social_science3 papersavg year 2026weak evidence

The gap between the Western-centric paradigm of film

Research gap analysis derived from 3 social_science papers in our local library.

The gap

The gap between the Western-centric paradigm of film tourism and the need to understand the inter-connectivity between tourism authenticity, the tourist gaze, mass media, and tourist consumer behaviour in non-Western contexts. - The lack of

Evidence profile

Stated in the future work and cells research gap sections of the source papers, classified as general, spanning 3 journals.

Research trend

Established — well-defined area with open sub-problems.

Supporting evidence — 3 representative gaps

  • A Semiotic Study of Duan Inkstones as Tourist Souvenirs from the Tourists' Perspectives (2026) · NURTURE · doi

    Caixia Wu School of Foreign Languages and Cultures of Zhaoqing University, Zhaoqing, 526061, Guangdong Province, P. R. China. (Email: [email protected]) ABSTRACT This paper examines Duan inkstones, a traditional cultural artifact from Guangdong, China, as tourist souvenirs through a semiotic lens. By analyzing the symbolic meanings, cultural connotations, and aesthetic expressions embedded in Duan inkstones, the study explores how tourists perceive and interpret these artifacts in the context of cultural tourism. Drawing on semiotic theory, the paper identifies three layers of meaning in Duan inkstones: material symbolism, cultural symbolism, and experiential symbolism. This study holds significant academic value and practical implications. Through interviews with tourists and analysis of purchasing behaviors, the study reveals that tourists value Duan inkstones not only for their artistic and historical significance but also for their role in constructing cultural identity and facilitating cross-cultural communication. The findings suggest that Duan inkstones serve as semiotic bridges connecting tourists to Chinese culture, offering insights into the dynamics of cultural consumption in tourism. It constructs a theoretical model to explore pathways for their visual transformation and material reconstruction, providing a methodological approach for differentiated innovation in souvenir design, and practically enhancing the cultural connotations and aesthetic qualities of such souvenirs and thereby strengthen their market competitiveness. Keywords: Cultural signs, Cultural tourism, Duan inkstones, Semiotic study, Tourist souvenirs, Souvenir design. 1. INTRODUCTION Tourism has increasingly become a platform for cultural exchange, where tourists seek authentic experiences that connect them to local traditions and histories. Souvenirs, as tangible representations of these experiences, play a crucial role in shaping tourists' memories and perceptions of a destination. Among various cultural artifacts, Duan inkstones—a type of traditional Chinese inkstone originating from Duanzhou (now Zhaoqing), Guangdong Province—have gained popularity as high-value souvenirs. Known for their exquisite craftsmanship, historical significance, and cultural symbolism, Duan inkstones embody the artistic and philosophical heritage of Chinese literacy culture. As tourist souvenirs, Duan inkstones are based on the long history and unique craftsmanship of the products in Zhaoqing, highlighting the cultural elements and showcasing the cultural connotation. The design of cultural tourism souvenirs aims to establish an effective perceptual connection between the products and daily life, the dual values of material and spirit, the specific cultural phenomena and values.

    generalstated in future workevidence 5/5
    Keywords: cultural duan inkstones souvenirs tourists tourism zhaoqing semiotic symbolism guangdong tourist material value chinese design
  • Fashion Product Positioning through Marketing Narratives: A Qualitative Study (2026) · International Research Journal of Business and Social Science · doi

    the Consumer Culture Theory (CCT) provides a broader on consumption, emphasising role of cultural meanings, social practices, and identity formation (Arnould & Thompson, 2005). CCT posits that consumption is not merely a functional activity but a symbolic process through which individuals construct and communicate their identities. to integral become evident, Belk’s (1988) concept of the extended self is central to this perspective, suggesting that possessions an individual’s sense of self. In fashion, this is particularly and accessories are used to express personal style, social affiliation. Thompson and Haytko (1997) further argue that consumers actively interpret and negotiate the meanings of fashion products within cultural contexts. clothing status, group and as frameworks Marketing narratives play a crucial role in these meanings by providing shaping symbolic through which consumers can understand and use products. For instance, a brand that positions itself around inclusivity and diversity may use narratives that celebrate individuality and self-acceptance. These narratives not only influence how products are perceived but also how they are integrated into consumers’ identity projects. CCT also highlights the importance of cultural authenticity and resonance in brand communication. Narratives that align with cultural values and social trends are more likely to be effective in influencing consumer 7 Akhi et al. 2026 Fashion Product Positioning through Marketing Narratives: A Qualitative Study behaviour. In the contemporary fashion landscape, this includes themes such as sustainability, ethical consumption, and social responsibility (Joy et al., 2012). 3.4 Integrated Theoretical Model By integrating brand positioning theory, narrative this study theory, and CCT, develops a comprehensive framework for fashion marketing narratives.

    generalstated in future workevidence 5/5
    Keywords: narratives fashion cultural social theory consumption meanings self consumers products marketing brand consumer role identity
  • Folklore, Authenticity and the Tourist Gaze in Touring Chinese Cultural Heritage (2026) · Folklore Electronic Journal of Folklore · doi

    The gap between the Western-centric paradigm of film tourism and the need to understand the inter-connectivity between tourism authenticity, the tourist gaze, mass media, and tourist consumer behaviour in non-Western contexts. - The lack of understanding of the role of media in shaping tourist experiences of Chinese cultural heritage sites.

    generalstated in cells research gapevidence 5/5
    Keywords: gap between western-centric paradigm film tourism need understand

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The gap between the Western-centric paradigm of film tourism and the need to understand the inter-connectivity between tourism authenticity, the tourist gaze, mass media, and touri… This is supported by 3 representative gap statements extracted from 3 papers, rated weak evidence.

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