Chinese Cultural Products Research Articles

The Impact of the Digital Transformation of Chinese Cultural Products on Marketing and Communication Strategies

In an era defined by globalization and rapid technological advancement, Chinas cultural industry is undergoing a significant transformation. This study investigates the profound effects of digital transformation on Chinas cultural industry, focusing on digital cultural innovation products such as digital art, virtual reality experiences, and online cultural creations. As globalization and technological advancements reshape cultural production, dissemination, and consumption, Chinas digital cultural sector has emerged as a significant global player. This research systematically reviews literature, industry reports, and case studies to analyze how Chinese digital cultural products are influencing marketing and communication strategies. The findings reveal that advancements in virtual reality, augmented reality, and artificial intelligence are leading to the creation of immersive and diverse cultural experiences, significantly enhancing consumer engagement and market reach. The study also highlights the transformative role of digital tools in marketing, including dynamic content creation and interactive experiences, while addressing challenges such as market saturation and the need for balanced engagement strategies. Future research should incorporate quantitative and qualitative data to further explore these dynamics.

A study on the factors influencing the changes in the scale of Japanese students studying abroad since the normalization of diplomatic relations between China and Japan

In 2017, China has become Asia's largest study destination country, but at the same time, the number of international students from Japan has been decreasing year by year. Understanding the factors that influence Japanese students' choice of study abroad destination is critical to understanding the reasons for this trend. This article takes Japanese international students as the research objects, starting from the development of the number of Japanese international students since the normalization of diplomatic relations between China and Japan, and focusing on analyzing the reasons behind the decrease in the number of Japanese international students. It has been found that Sino-Japanese diplomatic relations, study-abroad policies, Sino-Japanese trade relations, costs of studying abroad, expected benefits, rankings of Chinese universities, number of institutions, number of Confucius Institutes and courses, and total exports of Chinese cultural products are important factors affecting the changes in the number of Japanese students studying abroad. This study also provides suggestions to promote the growth of Japanese students studying abroad, and improve the quality and efficiency of China's overseas education.

Producers, prosumers, and the expansion of the Chinese IP engine

The export of Chinese cultural products has been enabled by voluntary acts of translation and dissemination, showcasing prosumerism where consumers influence media production and co-opt production functions held by cultural industries. In this paper, I delve into the industry reception of such prosumer activity and its effects on the transnational diffusion of Chinese cultural products.

Transmedia Adaptation, Sonic Affect, and Multisensory Participation in Contemporary Chinese <i>Danmei</i> Radio Drama

Danmei, a genre also known as boys’ love, first developed in China in the 1990s under the influence of Japanese subculture in the 1990s, but it has diverged from its Japanese antecedents in the last decade. Recent Chinese cultural products of danmei, no longer confined to a subcultural group, have attracted mainstream attention and been widely adapted into a variety of popular media forms. In this paper, with the case study of radio drama Grandmaster of Demonic Cultivation (2016), I examine how queerness is explored and experienced through the affective expressivity inherent in voice as well as the interactive interface of danmaku, with which listeners can experience and articulate queer fantasy in a relatively unobstructed way. As the genre of danmei has been subject to persistent state censorship, this paper further explores strategies of containment and tactics of negotiation deployed by both content producers and cultural consumers.

Chinese-Australian Culture in a Sinophone History and Geography

ABSTRACT This article proposes to view Australian Chinese cultural products through a Sinophone studies lens to clarify the position of Australia in transnational patterns of Chinese-language cultural production. Three examples illustrate how Sinophone studies can expand research on Chinese-language culture in Australia, by showing them to also be instances of wider phenomena: Chinese-language theatre, Federation-era fiction, and the foreign student literature of the 1990s. Examining how these examples fit into wider patterns of Chinese-language production allows us to expand dyadic views of diaspora or transnationalism while also directing greater attention to community diversity and marginalised texts. The Australian Chinese studies community is right to celebrate the length and breadth of Chinese cultural production in Australia, and considering Sinophone Australian literature and theatre in the context of global Sinophone cultural production can help sharpen perspectives on what is shared and what is particular about the Australian case.

Beyond Needle and Thread

Beyond Needle and Thread

The Evolution of the China’s Cultural Export Policy (2001—2020)

The export of cultural products and services is a key element of China’s international outreach strategy. The author presents a comprehensive review of the Chinese policy on the export of Chinese cultural products and services for 2001—2020. Stages in the evolution of this policy are identifi ed from a review of the documents adopted by the Central Committee of the Chinese Communist Party and the State Council of China. The author concludes that the growing share of Chinese cultural products in international markets is an eff ective tool to increase the international infl uence of Chinese culture and is evidence of China’s rising soft power.

