Curtin, M. (2012) ‘ Chinese media and globalization ‘, Chinese Journal of Communication, 5(1), pp. 1-9. Available at: https:// doi.org/10.1080/17544750.2011.647737

This article by Diya Abraham systematically traces the theoretical development and practical cases of adapting classic literature into modern media, moving from fidelity criticism to creative reinterpretation, and offering a relatively comprehensive framework for adaptation studies. Reading it has provided both theoretical inspiration and several directly applicable insights for my own research.

Summary of Key Arguments

The article’s central argument is that adaptations are not inferior copies of their source texts, but independent cultural products with their own value. The author organizes this argument around three main theoretical threads. First, early “fidelity criticism” treated the original work as the ultimate standard, viewing adaptation as an inevitable loss. Second, scholars represented by Hutcheon redefined adaptation as “repetition without replication,” emphasizing that it is a creative reinterpretation calibrated to new cultural contexts. Third, Kristeva’s theory of intertextuality reveals the ongoing dialogue between adaptations, their source texts, and contemporary culture. Through three case studies — Luhrmann’s Romeo & Juliet, Wright’s Pride and Prejudice, and The Great Gatsby — the article demonstrates how adaptations revitalize classic narratives for contemporary audiences through adjustments in visual style, characterization, and cultural framing.

Relevance to My Research

This article offers direct theoretical grounding for my study of how Chinese media reinterprets mythology.

First, Hutcheon’s framework of creative transformation can be applied directly to works such as Creation of the Gods and Ne Zha, which preserve the core narrative structure of mythology while substantially modernizing character motivations and visual language — a process that exemplifies the kind of “negotiation” my research seeks to examine.

Second, the article’s discussion of intertextuality is particularly pertinent. Chinese mythological adaptations do not merely engage in dialogue with traditional texts; they also enter into cross-cultural conversation with Hollywood narrative conventions, as seen in comparisons with the Thor franchise. This tension sits at the heart of the “global influence” dimension of my research.

Third, the article’s treatment of reception theory offers a useful reminder that the negotiation Chinese creators undertake between tradition, modernity, and global influence is also fundamentally a response to divergent audience expectations — domestic audiences seek cultural identification, while international audiences anticipate a fresh encounter with Eastern mythology.

It is worth noting, however, that the article’s scope is limited to Western canonical literature, with virtually no engagement with mythological adaptation outside the Western tradition. This gap is precisely where my research has the potential to make a meaningful contribution.

I would like to do something relate to fantasy works and cultural differences in film and animation industry.

Possible research questions:

1. A comparative study of fantasy works in Western and Eastern contexts, with a particular focus on East Asian or Chinese productions.

• The incorporation of Eastern cultural elements in Western fantasy works and the impact of such representations on East Asian audiences, as well as their influence on the development of Eastern fantasy genres.

Specifically, I am interested in examining how Western fantasy productionsintegrate elements from Eastern and East Asian cultures to construct Eastern-inspired fantastical worlds through a Western interpretive lens—exemplified by works such as Kung Fu Panda. Given the considerable popularity of such productions in China, I also aim to explore audience reception and the ways in which these works are perceived and interpreted by Chinese viewers.

• As a Chinese creator, how to find the balance between traditional Chinese culture and current social reality, while maintaining an authentic cultural essence.

There appears to be a growing trend of reinterpreting ancient Chinese mythology in films, games, and animations, wherein original narratives are adapted to convey modern meanings. At the same time, these fantasy productions frequently exhibit stylistic and thematic parallels with prominent Western fantasy works, despite emerging from distinct cultural and mythological traditions.

Film and Animation I may refer to:

Kung fu Panda

Mulan

Yao-Chinese Folktales

The Legend of Hei

Nezha

Spirited Away

Harry Potter

I got confused about the genre Fantasy.

What Is Fantasy?

Fantasy is a genre that presents events that cannot occur in the real world, usually through the presence of magic, alternate worlds, or both. Unlike science fiction, which is based on possibilities that may one day become real, fantasy relies on the impossible and supernatural.

According to Steven S. Long, three elements commonly define fantasy: magic, alternate worlds, and low technology. Magic introduces supernatural forces, alternate worlds create unique settings beyond everyday reality, and low technology often gives fantasy its medieval-inspired atmosphere.

Fantasy is more than just an escape from reality. Through imagined worlds and impossible events, it provides a space to explore human experiences, cultural values, and mythological traditions. This is why fantasy remains one of the most influential genres in contemporary films, animations, and video games.

Long, S.S. (2011) Defining Fantasy. Available at: http://www.stevenslong.com/articles/2011/12/28/defining-fantasy.html (Accessed: 15 April 2026).