Research on Communication Strategies for the Overseas Distribution of Domestic Animated Films from the Perspective of Interaction Ritual Chain Theory

Zhou Luyao, Liu Shuliang
(Communication University of China, Beijing 100024)

Abstract

[Purpose] In recent years, domestic animated films have achieved remarkable success in the Chinese market, yet their overseas distribution performance remains relatively weak. Analyzing the dilemmas in the overseas communication of domestic animated films can help develop effective countermeasures. [Method] This paper examines the current state of domestic animated films "going global" based on Interaction Ritual Chain theory. [Results] The study finds that domestic animated films face several challenges in their overseas journey, including insufficient construction of core fan communities, difficulties in building cross-cultural shared values, and incomplete interactive ritual fields. [Conclusion] To address these issues, this paper proposes three potential breakthrough points: first, leveraging internet platforms for precision marketing to identify overseas core audiences; second, designing agenda-setting focal points tailored to target markets to initiate cross-cultural interaction rituals; and third, maintaining group symbols and interactive ritual spaces. By optimizing the interaction ritual chain, domestic animated films can achieve broader dissemination and recognition in overseas markets.

Keywords: Chinese animation; animated film; overseas communication; interaction ritual chain; cross-culture
CLC Number: G243
Document Code: A
Article ID: 1671-0134(2025)03-12-06
DOI: 10.19483/j.cnki.11-4653/n.2025.03.002
Citation Format: Zhou Luyao, Liu Shuliang. Research on Communication Strategies for the Overseas Distribution of Domestic Animated Films from the Perspective of Interaction Ritual Chain Theory [J]. China Media Technology, 2025, 32(3): 12-17.

In recent years, Chinese animated films have gradually garnered widespread attention from the entire film industry and mass media within China. From the remarkable achievement of Monkey King: Hero Is Back in 2015, which grossed nearly one billion RMB, to the milestone success of Ne Zha in 2020, which earned five billion RMB during its summer release and ranked among the top five films in Chinese box office history, domestic animated films have repeatedly set new records. Discussions about the "rise of domestic animation" have been incessant. To date, six domestic animated films have surpassed the one billion RMB mark at the box office①. In early 2025, Ne Zha: The Demon Child's Havoc in the Sea (hereinafter referred to as Ne Zha 2) shattered dozens of records in a short period, becoming the highest-grossing film in Chinese cinematic history. As of March 26, 2025, Ne Zha 2 had already amassed 15 billion RMB domestically—an undeniably impressive achievement.

However, what cannot be overlooked is that while domestic animation has achieved remarkable results in a single market, its overall "going global" performance has been mediocre, with suboptimal communication effects. According to Maoyan Professional, as of the end of March 2025, Ne Zha 2, which had become the top-grossing animated film in global box office history, had earned only about 300 million RMB overseas, still failing to break into the top ten of overseas box office rankings for Chinese-language films. This misalignment between the domestic popularity of Chinese animated films and their overseas communication penetration reveals a significant gap. Therefore, this study attempts to utilize Interaction Ritual Chain theory to examine and reflect on the current state and challenges of domestic animated films on their "going global" journey.

1. Interaction Ritual Chain Theory: Contextual Shift from Physical Space to Cyberspace

Interaction Ritual Chain Theory was proposed by American sociologist Randall Collins. Collins creatively connected micro-level interactions with macro-level structures, integrating emotions, individual actions, and social relationships into a unified theoretical model. He put forward the core proposition that "ritual is the basic unit of social relationship reproduction," providing a dynamic analytical framework for understanding ritual mechanisms in society from a micro perspective.

Although scholars such as Émile Durkheim had previously conducted in-depth discussions on the concept and social functions of rituals, the operational mechanisms of rituals remained a black box for the general public. Questions such as how rituals transform from individual behavior into social order, and through what pathways individual emotions coalesce into group identity, could not be adequately explained by existing theories. To address these questions, Collins built upon Durkheim's descriptions of rituals and incorporated symbolic interactionism and ethnomethodology to propose a model for analyzing social practices, explaining how rituals operate and how they maintain existing relationships and symbols while generating new social relationships and symbols.

