Research on the Transmission and Innovative Development of Intangible Cultural Heritage through Transmedia Storytelling : A Case Study of the Animated Films White Snake and Mulan

다국어 초록 (Multilingual Abstract)

Intangible Cultural Heritage (ICH) carries a nation’s collective memory and cultural identity. In the context of globalization and media convergence, traditional static preservation has become increasingly unable to meet the practical needs of the living transmission of ICH. How to promote the creative transformation and innovative development of ICH through transmedia storytelling has become an
urgent core proposition. This study takes “transmedia storytelling for the
transmission and innovative development of Intangible Cultural Heritage” as its core
issue, selects White Snake (2019) and Mulan (1998) as typical cases, and
comprehensively uses the literature research method, case study method, and textual
analysis to systematically examine the transmedia transformation mechanism and
development path of ICH in animated films. Starting from conceptual definition and theoretical interpretation, this study
finds that the vitality and fluidity of ICH provide a basis for adaptation and make
transmedia storytelling possible. The animation adaptation of ICH is essentially a
systematic practice that uses animation as a remediation carrier to conduct visual
reconstruction, narrative transformation, and semiotic reproduction of ICH cultural
elements. Through a staged division of the development process of Chinese ICH
transmedia storytelling, the interaction between ICH and animation has evolved
from early “content appropriation” to “digital reconstruction,” forming two basic
models: “domestic reconstruction” and “cross-cultural adaptation.” As a
representative of the “domestic reconstruction model,” White Snake targets local
audiences and creatively fills the narrative gap through the “prequel” strategy on the
premise of maintaining the core character relationships and the motif of gratitude, thereby gaining high recognition from the source-culture community. As a
representative of the “cross-cultural adaptation model,” Mulan targets the global
market and systematically replaces narrative logic and values on the basis of
retaining core cultural symbols, achieving extensive cross-cultural communication
while also triggering ongoing controversy over cultural appropriation. The practical value of ICH transmedia storytelling is reflected in three
progressive levels: safeguarding, transmission, and innovation. Animated films
provide a digital form of “surrogate survival” for ICH, effectively arouse the cultural
identity of younger groups, and promote the transformation of ICH into living
resources. However, current practice faces structural challenges in four dimensions:
multi-platform expansion, narrative synergy, content re-creation, and user
participation. The fundamental crux lies in the failure to effectively balance the
tension between cultural logic and industrial logic. In response to these problems, this study proposes systematic strategies from four dimensions. At the platform
system level, it constructs medium-specific differentiated narratives and a pyramid
media stratification strategy, and establishes a dual evaluation system premised on
the cultural authenticity of ICH; at the level of narrative synergy, it establishes the
core position of the cultural canon, forms a two-layer narrative framework, and
realizes cross-platform content coordination and narrative complementarity design
through a unified IP governance body; at the level of content production, it adopts a
decontextualization strategy to reconstruct core cultural content, promote the
connection between traditional narratives and contemporary aesthetics, and build a
transmedia communication ecology covered by an omni-media matrix; at the level
of user participation, it designs a multi-level interactive mode of “progressive
participation,” provides open space for fan-created content, and establishes a three tier incentive mechanism covering material, spiritual, and social values. This study
innovatively integrates transmedia storytelling theory with ICH and constructs a
systematic analytical framework for ICH transmedia storytelling. It extracts two
basic models, the “domestic reconstruction model” and the “cross-cultural
adaptation model,” and reveals their systematic differences in narrative strategies, cultural logic, and audience acceptance. It also puts forward the strategic framework
of “culture as foundation, industry as means, user as core.” The research conclusion
shows that successful ICH transmedia storytelling does not lie in being completely
faithful or completely innovative, but in finding an appropriate balance between
upholding tradition and pursuing innovation; that is, maintaining the continuity of
core cultural logic while carrying out creative transformation of peripheral elements. Only by establishing a refined matching relationship among the cultural logic of
ICH, the narrative strategy of transmedia adaptation, and the media characteristics of
each platform can ICH realize genuine living transmission and innovative
development in the digital era.

