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Falun Gong as it began to establish itself in China during the early 1990’s was a reaction to the Qigong bloom from the late 1970’s during a period of recent newfound religious as well as cultural revival after Mao Zedong's death in 1976. The Chinese Government continued their cultural revival with a new constitution that was created 1982, which gave the people of China the rights to practice their religion as well as be under the protection of the government when affiliating with different kinds of religious organizations. That will say, as long as the Chinese government can control it. Falun Gong did not however find its place being under the government's control and found itself soon enough in the violence of the Chinese government which has from the year 1999 criticized the movement and their use of systematic violence upon the movement was drawn to the edge of persecution. The Chinese government's reaction can as we will see be understood within the context of the Chinese religious history. As Falun Gong stands out as and been branded as a offspring from the folk sectarian movement White Lotus and all other affiliations of messianic rebellion and millenarian movements which had occurred from the early Ming dynasty 1338 until the fall of the Qing dynasty 1911

This text uses a semiotic psychoanalytical framework to analyze season two of The White Lotus. This text examines the significance of the artwork of the show and applies Lacan’s mirror theory to the series’ artwork and the character Ethan. This thesis posits that the artwork is edited to accomplish the following: 1) to act as a metaphorical mirror for Ethan (a component of mise en scéne) 2) to heighten the series’ cultural appeal 3) to surveil the hotel guests and 4) to foreshadow future events.