The Dual Facets of Traditional Cultural IP Adaptation in Chinese Animated Films: A Dialectical Reflection Based on Industrial Ecology and Cultural Identity

(Communication University of China, Beijing 100024)

Purpose: In recent years, the Chinese animated film market has experienced rapid development, with adaptations of traditional cultural themes achieving remarkable success and becoming a crucial pillar of the industry. However, it is necessary to analyze and explore the dual facets of traditional cultural IP adaptation within industrial ecology and cultural identity.

Method: This paper conducts a dialectical examination of the phenomenon of traditional cultural IP adaptation by collating and analyzing market data from recent years' Chinese animated films, integrating three dimensions: cultural identity, industrial mechanisms, and global competition.

Results: The study finds that while traditional cultural IP adaptation has expanded market scale, it has also led to homogenization in subject selection and compression of creative space. Although works promote traditional culture through modern expression, over-reliance on rewriting classic symbols constrains artistic innovation.

Conclusion: Traditional cultural IP adaptation is a "double-edged sword" that, while driving box office growth, also precipitates a deep-seated tension between cultural values and industrial logic. To construct a sustainable IP ecology, the industry must break through path dependency and achieve a transformation from cultural deep-cultivation to original innovation.

Keywords: animated film; traditional cultural IP; cultural identity; industrial ecology
CLC Number: G245
Document Code: A
Article ID: 1671-0134(2025)03-29-06
DOI: 10.19483/j.cnki.11-4653/n.2025.03.005
Citation Format: Quan Wenxi. The Dual Facets of Traditional Cultural IP Adaptation in Chinese Animated Films: A Dialectical Reflection Based on Industrial Ecology and Cultural Identity [J]. China Media Technology, 2025, 32(3): 29-34.

As of April 10, the film had grossed 15.186 billion yuan. Combined with Ne Zha's 5.035 billion yuan, the Ne Zha series has surpassed 20 billion yuan in total box office revenue, continuously breaking records for film series in Chinese cinema history. These figures not only symbolize market expansion but are also regarded by the industry as a landmark event signaling the maturation of China's animation industrial system. However, behind this box office triumph, a deep-seated tension between cultural values and industrial logic has quietly emerged.

This paper seeks to analyze the "double-edged sword" effect of traditional cultural IP adaptation from three dimensions—cultural identity, industrial mechanisms, and global competition—aiming to reveal the underlying causes of ecological imbalance in the industry and provide a theoretical framework for constructing a sustainable IP ecology. When Ne Zha declares, "My fate is mine to control, not heaven's," Chinese animated cinema may need a "self-revolution" against path dependency even more urgently. This is not only a pursuit of creative freedom but also an essential path for national culture to establish its subjectivity during modern transformation.

1. The Practical Logic and Value Tension of Traditional Cultural IP Adaptation

1.1 Conceptual Characteristics and Adaptation Core of Traditional Cultural IP

Ne Zha 2 validates the modern translational capacity of traditional cultural IP through technology-enabled visual innovation and narrative reconstruction. The film injects the rebellious spirit of "My fate is mine to control, not heaven's" into the traditional mythological framework, activating audiences' cultural memories while completing an intergenerational dialogue on value expression. However, this strategy has gradually evolved into the industry's collective action logic—when capital, creators, and audiences become overly dependent on traditional cultural IP, the creative space for animated films is compressed into limited rewrites of classic symbols.

"IP" (Intellectual Property) refers to intellectual property rights, comprising three components: copyright, patent rights, and trademark rights. It often originates from a novel, animation, game, or even a specific image, character, or concept from a popular program, film, or online video, with these diverse IPs frequently serving as inspiration for film creation and adaptation [1]. In contemporary cinema, especially animated film, IP refers not only to a specific textual resource such as classic literature, mythological legends, or online novels, but also includes the user base, cultural identity, and market potential formed around that text. Traditional cultural IP specifically denotes cultural resource collections rooted in national collective memory, possessing historical continuity and symbolic significance. Its core characteristics manifest across three dimensions: historical continuity, symbolic representation, and audience intertextuality.