In Collins' model, Interaction Ritual (IR) is a mechanism of mutual focus and emotional attention. The key to ritual lies in the formation of high mutual attention among participants in the interaction and their emotional entrainment in a shared rhythm. Interaction ritual is a set of causally linked processes with feedback loops, and rituals can succeed or fail depending on whether the combination of various elements is sufficiently compatible.

Collins' interaction ritual model consists of four main initial conditions: (1) two or more people are physically assembled in the same place; (2) outsiders are excluded; (3) attention is focused on a common object or activity; and (4) participants communicate their focus of attention and share a common mood or emotional state. These elements form feedback loops with one another, among which the interaction between focus of attention and emotional state is particularly important. In rhythmic entrainment feedback, they continuously reinforce each other until group effervescence emerges, such as the euphoria experienced by participants in religious ceremonies.

Correspondingly, when these elements are effectively integrated and accumulate to a high degree of mutual focus and shared emotion, participants typically experience: a sense of group solidarity, individual acquisition of emotional energy (EE), the creation of shared symbols representing the group, and a sense of moral righteousness in defending the group.

[FIGURE:1] shows Collins' interaction ritual theory model, displaying individual interaction rituals as the smallest units of social interaction. The rituals Collins discusses are not merely the "formal ceremonies" described by Durkheim. To a large extent, he draws on Erving Goffman's insights into everyday social interactions, pointing out that the mechanisms by which "natural rituals" in daily social interactions operate are the same, although people in these natural rituals may not even consciously notice certain focal points [2].

On the basis of interaction rituals, the interconnection and interactive development of micro-situations form what is known as the interaction ritual chain—a chain relationship in which different interaction rituals are interlinked, continuously initiating new rituals across temporal and spatial dimensions, thus extending into an entire social structure-like chain. Individuals who have participated in successful interaction rituals possess a certain reserve of symbols, and due to changes in emotional energy, develop greater interest in seeking similar solidarity, which motivates them to repeat interaction rituals. As individuals complete one encounter and interaction after another, they develop their own interaction structures and communication patterns, forming personal social networks, power status, reputation evaluations, and cognitive frameworks and value orientations toward the lifeworld [3]. In this process, individuals continuously accumulate their symbolic capital (such as identity, cultural knowledge, professional skills, social reputation, etc.) and bring this capital into new social interactions. Macro-level social structures are essentially woven from countless micro-level interactions conducted by individuals in specific situations, forming the interaction ritual chain (Figure 2 [FIGURE:2]).

Collins' interaction ritual theory provides a model for analyzing social practices, offering a new theoretical explanation for understanding social activities from micro to macro levels. Notably, Collins' model emphasizes "shared reality," meaning that interaction rituals are conducted based on physical co-presence. In his book, he specifically discusses the necessity of physical presence, arguing that while remote communication can provide some sense of ritual participation in large-scale ceremonies, it is almost unfeasible for natural rituals in daily communication. Collins believes that in formal rituals, "without physical presence, it is difficult to demonstrate participation in the group, difficult to establish identity, and the experience of micro-level details is lost" [5]. Direct visual cues (such as pained postures, tearful faces, and cheers at funerals) and other intense on-site experiences are important components of rituals. Although remote communication can generate a certain degree of intersubjectivity and shared emotion, it cannot match the specificity of face-to-face encounters [6].

2. Common Issues in the Overseas Communication of Domestic Animation

Considering that the dissemination of animated films is also part of social interaction, Interaction Ritual Chain theory has strong referential value for the communication of animated films, especially in cross-cultural contexts. The effectiveness of animated film dissemination is closely related to the interaction ritual chain during the communication process. To achieve better overseas communication results, stakeholders need to guide audiences to better complete interaction rituals, enable them to accumulate higher emotional energy within these rituals, create more shared symbols, and打通 (open up) the interaction ritual chain. Using this theory also allows us to glimpse some of the current shortcomings of domestic animation in "going global."

2.1 Insufficient Construction of Co-presence Fields

As the most fundamental link in initiating interaction rituals, the current overseas communication of domestic animated films is insufficient in constructing interactive fields—whether virtual co-presence or physical co-presence.

