We report the first observation of Fano resonance in the Y-shaped cavity (YC), demonstrate that the sensitivity of the sensor is as high as 1160 nm/RIU, much higher than that of the aforementioned sensors, and observe that the quality factor and sensitivity of Fano resonance can be adjusted by changing the geometry of the sensor or adding silver nanoparticles. Traditional sucrose detection methods either waste resources or pollute the environment. This work shows that the sensor can be used to detect the concentration of sucrose. In addition, we found that the concentration of sucrose has a linear relationship with its corresponding refractive index. The sensor we designed can easily and rapidly calculate the concentration of a sucrose solution based on the Fano resonance wavelength shift, which is an important first step towards detecting the refractive index of the solution and identify the composition.

The current domestic gaming market is flourishing, with a multitude of games centered around or incorporating elements of traditional culture. Notably, exceptional cases such as “Black Myth: Wukong” have even succeeded in exporting culture overseas. However, beneath this prosperity lie certain challenges. Most games that revolve around traditional culture suffer from certain gaps and lack subsequent work. Only a few manage to evolve into series. This paper primarily explores the feasibility and advantages of the IP economic model in propagating traditional culture through digital games, aiming to uncover novel strategies for disseminating traditional culture in the digital gaming realm.

The art field of contemporary society is developing rapidly, and digital media is developing at a high speed. The installation art, which is rooted in contemporary art, has gradually become an important art form of new media art with its unique conceptual, experimental, on-site and interactive nature. In the late 20th century, the media scene has become more diversified with the development of science and technology, and the creation form and content of installation art have been more fully developed, and once became the patent of avant-garde fashion designers. On this basis, with the help of outdoor art behavior, the article makes an in-depth exploration and research on the integration and development of digital media technology and installation art.

Animation character design is the soul of animation creation. Excellent animation character design can promote the development of the plot, reflect the value of the work itself, and lay a good foundation for the success of the film. The paper takes the domestic animation movie I Am What I Am as an example, and studies the characteristics of a credible, respectable and lovely Chinese animation character image from the relationship between animation character design and animation film, the spiritual image design of animation character, and the styling design of animation character. The Chinese animated film I Am What I Am is created with realistic themes, and tells the story of the main character’s struggle for his dream, creating a credible, respectable and lovely Chinese spiritual image. However, the character’s features and shape are overly exaggerated, lacking in beauty, and not unified with the purely realistic style of scenes and props. Therefore, domestic animation creators need to pay attention to the all-round beauty and style characteristics of the character, and design a credible, lovely and respectable Chinese animation character image.

As an important cultural industry, animation, with its unique affinity and communication power, is one of the important carriers of cultural communication. It can build up the national cultural image, reflect the comprehensive strength of the country, and contribute greatly to the achievement of national brands and the aggregation of national images. It is a great tool for international communication and exchange under the background of globalization. By studying the development status of contemporary Chinese animation, analyzing the contemporary artistic characteristics of Chinese animation, this paper puts forward the methods and principles of Chinese animation creation under the construction of national cultural image, that is use animation themes to highlight the connotation of Chinese culture, improve China's recognition through role shaping, innovate scripts to tell Chinese stories and use new means to promote Chinese animation. Finally realizes the transformation and innovative development of excellent traditional ideas and values in the modern cultural context, and improves the national cultural soft power and the international influence of Chinese culture.

In recent years, domestic animation films are committed to inheriting and carrying forward the traditional national culture. This article takes “Nezha”and “New Gods: Nezha Reborn”as an example to study the expression of traditional national culture from the perspective of cultural construction and audio-visual culture. It is concluded that the domestic animation focuses on the interpretation of the Chinese stories and the expression of the Chinese spirit, and uses the traditional elements to integrate the traditional culture with the modern context.

As the leading figure of the fifth generation of directors, Chen Kaige is a director with a unique personal style. Chen Kaige has always taken a high level of cultural consciousness as the basis of his creation. In his film works, there are strong personal aesthetics and expression of personal thoughts. The film Legend of The Demon Cat is another attempt and breakthrough under the background of cultural commercialization and film industrialization. This paper attempts to explore the unique aesthetic thinking and profound cultural reflection behind the creation of Chen Kaige's series of films by analyzing the creative technique, narrative mode, aesthetic value, aesthetic style and cultural context of the film “Legend of the Demon Cat.”

요즘 중한 양국 문화 영역의 합작이 심화하고 있다. '원소스 멀티테리토리'모식으로 제작한 중한 영화들을 관객의 주목을 받았다. 하지만 <용하형경>과 <극한직업>이 개봉하면서 양극화 관영 평가와 현격 한 흥행 차이가 생겼다. 따라서 본 논문에서는 두 영화를 중심으로 내러티브, 캐릭터로서 현지화 원소의 운용을 대비하고 분석한다. 같은 스토리는 어떻게 다른 나라의 현지화 사회 문화를 표현할 수 있는 것에 대해 살펴보고 더 우수한 중국 영화를 만들기 위해 현지화 원소의 활용 방법을 총결해야 한다.