Historical continuity stems from the cross-temporal vitality of classic narratives. Taking Journey to the West as an example, since the Wan brothers adapted it into China's first animated feature film, Princess Iron Fan, in 1941, it has embarked on a century-long evolution in film and television. The film not only caused a sensation domestically but also had a tremendous impact abroad, particularly influencing "the father of Japanese anime," Osamu Tezuka. The 2015 film Monkey King: Hero Is Back broke domestic animation records with 956 million yuan in box office revenue, its success confirming the enduring appeal of classic IP. Through a narrative reconstruction of Sun Wukong's "disempowerment-awakening" arc, the film transforms the fatalism of traditional mythology into a modern allegory of individual growth, preserving classic symbols such as the "Golden Cudgel" and "tiger-skin skirt" while endowing the character with a new spiritual core.

Symbolic representation manifests as the projection of cultural imagery onto group values. For instance, Ne Zha evolves from the tragic youth who "carves his flesh to repay his parents" in Investiture of the Gods to the rebellious growth narrative that permeates Ne Zha 1, with audiences witnessing the "Demon Pill's" growth, transformation, and return, making it easy to identify with Ne Zha's story. Audience intertextuality relies on the cognitive foundation formed by collective memory. White Snake reinterprets the "human-demon romance" by reimagining the scholar Xu Xian as a brave, free-spirited, and passionate new character. Compared to the traditionally weak and indecisive Xu Xian, this version better facilitates audience identification with "love" [2]. This "old wine in new bottles" approach, combined with an aesthetic of imagination, activates the contemporary value of traditional IP.

1.2 Adaptation Advantages: The Resonance of Cultural Memory and Industrial Aesthetics

The success of traditional IP adaptation depends not only on its cultural and commercial value but also on the complex and multifaceted nature of cinematic industrial aesthetics. The connotation of industrial aesthetics is rich and extensive. It advocates for the complex multiplicity of film ontology and function, viewing cinema as a composite of art, commodity, industry, and culture. Beyond artistic functions, it possesses a certain "practical utility"—a consumptive quality for entertainment and leisure that constitutes a "financial economy" function beyond the "symbolic economy" of aesthetic consumption and cultural economy as advocated by John Fiske [3]. This composite attribute becomes a crucial support for film industrialization. It enables traditional IP adaptation to satisfy audience entertainment needs while achieving broader economic benefits through industrialized operations. The practical advantages of traditional cultural IP adaptation stem from three synergistic effects between cultural memory and cinematic industrial aesthetics. First, the cognitive shortcut of cultural identity. Cultural memory does not preserve history intact but condenses the past into "figures of memory." These symbolized narratives simplify complexity, making abstract values more accessible [4]. Second, the typological development of industrial aesthetics. Cinematic industrial aesthetics emphasizes that film possesses artistic, commercial, and industrial attributes, requiring a balance between "authorial expression" and "market laws." Most mythological classics or folklore adaptations reuse world-building settings and character relationship networks, significantly shortening script development cycles compared to original IPs and substantially improving marginal cost-effectiveness. This industrial production model transforms traditional cultural IP into standardized and replicable cultural products. Third, technology-enabled visual translation. American film theorist David Bordwell has noted that visual spectacle is key to cross-cultural film communication. The Ne Zha series digitally transforms the Red Armillary Sash and Wind Fire Wheels, while employing particle fluid simulation technology in numerous special effects shots to create epic large-scale visual experiences. Among its overseas box office receipts, North American audiences have praised the "fusion of Eastern aesthetics and industrial standards as breathtaking."

1.3 Adaptation Dilemma: Cultural Discount and Innovation Bottlenecks

In recent years, traditional IP adaptation animated films have explored diverse narrative modes: Ne Zha 1 transforms the traditional mythological "rebel who carves his bones to repay his father" into a contemporary youth symbol of "resisting prejudice" through "subversive" character reconstruction; Jiang Ziya breaks through the traditional framework of gods versus demons, elevating the cultivation ritual of "beheading the three corpses" into a metaphor for existentialist dilemmas; Chang An retells the Tang Dynasty poet lineage from the relatively unfamiliar perspective of Gao Shi, deconstructing Li Bai's "Poet Immortal" image through "defamiliarization" narrative techniques. These works attempt to activate the contemporary value of traditional IP through gamified storytelling and an aesthetic of imagination.