In terms of physical co-presence interaction rituals, the biggest problem is the limited scale of offline space coverage, primarily reflected in the most basic aspect of overseas film distribution. Despite deepening globalization and domestic animated films repeatedly achieving success in China, their overseas performance has been consistently underwhelming. Monkey King: Hero Is Back had dismal box office results in multiple countries; Big Fish & Begonia, which received considerable attention domestically, earned only $534,000 overseas; and Ne Zha's overseas box office was just over $7 million. Behind these pessimistic overseas box office figures lies a significant reason: domestic animated films often lack large-scale theatrical releases after "going global."

There are multiple reasons for this. First, domestic animated films often lack awareness in planning overseas distribution routes in advance. For a long time, most Chinese animated productions did not consider overseas markets during production [8], while also lacking sufficient understanding of existing distribution rules, rating systems, and relevant regulations in overseas regions. This results in films that may not even be able to secure overseas releases after completion. The lack of emphasis on overseas distribution also leads to insufficient publicity time. The North American distribution deal for Ne Zha 2 was signed only two weeks before the release date, leaving a short preparation cycle and limited time for partnership negotiations, inevitably affecting the number of theaters and screening slots. Second, the nature of domestic animated films also determines their lack of competitiveness in overseas markets. Domestic animated films are often treated as niche productions in overseas markets [9], with limited influence compared to other established film types and Hollywood animation systems, creating greater distribution pressure. It is difficult for domestic animation overseas distribution to partner with major companies. Therefore, overseas distribution of domestic animated films is primarily handled by Chinese distribution companies or smaller overseas distribution companies that specialize in Chinese-language films. These companies often encounter problems with large-scale distribution. Taking the North American market as an example, theatrical screenings operate on a contract system requiring distribution companies to sign agreements with theaters. This mature overseas market has formed a relatively closed distribution loop. Local giant film companies such as Warner Bros., MGM, and Columbia Pictures have strong market control over film distribution, leaving domestic animated film distribution companies at a disadvantage in theater negotiations and securing screening resources. On the second day of Ne Zha 2's North American release, it was shown in 770 theaters, while the同期 (simultaneously released) Captain America 4 had 4,105 theaters in North America②.

In terms of virtual co-presence interactive fields, there is insufficient investment in overseas pay channels and streaming platform distribution. Most domestic animated films are released on overseas streaming platforms such as Netflix and Funimation. For example, the sequel to White Snake—Green Snake—was released on the streaming platform Netflix just over three months after its Chinese theatrical release. However, the cooperation model between film copyright holders and overseas streaming platforms mostly involves one-time copyright sales, leaving the production side with little control over subsequent promotion. Additionally, because domestic animated films are a niche category overseas, overseas mainstream media shows little enthusiasm for them, with minimal coverage. There is also a lack of discussion spaces for like-minded communities on overseas social platforms and forums such as Instagram, Facebook, Twitter, YouTube, and TikTok. All these factors result in an insufficient foundation for co-presence fields as the first step of interaction rituals, let alone further expanding influence for dissemination.

2.2 Imbalanced Operation of Focus Systems

In the interaction ritual model, shared focus is one of the elements that maintains interaction rituals and accumulates emotional energy. In overseas communication, domestic animated films often fail to effectively construct this focus, resulting in low audience participation, weak community cohesion, and ultimately affecting "going global" outcomes. This is primarily because promoters fail to accurately identify key ritual nodes, leading to imbalanced operation of focus systems.

First, after entering the Web 2.0 era, focus of attention has become influenced by recommendation algorithms and platform mechanisms, controlled by different discourse power holders on internet platforms. If core discussion topics are not established and the voice of KOLs (Key Opinion Leaders) is not fully utilized, it can lead to topic defocus in interactive situations to a certain extent. The overseas online promotion of domestic animated films relies heavily on commercial push streams on platforms like TikTok and YouTube, but the投放 (placement) targets are mostly Chinese bloggers, with content loosely connected to the films themselves. Taking Ne Zha 2 as an example, the content placed on these platforms focuses mainly on beauty and cosplay rather than in-depth film reviews or discussions. This easily leads to scattered audience attention and prevents the formation of stable interaction rituals.

