Following the introduction and literature review, the main body of the dissertation is organised around three analytical chapters: Negotiating Tradition, Negotiating Modernity, and Negotiating Global Influence. This structure is directly derived from the central research question, which explores how contemporary Chinese creators negotiate between traditional mythology, contemporary social realities, and global cultural influences.

Chapter 1, Negotiating Tradition, examines how traditional mythological narratives are reinterpreted in contemporary Chinese fantasy media. Rather than treating myths as fixed cultural heritage, this chapter investigates how creators selectively preserve, modify, or remove traditional elements in order to make them relevant to modern audiences. Through examples such as Nezha, Creation of the Gods, and Black Myth: Wukong, the chapter argues that tradition is actively reconstructed rather than simply inherited.

Chapter 2, Negotiating Modernity, focuses on the relationship between mythological adaptation and contemporary social concerns. It analyses how traditional stories are transformed to address issues such as individual identity, generational conflict, personal agency, and social pressure. This chapter argues that the continued popularity of mythological adaptations is closely linked to their ability to reflect modern experiences and values.

Chapter 3, Negotiating Global Influence, explores how globalization shapes contemporary Chinese fantasy media. Particular attention is given to the influence of international narrative structures, visual aesthetics, and industrial practices. By examining the interaction between local cultural traditions and global media trends, this chapter argues that contemporary Chinese mythological adaptations are characterised by cultural hybridity rather than simple Westernization.

The dissertation concludes by bringing together the findings from these three chapters. It argues that contemporary Chinese mythological adaptations should be understood as a process of creative negotiation, in which creators continuously balance traditional culture, modern social realities, and global influences when reconstructing mythological narratives for contemporary audiences.

Chapter 1 – Negotiating Tradition

Chapter 2 – Negotiating Modernity

Chapter 3 – Negotiating Global Influence

Chapter 4 – Conclusion

Evans, Rebecca E. (2018) ‘ The mythological perspective of modern media: Cross-cultural consciousness and modern myths ‘, BA Thesis. James Madison University, Available at: https://commons.lib.jmu.edu/honors201019/620

In The Mythological Perspective of Modern Media: Cross-Cultural Consciousness and Modern Myths, Rebecca E. Evans explores how ancient mythology continues to influence modern media, especially through the structure of the hero’s journey. The essay argues that myths are not only old cultural stories, but also living narrative patterns that still appear in books, films, television, and video games. By discussing examples such as Harry Potter, Star Trek, The Legend of Zelda, and Dungeons and Dragons, Evans shows how modern popular culture continues to reuse and transform mythological structures for contemporary audiences.

One of the most important ideas in the essay is that myths create a sense of familiarity. Even when a modern story takes place in a wizarding school, a spaceship, or a fantasy kingdom, audiences can still recognize older mythic patterns beneath the surface. For example, the hero often leaves home, faces trials, changes through suffering, and returns with a new identity. This structure makes modern stories feel emotionally understandable because they connect to older forms of storytelling. I think this is a strong point because it explains why stories from different genres can still feel similar. They may use different settings and technologies, but they often share the same basic emotional journey.

The essay’s discussion of Harry Potter is especially useful. Harry’s journey follows many traditional mythic patterns: he begins as an ordinary child, receives a call into a hidden magical world, faces repeated dangers, and eventually confronts his main enemy. However, Evans also points out that modern versions of the hero’s journey can change older mythic expectations. Unlike many classical heroes who are punished or suffer tragic endings, Harry is given a more hopeful conclusion. This shows how modern media does not simply copy ancient myth, but reshapes it according to contemporary audience expectations.

I also found the analysis of video games interesting because it expands mythology beyond books and films. In games such as The Legend of Zelda, the audience does not only watch the hero’s journey; they actively perform it through gameplay. This makes the mythic structure more interactive. The player becomes part of the heroic experience by exploring the world, completing quests, and defeating enemies. This idea is useful for understanding how modern media can transform traditional storytelling into something more participatory.

Another valuable part of the essay is its attention to gender and representation. Evans notes that many classical and modern heroes are male, while female characters are often placed in secondary roles as helpers, mothers, love interests, or victims. This criticism is important because it shows that mythic structures can carry old cultural biases as well as universal themes. However, modern media also has the ability to challenge these patterns by creating stronger heroines and more diverse heroic figures. In this way, myth is not fixed; it can evolve with changing social values.

Overall, this essay is useful because it connects mythology, popular culture, and cross-cultural communication. It shows that myths are not dead stories from the past, but flexible structures that continue to shape how modern audiences understand heroism, identity, morality, and cultural belonging. For me, the most important idea is that modern media works like a new form of mythology. It repeats familiar patterns, but also updates them to reflect contemporary values, new technologies, and wider cultural perspectives.

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

In From Page to Screen: How Media Adaptations Reframe Classic Literature for Contemporary Audiences, Diya Abraham explores how classic literary texts are transformed when they are adapted into film, television, and digital media. The essay argues that adaptations are not simply copies of original works, but creative reinterpretations shaped by contemporary culture, audience expectations, and new media technologies. Through examples such as Baz Luhrmann’s Romeo + Juliet, Joe Wright’s Pride and Prejudice, and Luhrmann’s The Great Gatsby, Abraham shows how classic literature can be reframed to speak to modern concerns while still maintaining a connection to the source text.