However, such innovation remains constrained by audiences' "intertextual memory" of traditional cultural symbols—a cognitive shortcut formed from existing cultural experience. When encountering adapted works, audiences involuntarily compare the text with prototypes in their "pre-understanding." While this mechanism can quickly evoke cultural identity, it also breeds speculative capital development. In commercial adaptation processes, the modern translation of some traditional cultural elements exhibits simplification tendencies. Although such adaptation strategies enhance communication efficiency, they dilute the polysemy of traditional culture under the logic of the "symbolic economy."

This "cultural discount" phenomenon essentially represents a compromise of cultural depth for commercial efficiency. Canadian scholar Colin Hoskins notes that when cultural products cross groups, their local value diminishes due to cognitive differences [5]. In traditional IP adaptation, this loss does not stem from cross-cultural communication but from capital's exploitative mining of local cultural resources. Ne Zha 1, despite resonating with its "My fate is mine to control, not heaven's" slogan, dissolves the original myth's "patriarchal resistance" issue, reducing the spirit of rebellion to inspirational chicken soup for individual success. When "rebellion" is simplified into a box office formula, the critical dimension of traditional culture is submerged in consumerist waves.

The deeper dilemma lies in innovation involution. During 2020–2022, while the number of animated film filings sharply declined, filings for mythological legend IP films continued to rise. Since Monkey King: Hero Is Back in 2015, Chinese animated filmmakers have identified a market-accepted, reproducible monetization model in all-age film genres: mythological IP adaptation. According to statistics from the National Film Administration's film filing and project approval announcements, between 2015 and 2020, among 878 domestic animated film filings, at least 119 were mythological IP adaptations, including but not limited to "24 Sun Wukongs," "11 Ne Zhas," and "8 Erlang Shens." This clustering of subjects exposes the industry's structural contradictions: on one hand, the success of Hero Is Back and Ne Zha validates the "traditional IP + industrial production" business model; on the other hand, capital's dependence on proven formulas traps many works in a vicious cycle of "subversion—controversy—conservatism." When cultural production is constrained by capital logic demanding "short-cycle returns," the pursuit of safety margins inevitably suppresses innovative experimentation.

Traditional IP adaptation stands at a crossroads between cultural value and commercial rationality. Without transcending path dependency on "symbolic consumption," Chinese animation may fall into the predicament of becoming "more adapted, yet more impoverished."

2.1 Market Conservatism

Figure 1 Distribution of Domestic Traditional Cultural IP Animated Films by Quantity and Box Office Share, 2019–2024

Based on the preceding reflection on path dependency in traditional cultural IP adaptation, the author collated and analyzed market data for domestic animated films from 2019–2024, revealing significant characteristics of "top-tier monopoly" and "implicit cultural dependence."

The domestic animated film market from 2019–2024 exhibits prominent "top-tier monopoly" and "mid-tier collapse" features, with box office trends heavily influenced by individual milestone works. While masterpieces such as Ne Zha 1, Jiang Ziya, Chang An, and Boonie Bears: Time Twist have achieved over 1 billion yuan in box office revenue, the vast majority of domestic animated films still struggle to cross the 100 million yuan threshold. Among 165 domestic animated films released from 2019–2024, 109 earned less than 50 million yuan, accounting for nearly 70% [6]. Simultaneously, the head market heavily relies on the stable performance of a few companies like Huaqiang Fangte and Light Chaser Animation. This "super IP dependency syndrome" results in weak market risk resistance: in 2024, Boonie Bears: Time Twist accounted for 29% of the year's total animation box office with 1.983 billion yuan, driving industry growth while exposing the ecological fragility of "prospering together, declining together."

In terms of genre, subdivided categories have accelerated expansion in recent years, with fantasy adventure themes dominating, while popular IP theatrical versions have significantly increased to become the mainstay of animated films (see Table 1) [7]. IPs such as Boonie Bears: Reboot Future, Happy Heroes: Against the World, GG Bond: A Pig's Counterattack, GG Bond: Racing Little Heroes, I'm MT: Nuosen Duo Adventure Guide, Submarine General Mobilization: Adventure Island, Space Guard: Darwin Planet, and Shuke and Beita: Micro Humans have all continued to release sequels.