목차 (Table of Contents)

• CHAPTER 1. Introduction 1
• 1.1 Research Background 1
• 1.2 Purpose of the Study 4
• 1.3 Research Methods 6
• 1.4 Research Contents 8
• 1.5 Review of Domestic and Foreign Research 10
• 1.5.1 Review of Foreign Research 10
• 1.5.2 Review of Domestic Research 14
• 1.6 Research Innovations 18
• CHAPTER 2. Related Concepts and Theoretical Basis 20
• 2.1 Concepts Related to Intangible Cultural Heritage 20
• 2.1.1 Concept of Intangible Cultural Heritage 20
• 2.1.2 Characteristics of Intangible Cultural Heritage 22
• 2.1.3 The Connotation of the Animation Adaptation of ICH 25
• 2.2 Transmedia Storytelling Theory 29
• 2.2.1 Interpretation of Transmedia Storytelling Theory 29
• 2.2.2 Elements of Transmedia Storytelling Theory 32
• 2.2.3 Application of Transmedia Storytelling Theory 35
• CHAPTER 3. Current Status of the Transmission and Innovative Development of Intangible Cultural Heritage Transmedia Storytelling 41
• 3.1 Stages in the Transmission and Innovative Development of ICH Transmedia Storytelling 41
• 3.1.1 Preliminary Exploration Stage (1922–1949) 41
• 3.1.2 Media Convergence Expansion Stage (1949–1989) 44
• 3.1.3 Digital Transmission and Innovation Stage (1990–Present) 47
• 3.2 Current Application of Transmedia Storytelling in the Transmission and Innovative Development of ICH 51
• 3.2.1 Expansion of ICH Cultural Communication Channels 51
• 3.2.2 Enrichment of the Cultural Value Connotation of ICH 54
• 3.2.3 Strengthening the Communication Effect of ICH Culture 57
• 3.2.4 Development of the ICH Cultural Value Chain 60
• 3.3 The Practical Value of the Transmission and Innovative Development of ICH Transmedia Storytelling 65
• 3.3.1 Safeguarding Level: The Need for Cultural Recording 65
• 3.3.2 Transmission Level: The Need for User Participation 68
• 3.3.3 Innovation Level: The Need for Cultural Activation 72
• CHAPTER 4. Case Analysis of the Transmission and Innovative Development of Intangible Cultural Heritage Transmedia Storytelling 76
• 4.1.1 Selection of Research Objects 76
• 4.1.2 Research Design 79
• 4.1.3 Data Analysis 82
• 4.2 Fantasy Romance Animated FilmWhite Snake (2019) 95
• 4.2.1 Overview ofWhite Snake (2019) 95
• 4.2.2 Analysis of Multi-platform Expansion 98
• 4.2.3 Analysis of Narrative Complementarity and Consistency 102
• 4.2.4 Content Re-creation Analysis 107
• 4.2.5 User Participation Analysis 112
• 4.3 Legendary Hero Animated FilmMulan (1998) 117
• 4.3.1 Overview ofMulan (1998) 118
• 4.3.2 Multi-platform Expansion Analysis 120
• 4.3.3 Analysis of Narrative Complementarity and Consistency 125
• 4.3.4 Content Re-creation Analysis 129
• 4.3.5 User Participation Analysis 134
• 4.4 Problems in the Transmission of Intangible Cultural Heritage Transmedia Storytelling 137
• 4.4.1 Challenges of Platform Expansion 137
• 4.4.2 Limitations of Narrative Synergy 139
• 4.4.3 The Dilemma of Content Re-creation 140
• 4.4.4 Insufficient User Participation 142
• CHAPTER 5. Strategies for the Transmission and Innovative Development of Intangible Cultural Heritage through Transmedia Storytelling 145
• 5.1 Improving the Cross-platform Narrative System 145
• 5.1.1 Differentiated Media Narrative Methods 145
• 5.1.2 Balancing Commercialization and Cultural Value 147
• 5.1.3 Cross-platform Content Optimization 149
• 5.2 Establishing a Transmedia Storytelling Synergy Mechanism 151
• 5.2.1 Unified Narrative Framework 151
• 5.2.2 Cross-platform Content Coordination 153
• 5.2.3 Enhancing Narrative Complementarity Design 155
• 5.3 Strengthening Content Production Capacity 157
• 5.3.1 Reconstruction of Core Cultural Content 157
• 5.3.2 Promoting the Connection Between Traditional Narrative and Contemporary Aesthetics 159
• 5.3.3 Constructing a Transmedia Communication Ecology for Content 161
• 5.4 Improving User Participation Experience 163
• 5.4.1 Multi-level Interaction Methods 163
• 5.4.2 Providing Space for Fan-created Content 165
• 5.4.3 Establishing Incentive Mechanisms 167
• 5.5 Summary 169
• CHAPTER 6. Conclusion 171
• 6.1 Research Summary 171
• 6.2 Research Limitations 177
• 6.3 Research Prospects 178
• References 182
• Appendix 189
• 국문초록 194