Vol. 1 No. 2 (2025)

Research Articles

Narrative, Identity and Communication: The Construction Status and Optimization Path of "Chinese Story" in Online Movies

Published 2025-08-30

  • Yanling Wang
    • ,
  • Zongye Gu
    • ,
  • Bingtao Xu

Yanling Wang
School of Journalism and Communication, Tianjin Normal University, Tianjin 300387, China

Zongye Gu
School of Journalism and Communication, Tianjin Normal University, Tianjin 300387, China

Bingtao Xu
School of Journalism and Communication, Tianjin Normal University, Tianjin 300387, China

Abstract

As an important form of online art, online films bear significant responsibilities and missions in promoting the main melody and inspiring positive energy. Given the young demographic of online film audiences, telling stories that align with the main melody, conveying the values of truth, goodness, and beauty, and inspiring positive energy among young audiences while guiding them to enhance their moral judgment and sense of honour are inherent requirements for online films to strengthen their positive orientation. Although the box office revenue of online films has been growing year by year, and an increasing number of films have achieved both box office success and critical acclaim, the overall quality of online films still needs improvement, and their ability to tell Chinese stories effectively remains underdeveloped. Based on an analysis of the current state and issues surrounding online films in telling Chinese stories, this paper proposes three pathways for online films to effectively tell Chinese stories.

Keywords

Online Films, Chinese Story, Narrative

PDF

References

  1. Ulin, J. C. (2019). The business of media distribution: Monetizing film, TV, and video content in an online world. Routledge.
  2. Chen, S., & Lunt, P. (2021). The New Moral Duty: Spreading Positive Energy Online. In Chinese Social Media: Face, Sociality and Civility (pp. 103-124). Emerald Publishing Limited.
  3. Wong, W. (2019). Beyond the cinematic: Reinventing Chinese martial arts through new media art practices. Journal of Contemporary Chinese Art, 6(2-3), 367-391.
  4. Zwarun, L., & Hall, A. (2012). Narrative persuasion, transportation, and the role of need for cognition in online viewing of fantastical films. Media Psychology, 15(3), 327-355.
  5. Artz, L. (2015). Global entertainment media: A critical introduction. John Wiley & Sons.
  6. Chen, Y. (2024). Understanding online film supply chain and effects of online platforms and film quality attributes on audiences' experience, satisfaction, and loyalty (Doctoral dissertation, University of Sheffield).
  7. Lagerstrom, L., Johanes, P., & Ponsukcharoen, U. (2015, June). The myth of the six-minute rule: Student engagement with online videos. In 2015 ASEE annual conference & exposition (pp. 26-1558).
  8. Qi, M., Ono, K., Mao, L., Watanabe, M., & Huang, J. (2024). The effect of short-form video content, speed, and proportion on visual attention and subjective perception in online food delivery menu interfaces. Displays, 82, 102671.
  9. Huang, R. (2019). Research on Audience Engagement in Film Marketing--Taking the film as the Case.
  10. Stuckrad, K. (2022). THE SOUL AS A CENTRAL MOTIF IN LITERATURE AND FILM. In A Cultural History of the Soul (pp. 189-207). Columbia University Press.
  11. Bassil-Morozow, H. (2024). Archetypes in Film and Television Narratives. In Encyclopedia of Heroism Studies (pp. 66-70). Cham: Springer International Publishing.
  12. Grossberg, L. (1993). The media economy of rock culture: cinema, postmodernity and authenticity. Sound and vision: The music video reader, 185-209.
  13. Araujo, A. V. F. (2018). Digital marketing strategies for next-generation film distribution. International Journal of Film and Media Arts, 3(2).