Table 1 [TABLE:1] Distribution of Domestic Animated Film Subject Selection, 2019–2024

Although subdivided genres are gradually enriching, beneath the expansion lies a conservative core—the dependence on traditional cultural content remains significant. Among domestic animated films from 2019–2024, beyond the continued strength of mythological classics, folklore legends, and historical stories, fantasy adventure and drama films also extensively draw from traditional cultural themes. For example, I Am What I Am continues the "intangible cultural heritage + youth" adaptation paradigm through its lion dance culture symbols, Golden Mask Heroes constructs its narrative based on Sanxingdui artifacts, and Mistakenly Entering the Invisible Island draws from Classic of Mountains and Seas—essentially all variations of traditional cultural IP. Meanwhile, traditional cultural IP animated films demonstrate significant box office appeal. As shown in Figure 1 [FIGURE:1] [8], from 2019–2024, the proportion of box office revenue from traditional cultural IP animated films consistently exceeded their proportion of releases, indicating that despite relatively fewer releases, these films typically occupy a more significant share of the animation market's box office performance. In 2024, the high box office of Boonie Bears: Time Twist at 1.983 billion yuan allowed original IP films to surpass in revenue share. Looking ahead to 2025, Ne Zha 2's astonishing opening of 15.186 billion yuan suggests that traditional cultural IP will continue to dominate box office performance. These phenomena further confirm market conservatism while highlighting dependence on "super IPs"—this single-point breakthrough prosperity is precisely a microcosm of systemic crisis.

2.2 The Quality Dilemma of Original IP and Capital Short-sightedness

The decline of original IP is essentially the result of quality defects combined with capital logic. Most original works easily fall into two extremes: "juvenilization" or "pseudo-adult orientation." Juvenile-oriented works like GG Bond: Racing Little Heroes rely on television IP inertia, with simple and repetitive narrative logic; adult-oriented works like Mr. Miao fall into the trap of "concept-first," where obscure philosophical metaphors easily lead to audience attrition. Even the critically acclaimed I Am What I Am has been criticized for its "lion dance + underdog counterattack" narrative framework as "a localized imitation of Shaolin Soccer." Original IP has yet to form a unique aesthetic system and narrative paradigm, making it difficult to break through audience stereotypes of "domestic animation = juvenile or mythological."

At the capital operation level, investors typically prefer supporting business models already validated by the market rather than risking investment in unproven original projects. This tendency creates enormous challenges for original works in securing funding, often forcing creators to compromise during script development to cater to existing market preferences and expectations. This short-sighted behavior of capital compresses the innovation space for animated films, making it difficult for original IP to achieve breakthroughs.

Although the government and related institutions have introduced a series of policies to support original animation, these measures often emphasize artistic experimentation while neglecting genre-based narratives that resonate with audiences. Many award-winning works, despite artistic recognition, struggle to achieve box office success due to lack of market orientation. This "critical acclaim without commercial success" phenomenon reflects the contradiction between artistic expression and market demand for original IP. To resolve this dilemma, original IP development must find a balance between innovation and commercialization, maintaining artistic uniqueness while enhancing market appeal to achieve truly sustainable development.

2.3 International Comparison: The Ecological Gap in Original IP

In international markets, the success of original IP often benefits from mature industrial ecosystems and innovation mechanisms.

American original IP possesses powerful global appeal. Major Hollywood studios such as Universal Pictures, DreamWorks, and Disney's Pixar have launched a series of popular large-IP works. For example, Despicable Me, Kung Fu Panda, Inside Out, and Frozen have not only achieved tremendous global box office success but also captured major markets through derivative economies and industrial chain integration. Although the overall American film market has underperformed in recent years, with domestic audiences' enthusiasm for Hollywood blockbusters waning, the robust sales of animation IP merchandise continue to demonstrate powerful market influence. Frozen: Olaf's Frozen Adventure has been developed into games, stage plays, toys, apparel, daily necessities, and other derivatives. After Frozen II's release in 2019, it sparked another purchasing wave for water bottles, backpacks, clothing, and other merchandise. Overall, Disney's super-brand animation IPs excel in cross-cultural communication by leveraging quality content to drive business expansion, emphasizing the emotional connection between derivatives and audiences, creating implicit bonds that maintain strong brand-audience relationships. Simultaneously, integrating animated characters into derivatives can incorporate brand connotations into product use value, further strengthening audience product impressions and effectively enhancing the penetration of brand IP communication [9].