One of the most useful ideas in the essay is its movement away from “fidelity criticism.” Earlier approaches to adaptation often judged a film by how closely it followed the original book. However, Abraham explains that this way of thinking is limited because it treats literature as superior and film as a weaker copy. I agree with this point because adaptation always involves change. A novel and a film communicate in different ways, so it is not always possible, or even desirable, for a film to reproduce every detail of the original text. Instead, an adaptation should be evaluated by how successfully it translates the emotional, thematic, and cultural meaning of the text into a new medium.

The essay’s discussion of Romeo + Juliet is especially convincing. Luhrmann’s film keeps Shakespeare’s original language but places the story in a modern, violent, media-saturated world. This makes the play more accessible to younger audiences while also connecting its themes of love, conflict, and family loyalty to the culture of the 1990s. In this case, modernization does not destroy the original meaning. Instead, it allows the old text to become active again in a new social and visual environment.

I also found the analysis of Pride and Prejudice interesting because it shows how adaptations can reflect changing ideas about gender and romance. Joe Wright’s version presents Elizabeth Bennet as more independent and emotionally direct, which makes her easier for contemporary audiences to relate to. At the same time, Mr. Darcy is shown as more vulnerable and human. These changes reflect modern expectations of romantic relationships, especially the value placed on emotional honesty and equality. This shows that adaptation is not only about updating costumes, settings, or visual style, but also about reshaping characters according to the values of a new audience.

However, I think the essay could have discussed the risks of adaptation in more detail. While adaptations can make classic literature more accessible, they can also simplify complex texts or turn them into visual spectacles. For example, the essay notes that Luhrmann’s The Great Gatsby uses modern music, CGI, and excessive visual design to connect the 1920s with contemporary consumer culture. This can make Fitzgerald’s critique of materialism feel more immediate, but it may also distract from the subtle sadness and moral emptiness of the novel. Therefore, adaptation is always a balance between renewal and distortion.

Overall, this essay is useful because it presents adaptation as a creative and cultural process rather than a secondary version of literature. It shows that classic texts survive not because they remain unchanged, but because they can be reinterpreted across different historical moments, media forms, and audience groups. For me, the most important idea is that a successful adaptation should not only preserve the original story, but also create a meaningful dialogue between the past and the present.

Wu, S. and Wang, W. (2020) ‘A Study on the Reconstruction of Cultural Confidence in Chinese Animation’, Advances in Social Science, Education and Humanities Research, 416, pp. 287–290. Available at: https://doi.org/10.2991/assehr.k.200316.065

This essay argues that Chinese animation needs to rebuild “cultural confidence” by reconnecting with traditional culture, national aesthetics, and contemporary storytelling, especially after decades of imitation of Japanese and American animation.

In A Study on the Reconstruction of Cultural Confidence in Chinese Animation, Sixue Wu and Wenting Wang discuss the decline and later recovery of Chinese animation through the idea of “cultural confidence.” The essay argues that Chinese animation once had a strong national style, especially in earlier works such as The Monkey King and Prince Nezha’s Triumph Against Dragon King. However, after the 1980s, Chinese animation gradually lost its clear cultural identity because of market pressure, talent loss, and the strong influence of Japanese and American animation. According to the authors, many Chinese animated works became too focused on technology, commercial success, or imitation, while neglecting deeper cultural meaning.

One point I found important is the essay’s criticism of “technology covering up the story.” This is a useful idea because animation is not only about visual quality or advanced production methods. A technically impressive film can still feel empty if it does not have a strong story, memorable characters, or meaningful cultural expression. The essay uses examples such as Moby Bius Ring and Magic Brush Maliang to show that simply copying Western 3D animation styles cannot guarantee success. This connects to a larger problem in cultural production: when creators focus too much on catching up with global standards, they may lose the local qualities that make their work distinctive.

The essay also discusses the importance of traditional Chinese cultural resources, including classical literature, folk culture, ethnic minority culture, festivals, symbols, and aesthetics. I agree with this argument because Chinese culture offers a huge amount of material for animation, but these elements should not be used only as surface decoration. For example, adding Chinese architecture, costumes, or mythological names is not enough. A successful animation should also understand the values, emotions, and worldview behind those cultural materials. The authors’ discussion of The Monkey King: Hero is Back, Big Fish & Begonia, and Ne Zha shows that modern Chinese animation can become more powerful when it combines traditional cultural sources with contemporary themes and modern narrative methods.

However, I think the essay sometimes presents foreign influence in a slightly negative or defensive way. For example, it describes films like Kung Fu Panda as using Chinese cultural elements through a Western cultural framework. This criticism is understandable, but foreign adaptation is not always simply “cultural erosion.” It can also show how Chinese cultural symbols travel globally and become part of international popular culture. The more important question may not be whether foreign creators use Chinese elements, but how Chinese creators can respond with works that are equally creative, emotionally strong, and globally understandable.

Overall, this essay is useful because it explains Chinese animation not only as an entertainment industry, but also as a cultural field connected to identity, tradition, modernization, and globalization. Its central message is that Chinese animation should not reject technology or international influence, but it must develop from a stronger understanding of its own cultural roots. For me, the most valuable idea is that cultural confidence does not mean simply repeating tradition. Instead, it means transforming traditional culture into new forms that can speak to contemporary audiences while still carrying a recognizable Chinese cultural temperament.

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).