the fact that the traditional, Danmu-free visualization has been losing its ability to draw in and keep users, a variety of popular online video services, including Tudou and Youku, have also incorporated this collaborative video annotation system. As a result, by 2014, almost all video-streaming platforms in China integrated the Danmu function to engage users, marking the significant evolution of Danmu from a specific subcultural entity into a predominate standard design for the online video culture in modern China (Li, 2017). These globalized platforms start to accept user-produced transnational and cross-linguistic media products in addition to user-produced Danmu, rather than website owners (Zhang &amp;amp; Cassany, 2019b).&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Due to the fact that the traditional, Danmu-free visualization has been losing its ability to draw in and keep users, a variety of popular online video services, including Tudou and Youku, have also incorporated this collaborative video annotation system. As a result, by 2014, almost all video-streaming platforms in China integrated the Danmu function to engage users, marking the significant evolution of Danmu from a specific subcultural entity into a predominate standard design for the online video culture in modern China (Li, 2017). These globalized platforms start to accept user-produced transnational and cross-linguistic media products in addition to user-produced Danmu, rather than website owners (Zhang &amp;amp; Cassany, 2019b).&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Gen Z in China has made watching movies enriched with Danmu into a well-established habit and subculture. Danmu is occasionally more well-liked than the videos themselves due to its association with amusement, information, and sociability. It even acts as a &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;persuasion &lt;/del&gt;tool for viewers to watch particular works (Zhang, 2016).&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Gen Z in China has made watching movies enriched with Danmu into a well-established habit and subculture. Danmu is occasionally more well-liked than the videos themselves due to its association with amusement, information, and sociability. It even acts as a &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;persuasive &lt;/ins&gt;tool for viewers to watch particular works (Zhang, 2016).&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Social Functions of Danmu===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Social Functions of Danmu===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l450&quot; &gt;Line 450:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 450:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[35]Zwick, Detlev and Alan Bradshaw. 2016. Biopolitical marketing and social media brand communities. Theory, Culture &amp;amp; Society 33(5): 91-115.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[35]Zwick, Detlev and Alan Bradshaw. 2016. Biopolitical marketing and social media brand communities. Theory, Culture &amp;amp; Society 33(5): 91-115.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;--[[User:Hu Wenwen|Hu Wenwen]] ([[User talk:Hu Wenwen|talk]]) 03:16, 7 July 2022 (UTC)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语口译	胡雯雯	Hu Wenwen	202170081617==&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语口译	胡雯雯	Hu Wenwen	202170081617==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Hu Wenwen</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Culture_11&amp;diff=146422&amp;oldid=prev</id>
		<title>Zhang Minfeng: Created page with &quot;Back to course homepage: Chinese_Language_and_Culture_2022, back to final exam paper overview: 20220630_Culture   ==This is the final exam paper website no. 11== Becau...&quot;</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Culture_11&amp;diff=146422&amp;oldid=prev"/>
		<updated>2022-07-05T05:20:18Z</updated>

		<summary type="html">&lt;p&gt;Created page with &amp;quot;Back to course homepage: &lt;a href=&quot;/u/wiki/Chinese_Language_and_Culture_2022&quot; title=&quot;Chinese Language and Culture 2022&quot;&gt;Chinese_Language_and_Culture_2022&lt;/a&gt;, back to final exam paper overview: &lt;a href=&quot;/u/wiki/20220630_Culture&quot; title=&quot;20220630 Culture&quot;&gt;20220630_Culture&lt;/a&gt;   ==This is the final exam paper website no. 11== Becau...&amp;quot;&lt;/p&gt;
&lt;a href=&quot;https://bou.de/u/index.php?title=20220630_Culture_11&amp;amp;diff=146422&quot;&gt;Show changes&lt;/a&gt;</summary>
		<author><name>Zhang Minfeng</name></author>
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