As an animation powerhouse, Japan's original IP demonstrates unique appeal at the content ecology level. The Japanese animation market has successfully achieved a balance between authorial identity and industrialization, forming a distinctive cultural phenomenon. Particularly noteworthy is the powerful brand effect of individual directors in Japanese animation. Renowned directors such as Hayao Miyazaki and Makoto Shinkai have won massive global followings through their personal styles, with works like Spirited Away and Your Name achieving enormous commercial success. These directors' works bear distinctive personal imprints, creating strong brand effects in the market. Additionally, theatrical versions of well-known anime IPs such as Slam Dunk, Detective Conan, and Haikyu!! have attracted large audiences worldwide. These works, through profound cultural accumulation and globalized market strategies, have earned Japanese original IP international acclaim.

By contrast, China's original IP development faces structural challenges. First, an imperfect industrial chain creates funding and technological bottlenecks during creative realization. Many original projects are forced to cater to existing market preferences from the initial stage, making it difficult to maintain uniqueness and innovation. Second, market preference for mature IP makes it difficult for original works to gain sufficient attention and investment, an environment that limits the growth space for emerging creators. Furthermore, the smooth operation of Hollywood IP development also benefits from its conglomerate industrial structure and rigorous copyright protection system. Major Hollywood companies like Disney, Warner Bros., and 20th Century Fox belong to larger corporate groups specializing in entertainment and media operations, with businesses covering film, television, publishing, music, audio-visual, games, theme parks, and various other entertainment and media industries [10]. By drawing on international successful experiences and perfecting the industrial ecology, China's original IP hopes to narrow the gap with international advanced levels in the future, achieving greater cultural export and market influence.

3. The Path Forward: From Cultural Matrix to New Industrial Ecology

3.1 From Symbolic Appropriation to Spiritual Translation

In the development of traditional cultural IP, simply relying on visual symbol appropriation no longer satisfies modern audiences. We need to shift toward deep interpretation of traditional cultural spirit to achieve genuine cultural innovation. German scholar Jan Assmann's "cultural memory" theory posits that the transmission of cultural symbols requires dynamic updating through the interaction between "functional memory" and "storage memory," providing a valuable perspective for us.

Taking Chang An as an example, the film uses the friendship between Gao Shi and Li Bai as an entry point to reinterpret the lives and ideals of Tang Dynasty poets. Compared to well-known figures like Li Bai and Du Fu, Gao Shi's life experiences are relatively unfamiliar to audiences. Through Gao Shi's perspective, the film not only showcases the artistic charm of Tang poetry but also reflects broader social and historical contexts through the characters' life vicissitudes. This narrative strategy not only enriches character connotations but also grants traditional culture new vitality in modern contexts.

Further deepening spiritual translation requires starting from the narrative core. For instance, Ne Zha 1 dilutes the ethical dilemmas of traditional mythology, focusing instead on contemporary youth's journey of resisting prejudice and seeking self-identity. This transformation goes beyond symbol replacement; by reconstructing character motivations and value conflicts, it creates deep dialogue between traditional cultural spirit and modern social issues. In Ne Zha 2, familiar "workplace" metaphors for Chinese audiences are added, allowing traditional stories to radiate new vitality and resonance within modern social contexts through these contemporary elements.

Through such spiritual translation, traditional cultural IP can maintain its cultural roots while adapting to modern audience aesthetics and values, ultimately achieving dynamic cultural transmission and innovative development.

3.2 Constructing a Sustainable IP Ecology

China's animation industry must abandon the single logic of "blockbuster determines everything" and shift toward sustainable IP ecology construction. The key to building a sustainable IP ecology lies in establishing a multi-level, multi-dimensional support system to ensure the full lifecycle development of IP from creativity to marketization. This requires balancing resource integration, innovation incentives, and market adaptability to form a dynamic yet orderly ecosystem.

Specifically, a tiered incubation system is a crucial mechanism for supporting IP from startup to maturity. This system helps IP obtain necessary resources at different development stages through phased support. In the initial stage, polishing creativity and concepts is paramount, with incubators providing professional guidance and funding to ensure feasibility and innovation. In product development, technical support and market analysis are key to ensuring products meet market demands and remain competitive. In market promotion, integrated marketing resources are essential to help IP gain recognition and attention in broader markets. This phased support not only reduces development risks but also improves success rates.

