Abstract
The preservation of declining xiqu heritage through remediation and transmediation has often been ineffective in attracting a wider audience. The Cantonese opera film White Snake (2021), with its unusual utilization of computer-generated technology and transgressive combination of various media, offers a fresh approach to popularizing xiqu among younger audiences. To overcome aesthetic differences between cinema and xiqu, the film transforms medium specificities and transmedial potentials of Song landscape paintings and martial-arts film, adapting them to a new scenic and choreographic setting. By altering the original play’s sensory and semiotic modalities, White Snake’s transmedia aspects blaze a new trail for popularizing xiqu heritage for a new generation.
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