Second, when searching for "NeZha" on platforms like X (formerly Twitter) and Reddit, most related content consists of secondary creations by Chinese fans, with almost no official guided discussion topics or participation from professional film critics. In contrast, when promoting Japanese animated films overseas, promoters actively collaborate with animation and film review KOLs to ensure the film itself becomes the discussion focus rather than remaining at the level of visual derivative content. Japanese animations such as The Boy and the Heron and Suzume are typical cases. The overly thin overseas marketing strategies for domestic animated films make it difficult to form long-term discussion热潮 (trends), and they are more likely to be drowned out by mainstream content.

Finally, successful interaction rituals require clear boundaries, which in the internet age often appear as exclusive hashtags or community terminology. However, the overseas marketing of domestic animated films often lacks systematic hashtag operations. On TikTok, content related to Ne Zha 2 is highly fragmented, making it difficult to locate core topics at first glance. Related promotions rely more on platform algorithmic recommendations than on spontaneously formed定向 (targeted) discussions, making it difficult to sustain long-term discussion热潮 (trends).

2.3 Difficulty in Symbolic Capital Matching

The degree of matching between interaction structures and communication patterns of different individuals directly affects the effectiveness of interaction rituals and the ultimate outcome of events. Interaction rituals are more successful only when participants' membership symbols align and match [10]. In the practice of domestic animation overseas communication, the cultural systems of overseas Chinese communities and overseas local audiences differ significantly, resulting in difficulty matching identity symbols, challenges in constructing shared values, and consequently, difficulty initiating new interaction rituals that affect the generation of interaction ritual chains.

Specifically, the primary target audience for domestic animated films "going global" remains concentrated in overseas Chinese communities. Chinese audiences with the same cultural background can more easily enter interaction rituals due to matching symbolic capital, generating strong emotional resonance and emotional energy, which in turn attracts them to participate in new interaction rituals. However, when they attempt to enter interaction rituals with non-Chinese groups, they encounter obvious communication barriers.

Considering the generation process of interaction ritual chains, when individuals who have accumulated certain emotional energy and identity symbols in previous interaction ritual chains encounter new situations and enter a new co-present space, if their symbolic capital does not match with other individuals in the same field, it is extremely likely to result in low levels of mutual attention and emotional entrainment, ultimately leading to ritual failure or emptiness. This not only fails to create new symbolic meanings but also faces the decline of emotional energy and the disappearance of previously accumulated symbolic meanings, ultimately leading to the rupture of the interaction ritual chain. This is precisely the dilemma faced when overseas Chinese audiences and overseas local audiences with different cultural backgrounds enter interaction rituals.

First, when overseas Chinese communities discuss domestic animated films in English-speaking communities, their focus often centers on topics with strong ethnic cultural identity, such as "how Chinese animated films are rising" or "how Chinese people tell Chinese stories in their own way." Foreign audiences, however, tend to notice the industrial progress and aesthetic uniqueness of Chinese animated films. While topics related to ethnic culture can trigger heated discussions within Chinese communities, they struggle to generate resonance among groups from other cultural backgrounds. In the internet age, where the accumulation of symbolic capital itself becomes more important in online interaction rituals, people who have accumulated different emotional energy and symbolic meanings through different paths find it even more difficult to enter the same field to conduct interaction rituals. Especially in online forums, uninterested parties can simply ignore discussions without participating, ultimately resulting in the exclusion of overseas local audiences from the interactive community.

Second, current domestic animated films are relatively limited in subject matter selection, with many works' symbolic systems deeply bound to ancient Chinese myths and legends. Taking Ne Zha 2 as an example, characters such as the Pagoda-Bearing Heavenly King and the Great White Planet Star are familiar to Chinese audiences but completely foreign to viewers from other cultural backgrounds, lacking any cognitive foundation and naturally making it difficult to trigger emotional resonance. Meanwhile, the Eastern concepts of collectivism and family ethics embedded in these works also generate significant cultural discounting in cross-cultural communication. While these elements can trigger strong resonance within Chinese communities, audiences from other cultural backgrounds often struggle to establish the same emotional connection. Additionally, due to the rushed release of Ne Zha 2, English dubbing was not completed in time, creating another barrier to understanding for English-speaking audiences.

