Creating Cultural and Historical Imaginaries in Physical Space: Worldbuilding in Chinese Theme Parks

Carissa Baker

doi:10.22452/sare.vol58no1.8

Abstract

Theme parks are fascinating texts built on spatial narratives and detailed storyworlds. Worldbuilding and subcreation are literal in these spaces, but they likewise contain symbolic experiences that represent cultural and historical imaginaries. China is one of the largest markets in the global theme park industry. The design ethos in many parks is to represent fantasy versions of reality or depict cultural beliefs. This article offers analysis of examples in Chinese parks that signify simulated place or culture (for example, Splendid China’s parks), a romanticized historical time (the Songcheng parks), local stories (Sunac Land parks), and national cultural stories (the Fantawild Oriental Heritage model). Each of these spaces presents narratives and immersive environments that have the power to engage visitors on physical, sensual, conceptual, and emotional levels. They are second worlds to play in, imagine in, and to consume fantasy in while also providing a shifting model of theme park experience.

Highlights

Theme parks are fascinating texts built on spatial narratives and detailed storyworlds
The interpretation of the Western theme park paradigm into the East is a worthy concept to study considering the long-term association of theme parks with Western culture and leisure practices. These parks offer a window into the fascinating act of subcreation in physical space as theme parks are fantastic worlds in physical space
Splendid China, opened in 1989, was the first site designated as a theme park in the new wave of parks (Zhang 412)

Summary

Worldbuilding in Theme Parks

An imaginary world is what envelops fictional characters, creating a “unified sense of place which is ontologically different from the actual, material, and so-called ‘real’ world” (Wolf 377). In many attractions within a theme park, the guest is brought to another world and generally placed in the role of visitor to that imaginary space if not a participant. Unlike Songcheng, Fantawild does not attempt to stage the past with immersive elements or slice-of-life reenactment; it creates a new space entirely that is part Chinese architecture and landscaping, part high technology rides and shows, and part a recall of aspects of Chinese cultural history. It is a mix of old stories and new technologies, presenting an imaginary world that feels different from other theme parks. The White Snake Maiden’s Fury attraction combines a lengthy, boat-based dark ride with live actors, projection mapping, and a stage show finale on a larger scale than most Western theme parks offer

Theme Parks and Cultural Worldbuilding

Works Cited