Identity and cultural allegory amidst the Chinese new era: Analyzing narrative strategies of the Chinese science fiction film

Abstract

This paper presents a comprehensive analysis of two Chinese science fiction films, The Wandering Earth and Crazy Alien, shedding light on their profound connection to identity and cultural allegory within the context of the Chinese New Era. We employ the Greimas’s actantial model and semantic square to examine the narrative strategies, visual symbols, and cultural representations in these films. The Wandering Earth unfolds a grand narrative anchored in the principles of hard science fiction, the film leverages science and technology as narrative drivers. In contrast, Crazy Alien adopts a more whimsical approach by infusing humor and light science fiction elements into its narrative. From a postmodern standpoint, both films boldly engage with and subvert traditional narratives and cultural depiction shifting the spotlight from an individualistic hero to collective action, employs humor, parody, and absurdity to dismantle established Western science fiction tropes, resisting categorization and fixed binary oppositions while promoting shared aspirations of a community, thus challenging the modernist notion of the solitary hero’s agency. However, it is imperative to critically examine the potential limitations of these films, including their alignment with nationalist narratives and their appropriation of Western cultural elements. This study provides valuable insights into the evolving realm of Chinese science fiction film, where the fusion of traditional Chinese elements with global influences fuels thought-provoking discussions within the global cinematic discourse.

Keywords:

• Chinese science fiction film
• focalization
• actantial model
• semiotic square
• post-colonialism

REVIEWING EDITOR:

• Lincoln Geraghty, School of Media and Performing Arts, University of Portsmouth, United Kingdom

SUBJECTS:

• Art & Visual Culture
• Visual Arts
• Cultural Studies
• Media & Film Studies

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

Zhaokai Hu

Hu Zhaokai is currently a PhD candidate in Visual Arts at the Faculty of Creative Arts, Universiti Malaya. His research interests include film and television arts and mass cultural communication. His current research project is a study on the narratology of Chinese science fiction films.

Roslina Ismail

Roslina Ismail is a transdisciplinary artist-scientist and cultural researcher in art and culture knowledge management. She focuses on how cultural institutions engage and interweave with their members, partners, audiences, and communities. She is also a thought leader in the art-science transdisciplinary sector, having shaped narratives of new methodologies for creative development and critical inquiry across art and science.

Changsong Wang

Dr Wang Changsong is Associate Professor in Xiamen University Malaysia. Currently he is the Dean of School of Communication and Director of Centre for ASEAN and Chinese Screen Studies in Xiamen University Malaysia. His research areas include film/cinema studies, and cultural studies.