More critically, in recent years, domestic animation directors have frequently chosen traditional mythological subjects such as Investiture of the Gods and Journey to the West for their creations, yet lack systematic planning in world-building. For example, while works like Ne Zha 2, Jiang Ziya, and New Gods: Yang Jian all involve discussions of the "Fengshen Universe," the character interconnectivity is weak and the world-building is chaotic, making it difficult for overseas audiences to form a coherent cognitive framework and further increasing the degree of symbolic capital misalignment. In contrast, the Marvel Cinematic Universe (MCU) has achieved global success largely due to its clear and unified world architecture and symbolic system, which allows audiences from different cultural backgrounds to easily understand and accept it.

3. Potential Breakthroughs for Domestic Animation Film Overseas Distribution

Despite the various problems in the overseas communication practice of domestic animated films, there are still paths to solutions, and some production and distribution teams have already begun strategic attempts.

First, distributors should attach importance to the insufficient construction of co-presence fields and focus on挖掘 (excavating) core communication spaces and audiences. According to Interaction Ritual Chain theory, successful communication begins with the identification and activation of potential emotional communities. In overseas distribution, it is crucial to locate the core audiences to be reached first and attempt to create online or offline co-presence fields for them. Film premiere ceremonies, as inherent ritual components of the film release process, provide an excellent occasion. The breakthrough of The Legend of Hei in the Japanese market was achieved by锁定 (locking onto) the Chinese community as the core group, choosing Tokyo's Ikebukuro—one of Japan's largest Chinese residential areas—for its premiere, arranging a single-screen exclusive showing at the Humax Cinema in Ikebukuro, and actively distributing flyers and posting posters in Chinese gathering areas during preview screenings to precisely reach the Chinese community in Japan. The Legend of Hei is a long-operated IP in China with certain recognition among some Chinese groups. Through precise offline placement, Chinese residents in Japan could quickly establish emotional connections with the Hei IP, generating a certain degree of group solidarity and positive emotional energy. On this basis, it produced greater communication effects through core audiences. Subsequently, The Legend of Hei achieved口碑 (word-of-mouth) dissemination through fans across various overseas social platforms, forming a closed loop from online discussion to offline viewing and finally to online social sharing, further expanding the interaction ritual chain.

Second, in the internet age, the design of focus agendas strongly influences interaction content. Finding ways to transform cultural differences between groups into communication potential energy can establish shared meaning spaces between heterogeneous cultural communities. In 2021, Bushiroad and Team Joy jointly produced and distributed the Japanese version of the domestic animated film White Snake in Japan (they participated in the Japanese version's dubbing, subtitles, etc.), earning 38 million yen on its first day and ranking in the top ten of the Japanese local box office in its first week③, with a final box office of 110 million yen—representing a relatively good performance for a domestic 3D animated film distributed in Japan. Bushiroad innovatively employed popular idols from Johnny & Associates as voice actors for major roles and centered its marketing around the topic of "Johnny's artists participating in Chinese animated film dubbing." This strategy essentially created a focused topic during the initial stage of interaction ritual chain construction. Even if Japanese local audiences were completely unfamiliar with the story background of White Snake, they could participate in online discussion rituals due to their interest in the idols, and subsequently participate in viewing rituals. Constructing such a common focus successfully attracted a large number of non-core animation fan groups into theaters, completing the transformation from "peripheral attention" to "core participation," which is also a key link in emotional energy accumulation.

Additionally, attention must be paid to the difficulty of symbolic capital matching among people from different cultural backgrounds. The Legend of Hei's success in Japan was not only due to its style being close to the Japanese market and the film's high quality but also because its core topics had universal relevance, removing cognitive barriers for audiences to participate in interaction rituals. More notably, the film triggered口碑 (word-of-mouth) effects among Japanese animators: many Japanese animators, recommended by their Chinese counterparts, watched the film and spontaneously created secondary works and promotions. This mutual recognition and endorsement between professional groups accumulated precious emotional energy and symbolic capital for the film's audience community. This interaction based on equivalent symbolic capital ultimately formed a viewing trend from professionals to senior animation enthusiasts to ordinary audiences,打通 (opening up) the accumulation and communication process of emotional energy and symbolic meaning in the interaction ritual chain. This is also an important reason why The Legend of Hei achieved success in Japan.