Investigar la traducción de productos culturales chinos: retos y dificultades metodológicas en la creación de bases de datos sobre cine y literatura

In a context in which Digital Humanities are changing traditional research methodologies, this article presents two open access databases on Chinese literature and cinema, two key areas of Chinese cultural production. The information contained in these two resources, available to the entire scientific community, is not only valuable for Translation Studies scholars (because they include data on their introduction in the Spanish sociocultural context), but also from a bibliographic and documentary perspective. This paper aims to explain the reasons that motivated this project, the criteria followed in the design of the databases and the different levels of analysis they offer for researchers. A review of the state of the art and of different similar existing resources is carried out; the methodology followed in each of the databases is detailed and justified, and, finally, their overall contribution and research potential are summarized.

Involving Cultural Sensitivity in the Design Process: A Design Toolkit for Chinese Cultural Products

AbstractCultural and creative industries have become prosperous, and successful examples in the UK have inspired many countries to commercialise their own cultures by integrating their cultural values into art and design production. Inspired by this trend, the aim of this project is to increase awareness of traditional Chinese cultural aesthetics in modern product development as well as to highlight the role of cultural sensitivity in the product design process. This study focuses on industrial cultural products and examines the meanings and values of cultural products. Through the examination of the user experience of current cultural products with questionnaires and interviews with product designers, a design toolkit for Chinese cultural products was developed and applied in design practice. Design majors from various cultural backgrounds were recruited to participate in workshops to evaluate the usability of the toolkit and to validate whether the toolkit helped in their design processes. The findings of the research revealed that users’ experiences, particularly users’ emotional engagement with the products, could be enriched when the design toolkit was applied in the design process. This design toolkit is designed for use by international designers in the initial stage of the design process when idea generation, brainstorming and sketching occur. The toolkit could be applied not only in product design but also in visual communication design, interior design and digital content design.

The animated worlds of Piercing I, iMirror, and RMB City: Decoding postsocialist reality through virtual spaces

Realist aesthetics has dominated critical discussion of postsocialist Chinese cultural production. This paper argues that contemporary Chinese animated media subverts the logic of realism by enacting virtual spaces, and in turn, hosting abject scenarios of socio-economic marginalization and even fantastic illusions of hyper-consumerism. Liu Jian’s (2010) film Piercing I (刺痛我), depicts the plight of marginalized migrant workers in the big city and creates an absurd, exaggerated, and malnourished vision of a place where human characters lose their lives in a brutal, capitalist world. In contrast, multimedia artist’s Cao Fei’s (2007) virtual documentary, iMirror, joyfully explores digital creation in its colorful illusion of social mobility, following Cao Fei’s avatar as she explores the virtual platform of Second Life – an exploration that continues in her later digital city project, RMB City (2008–2011). Online and in the gallery, iMirror and RMB City invite user engagement and creativity with a hyper-consumerist and dream-like space. Despite their divergent visions, the animated spaces created in these projects provide an interface to decipher the reality of the world in a mediated manner, but they are also marked by an ideological ambivalence towards the experience of alienation in postsocialist urban life.

Sinophile Consumption: Chinese Restaurants and Consumer Culture in Turn-of-the-Century American Cities

ABSTRACTThe “chop suey craze,” the moment at the turn of the twentieth century when Chinese restaurants enjoyed unprecedented mainstream popularity in the United States, has received much attention in the literature on the American history of Chinese food. Much of this scholarship has attributed the craze primarily to the advent in the late nineteenth century of chop suey, and to the 1896 visit of Li Hongzhang to New York, while other works have emphasized new consumption imperatives stemming from the shift to a culture of empire at the turn of the century. This article seeks to intervene in this literature by shifting analytical focus away from these explanations and instead argue that the chop suey craze formed part of a larger resurgence in periodic American enthusiasm for China and Chinese cultural products, which I term Sinophilia, engendered by the emergence of an American empire in the Pacific in the 1890s.

Discussion on Trade Management Law of Chinese Cultural Products

Discussion on Trade Management Law of Chinese Cultural Products

Discussion on Trade Management Law of Chinese Cultural Products

Discussion on Trade Management Law of Chinese Cultural Products

Faked in China: Nation Branding, Counterfeit Culture, and Globalization, by Fan Yang. Bloomington and Indianapolis: Indiana University Press, 2016. ix+284 pp. US$30.00 (paper).

Faked in China: Nation Branding, Counterfeit Culture, and Globalization, by Fan Yang. Bloomington and Indianapolis: Indiana University Press, 2016. ix+284 pp. US$30.00 (paper).