Second, cross-boundary collaboration and diversified development are important strategies for building an IP ecology. Through partnerships with different fields such as film, television, games, and literature, IP can expand into broader markets, forming diversified product lines. This not only enhances IP market value but also strengthens its cultural influence and sustained audience attention. Furthermore, long-term operation is key to ensuring IP's enduring vitality. At the market performance level, many excellent film sequels struggle to replicate their predecessors' glory, revealing the limitations of relying solely on blockbuster thinking. By continuously updating and expanding IP connotations, outstanding works can avoid being flashes in the pan and achieve long-term IP value. User feedback and community interaction play crucial roles in this process; by establishing effective interaction mechanisms, developers can obtain timely user feedback for product iteration and innovation. Active user communities not only enhance audience engagement but also become important channels for IP dissemination.

Constructing a sustainable IP ecology requires systematic approaches to incubation systems, cross-boundary collaboration, and long-term operation. The market must shift from singular blockbuster thinking to ecological thinking, ensuring traditional cultural IP continuously rejuvenates in modern markets through systematic resource integration and innovation mechanisms, ultimately achieving lasting cultural transmission and commercial success.

3.3 From Cultural Export to Value Resonance

In the context of globalization, the adaptation of traditional cultural IP in Chinese animated films bears not only the mission of cultural export but also the need to achieve value resonance to enhance international market recognition and acceptance. In cross-cultural communication, Chinese animation must transcend the initial stage of "symbolic export" and shift toward "value resonance" for deeper dialogue. The overseas dissemination of current Chinese animated films has long been trapped within the "Chinese diaspora circle," a form of "echo chamber communication" that reveals insufficient cross-cultural dialogue capacity—when works can only evoke collective memories of specific groups but fail to inspire universal emotional resonance, their globalized value is inevitably limited.

Breakthroughs to achieve value resonance can be sought in three aspects:

First, deeply excavate the common values within traditional culture. For example, Pixar's Coco uses Mexico's Day of the Dead as its backdrop but triggers global resonance through the motif of "family and memory." Values embedded in traditional culture—such as courage, friendship, and family—can also connect emotionally with global audiences through modern storytelling. This connection not only enhances works' influence in international markets but also promotes deep-level cultural transmission.

Second, implement localized communication strategies to avoid the simplistic stacking of symbols. Different countries and regions have varying cultural backgrounds and acceptance habits. Therefore, cultural export must consider target market characteristics and formulate appropriate communication strategies. By understanding and respecting local cultures to resonate with local audiences' cultural contexts—rather than simply piling up and exporting cultural symbols—cultural connotations can be effectively transmitted. Disney's Mulan, despite controversies over cultural misinterpretation, still achieved partial breakthrough through its "female awakening" theme via localized adaptation.

Third, achieve modern translation of culture through innovative narrative and industrial aesthetics. Technology empowerment and visual innovation are key to modern cultural translation. Through innovative narrative techniques and advanced industrial aesthetics, Chinese animated films can maintain their cultural core while creating attractive audio-visual experiences, enhancing works' international competitiveness.

This study reveals that while traditional cultural IP adaptation in Chinese animated films drives market growth, it also brings deep-seated problems to the industrial ecology. Traditional cultural IP adaptation, while expanding market scale, leads to homogenization in subject selection and compression of creative space. Although works promote traditional culture through modern expression, over-reliance on rewriting classic symbols constrains artistic innovation.

Chinese animated cinema stands at a historical turning point: the box office miracles of traditional cultural IP not only prove the contemporary vitality of national culture but also warn of an ecological crisis of "path dependency." The path forward requires taking the creative transformation of the cultural matrix as its foundation, the ecological construction of the full industrial chain as its skeleton, and globalized value resonance as its wings. Only when the industry no longer views "Ne Zha" as a box office savior but as a catalyst for ecological evolution can Chinese animation truly achieve the leap from "mythological replication" to "civilizational narrative."

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Author Bio: Quan Wenxi (1994—), female, from Jilin, PhD candidate in Digital Art Design at Communication University of China, member of the Network Technology and Intelligent Media Design Committee of the National Higher Education Computer Basic Education Research Association, member of the National Virtual Teaching and Research Project at Central Academy of Fine Arts. Research interests: museum and exhibition digitization, digital art market. (Responsible Editor: Li Jing)