At present, these successful cases are mainly concentrated in culturally similar East Asian markets, reflecting the deep challenges still faced by domestic animation "going global." Expanding to broader global markets requires more systematic strategies. Starting from maintaining the smallest unit of interaction ritual to focusing on building complete interaction ritual chains, every interaction in the communication process should accumulate emotional energy and symbolic capital for the next interaction. Only by increasing interactive fields, reducing interaction barriers, and through precise agenda-setting and continuous symbolic capital cultivation can better communication effects be achieved.

In conclusion, the "hot at home, cold abroad" dilemma encountered by domestic animated films in overseas communication reflects various problems in cultural product dissemination. When re-examining this phenomenon through Collins' Interaction Ritual Chain theory, we find that the crucial problem in domestic animated films "going global" lies in the rupture of the interaction ritual chain caused by multiple factors including missing co-presence fields, imbalanced focus systems, and misaligned symbolic capital. This makes it difficult for overseas audiences to construct successful interaction rituals through various channels. However, many works have already actively explored new paths in overseas communication practice, achieving relatively good "going global" results and reputation by constructing effective interactive fields, building common foci, and finding matching individuals. Such cases should serve as important references for future "going global" practice, hoping to inspire the industry and enable Chinese animation to shine more brightly on the international stage in the future.

Ultimately, the overseas communication of domestic animated films is not merely content export. From Collins' perspective, this is a process of social relationship reproduction. In the future, how to strategically use interaction rituals to stimulate audience emotional energy should become a new path of thinking in the practice of domestic film "going global" communication.

References

[1] Randall Collins. Interaction Ritual Chains [M]. Translated by Lin Juren, et al. Beijing: The Commercial Press, 2009: 86-87.
[2] Randall Collins. Interaction Ritual Chains [M]. Translated by Lin Juren, et al. Beijing: The Commercial Press, 2009: 88.
[3] Deng Xin. The Overlooked Emotional Dimension: An Interpretation of Randall Collins' Interaction Ritual Chain Theory [J]. Journalism and Communication, 2020(8): 40-47, 95.
[4] Randall Collins. Interaction Ritual Chains [M]. Translated by Lin Juren, et al. Beijing: The Commercial Press, 2009: 214.
[5] Randall Collins. Interaction Ritual Chains [M]. Translated by Lin Juren, et al. Beijing: The Commercial Press, 2009: 94.
[6] Randall Collins. Interaction Ritual Chains [M]. Translated by Lin Juren, et al. Beijing: The Commercial Press, 2009: 103.
[7] Li Junpeng, Ru Wenjun. On Interaction Ritual Chains in Virtual Communities [J]. Guangdong Social Sciences, 2020(4): 201-211.
[8] Zhang Tianxiao, Ariane Shi, Sun Rui, et al. Examining the Overseas Distribution of Chinese-Themed Animation through Chinese Little Master—An Interview with Animation Director Zhang Tianxiao [J]. Contemporary Animation, 2024(1): 48-53.
[9] Ta Kung Pao. Hong Kong International Film & TV Market / Ne Zha 2 Overseas Distributor: Domestic Animation Has Huge Potential for Going Global [EB/OL]. (2025-03-20) [2025-03-26]. https://www.takungpao.com/231106/2025/0320/1069883.html.
[10] Randall Collins. Interaction Ritual Chains [M]. Translated by Lin Juren, et al. Beijing: The Commercial Press, 2009: 212.

About the Authors:
Zhou Luyao (2002—), female, from Hunan, master's student in Digital Arts at Communication University of China. Research interests include animation and new media communication, animation and subculture studies.
Liu Shuliang (1987—), male, from Jilin, Ph.D., associate professor and master's supervisor in Animation at Communication University of China. Research interests include animation aesthetics, animation and new media, and cutting-edge digital art topics such as virtual digital humans and AIGC.

Funding: This paper is a阶段性 (stage) result of the 2020 National Social Fund Art Major Project "Innovative Research on the Knowledge System of Chinese Animation Art in the New Era" (Project Number: 20ZD20).

Notes:
① As of March 26, 2025, the six domestic works with box office exceeding one billion RMB include Ne Zha: The Demon Child's Havoc in the Sea, Ne Zha, Boonie Bears: Time Twist, Chang'an, Jiang Ziya, and Boonie Bears: Guardian Code. Data from Maoyan Professional.
② Data from Box Office Mojo.
③ Data from Kōgyō Tsūshinsha.