For a long time, Chinese audiences have not had a high opinion of hybrid Chinese and Western movies. However, the unanimous praise for Turning Red in China se ems to have reversed this situation. In order to verify whether the attitudinal behavior of Chinese audiences toward the film’s hybridization of Chinese and Western cultures has changed, this study collected textual materials reflecting the Chinese audience’s receptive attitudes toward the film: Douban reviews, short reviews, questionnaires and Mtime.com reviews. Through a grounded study of 664,312 words, a total of 16 initial categories and four main categories were obtained. Finally, a cognitive–emotional–attitudinal mechanism model was formed to explain the audience’s receptive behavior process. The study found that Chinese audiences’ positive reception of Turning Red comes more from the fact that the film touches on personal emotions and focuses on a series of issues such as growing up, family, and gender, with intergenerational conflict as the core. The audience achieves self-projection and empathy while watching the film, rather than recognizing the Chinese culture presented therein. On this basis, the research further found that the internal structure of the current cultural hybridity has not changed greatly. The reason audiences do not give a high evaluation of cultural hybridity films lies in the lack of conscious distinction between the hybridity culture and the local culture. At the same time, in terms of cross-cultural creation, we should abandon the blind pursuit of cultural symbols, take root in cultural soil and then pay attention to more specific problems. This study reveals that the key factor affecting the audience’s receptive behavior toward cultural hybridity films is not necessarily the performance of local culture, which is of great significance for establishing new evaluation criteria.

The purpose of this paper is to explore Disney Mulan’s cultural appropriation strategy and the cultural discount phenomenon formed in the Chinese market from the perspective of users and discuss the creation and operation strategy of the film. In 2020, Disney released a new film that originated in China, Mulan, but received negative reviews from the Chinese consumer market. Taking this as an example, this paper uses NVivo and ROSTCM to conduct content-coding and text analysis on creators’ interview records and consumer comments and seeks for the differences in understanding between Chinese audiences and creative teams. The results show that cultural appropriation is an effective strategy for film creation, but cultural appropriation based on misinterpretation will lead to cultural discounts in the operation of films. Therefore, corresponding strategies during film creation and operation should be adopted to better realize the sustainable development of culture.

The COVID-19 pandemic has led to an increase in users’ knowledge anxiety, which has been further intensified by the diversity of information platforms and the emphasis on digital personal branding. While previous research has examined the relationship between digital personal branding and negative emotions, little is known about the mechanisms behind negative reactions to digital personal branding from non-direct factors or users’ spontaneous negative emotions. To address this gap, this study draws on cognitive appraisal theory (CAT) and social identity theory (SIT) to explore the relationships between users’ knowledge anxiety, cognitive processing biases, and brand avoidance, and the impacts of herding behavior and attachment anxiety on these relationships. A sample of 530 consumers completed an online survey, and the data were analyzed using a partial least squares path model. The results revealed that user knowledge anxiety directly and indirectly influenced brand avoidance behavior through cognitive processing bias, and attachment anxiety moderated the path between cognitive processing bias and user knowledge anxiety. However, herding behavior was not found to be significant in online knowledge sharing communities.

This research is entitled Representation of Chinese Culture in Wish Dragon Movie. Using semiotic analysis according to Roland Barthes. Semiotic analysis is used to analyze the signs that represent culture in the film Wish Dragon. This study aims to find the existence of a sign and then find out how Chinese culture is represented through the film Wish Dragon Movie by examining the meaning of denotation, connotation and myth according to Roland Barthes' semiotic model. In addition to finding out how the foreign audience acceptance to the Wish Dragon film and how the foreign audience understands the Chinese culture in this film, the researcher using audience comments in the most popular rated movies website to analyze.

The rapid rise of LinaBell has been a carnival driven by online user participation. It not only reflects the active agency and creative initiative of audiences in participatory culture but also advances the development of participatory texts, transforming the relationship between producers and recipients from opposition to collaboration. Throughout this process, both parties benefit and fulfill their respective needs. Creators generate higher commercial value with lower production costs, while recipients experience immersive and interactive aesthetic enjoyment through their engagement. The success of LinaBell popularity is also related to the unique form of fan culture in China. Furthermore, it ingeniously addresses the long-standing copyright issues that have hindered user participation in creative processes. However, it is important to acknowledge that this type of storyless intellectual property (IP) has both advantages and limitations.