A hundred years later: Zou Xueping's documentaries and the legacies of China's New Culture Movement

ABSTRACTOne of the ambitious goals of the famous New Culture Movement launched in 1915 was the democratization of cultural production in China. This meant promoting independent and critical works by writers and artists of all sorts. The movement met stiff, sometimes overwhelming, resistance both before and after 1949. Since the early 1950s, socialist state-directed cultural production has dominated, but the legacies and goals of the original New Culture Movement continue to resurface. This essay locates recent efforts of Zou Xueping, a young, female, independent, documentary filmmaker, in the larger context of the century-old determination to foster the democratization of Chinese cultural production. Zou does this by returning to her home village in Shandong to explore the relationship between past and present. On the one hand, she asks very old people to remember the awful traumas of the Great Famine of the late 1950s and early 1960s, while on the other she mobilizes very young people to take direct action to confront a range of problems that plague the village in the present day. Her works asks interesting questions about how independent artists encourage the agency of their subjects and how the democratization of culture stimulates healthy debate and grassroots initiatives.

Liang Luo, The Avant-Garde and the Popular in Modern China: Tian Han and the Intersection of Performance and Politics

A significant contribution to research on modern Chinese cultural production and intellectual history, the book examines the half-century career of Tian Han (1898–1968), one of China’s most important writers of modern and traditional theatre and film, and connects his creative work with his social activism.

Disenchanted Presents, Haunted Pasts, and Dystopian Futures: deferred millennialism in the cinema of Meng Jinghui

Meng Jinghui's Chicken Poets (2002) presents a postmodern meditation on the state and fate of Chinese cultural production, intellectual discourse, and social relations at the turn of the century and the millennium. Albeit released two years after 2000, it retains symptomatic traits of the fin-de-siècle and millennial mentality and is therefore examined as an instance of ‘deferred’ or ‘residual’ millennialism. As typical of such narratives, it merges visions of hope and horror, dream and disaster. The film is founded on a dialogic intersection of multiple ‘time–spaces’ of signification, each providing a separate locus of reflection and critique. Besides disclosing distinct discursive targets, the structural interplay of these different chronotopes also establishes generic distinctions within the narrative. Chicken Poets relates to the present as a self-reflexive Künstlerfilm addressing the conflict of creation and commodity in times of mechanical reproduction and mediated stardom. Its enquiry into the past triggers ghostly resurrections and nostalgic visions of compensation and resistance. Its imagination of the future generates apocalyptic fantasies of disaster while disclosing prospects of redemption.

Teaching Chinese Cultural Perspectives through Film

Teaching Chinese cultural perspectives in CFL instruction is more challenging than teaching about Chinese cultural products and behavior. It is challenging because most textbooks do not orient their approach to it, because native-Chinese-speaking teachers tend to overlook it as it is so much a part of them that it presents no peculiarities, and because it is believed cultural understanding comes naturally once language is learned. Studies on cross-cultural communication demonstrate that cultural ignorance causes misperceptions and misunderstandings. In a global community, as people of different cultures interact with one another, awareness of different cultural perspectives is urgently needed. Since language and culture go hand in hand, learning a language is a fortunate opportunity to learn culture through language. Employing a critical language pedagogy, this paper provides an example for teaching Chinese cultural perspectives though discourse from film clips. It shows how students can be taught differences, alternatives, and critical language and cultural awareness using comparative, reflective, and interpretive methodologies. It employs a variety of situated activities to help students explore and discover the Chinese cultural mind.

Symptomatic Metafiction in Lou Ye’s Suzhou River

My intention is not to preclude political readings of Chinese cultural production. Any piece of fiction contains the potential for political or social commentary in itself. Rather, what I will try to show in this paper is how fiction, because of its fictionality, is able to provide richer ways of interpretation and social commentary, as long as we read it as fiction.

National Cinema, Local Language, Trans-regional Adaptation: Dialect Comedy in the Early People's Republic of China

As the Mao era is generally considered a period of national isolation and totalitarianism, its cinema has seldom been examined from the perspectives of the local and the transnational. A closer look at film comedies produced in the early PRC period, however, shows dynamic interaction between the local and the (trans-)national in Chinese cultural production during the late 1950s and early 1960s. Many dialect comedies and comedies adapted from regional performing traditions were produced and distributed across the country and even overseas during this period. The cinematic interest in dialect and regional comedic traditions in this period prompts many critical questions and problematizes the seemingly homogeneous official culture in the early PRC. By focusing on the particular genre of dialect comedy, this essay attempts to retrieve the complex interaction between the local and the national and encourages further reconsideration of Maoist national cinema.