Christopher Cristof Yvoré is a French contemporary painter with a unique artistic style. Today, in the era of image, his painting concept, painting style, art style and the specific objects of daily life and painting space focus and expression, the painting art elaborated the unique charm. In contemporary painting shows an atypical, not with the trend of personality characteristics. Cristof Yvoré's work is obtained from memory, not painted in reality. He instilled all subjectivity and uncertainty in memory into the theme of the work, trying to bring memory into painting facts through continuous attempts to bring tradition The limits of painting are pushed to the limit. This paper takes Cristof Yvoré as the research object, and analyzes his unconscious selection of subject matter and expression of artistic concept, his calm and cool use of color, his treatment of thick and heavy picture texture superimposed by multiple layers of pigment, as well as his expression of ductile painting space. Further study its unique painting style and painting language expression, and then explore its positive role in promoting the development of painting art and reference significance.

Xu Jingda is undoubtedly an animated director with the most "paradigm" meaning in the history of Chinese animation, beginning in the 1980s. He was praised by Tewei as an "unusual talent." The animation he directed are simple, humorous, subtle and whimsical. Different from the previous generation of animators' understanding and exploration of the "nationalization" of animation, Xu Jingda's animation works mostly explore and analyze the national cultural psychology from the perspective of human nature, and make new insights into the nationality and inter-nationality. To a certain extent, his films expanded the road of Chinese animated creations, and even promoted and surpassed the artistic pursuit and academic connotation of the "Chinese Animation School" at that time. Although his animated works can't be compared with the European and American animated films at the time, the national cultural connotation and human thoughts contained within them, as well as the aesthetic enjoyment brought to the audience are immense. This is not only due to the cultivation of the predecessors and their own efforts, but also the artistic style of the foreign animation has a deep influence on him. A research on Xu Jingda, an innovative animation director, focuses on the artistic style and creative concepts in these animated films. This paper starts with Xu Jingda's influence on the artistic style of Zagreb's animation school, and conducts an in-depth analysis and research on the development of traditional story themes, the exploration of animated film language and the excavation of national cultural psychology, and explores Xu Jingda's unique style. The creative art creation style and its importance and innovation in the process of nationalization of Chinese animation. All of this helps achieve a look into the development and innovation of the current "nationalization" of Chinese animation.

In recent years, China has produced many excellent animation films. In this paper, we will explore the animation films: Monkey King: Hero Is Back, Big Fish and Begonia and Da Hu Fa. By comparing and contrasting these films, we will be able to discover their similarities and differences. Specifically in the aspect of animation script creation, the director pursued a stylized film creation and make a bold adaptation to the original stories. Regarding the animated character creation, the main characters are highly personalized and humanized. There are also many breakthroughs in the audio-visual language of animation. Domestic animation is no longer for children but also a viable entertainment option for adults.

현대화와 글로벌화는 사회 전형과 문화 변동을 초래하고 이로 인해 무형 문화재는 전승의 위기를 직면하게 되였다. 중국의 오천년 문명 세례 후 보존된 진귀한 유산으로서 단순히 문화 시스템 자체의 힘으로는 더 이상 진행이 어려워 외부 환경에서 새로운 보완 조치를 모색해야 한다. 애니메이션은 문화 전파의 중요한 운반체의 하나로서 개방성, 민간성, 다양성, 포용성의 특점과 강대한 문화 홍보 능력을 가지고 있어 무형 문화재를 보호하는 현대화 방법과 수단으로 문화 전승의 의무와 책임을 질수 있다. 본 문은 중국의 무형 문화재의 발전을 연구 배경으로 하고 동서방 애니메이션 예술의 차이를 분석 대조하여 중국 애니메이션 예술의 표현 특징 및 외연 발전을 정리하고 중국 애니메이션이 전통 문화와 결합하고 공통 발전하는데 더 적합하다는 관점을 표명하였다. 애니메이션 예술과 중국 전통 문화의 융합 각도에서 상세하게 논술하여 양자의 융합은 대중들에게 문화재 지식을 최대한 직관적이고 생동하게 전파할수 있다는것을 알게 되고 동시에 전통 문화의 정수를 섭취하여 중국 애니메이션 산업의 글로벌 영향을 확대할수 있고 중식 심미를 갖춘 애니메이션 특징을 보완할수 있다. 본 문은 우시 박물원 “자옥금사” 전시관의 실천 연구를 기초로 하여 자사호를 알고 인지하는 응용 스포트웨어 “자옥금사”를 개발 시도하고 360 전경 전시 기술로 서로 다른 형태의 자사호를 전모 전시하며 선묘 애니메이션의 표현 수법으로 자사호의 유지보수 및 선출 절차를 해석하여 중국 무형 문화재의 애니메이션화 변환 및 표현은 가능하다는 것을 논증하였고 이는 중국 전통 문화의 새로운 발전, 새로운 번영에 중요한 조치이다.