Film and Television Reconstruction of Classic IP Symbols and Their Contemporary Cultural Interpretation from the Perspective of Aesthetic Modernity
Wu hao ran1*
1.Liaoning University College of Broadcasting and Film
Abstract: Aesthetic modernity, characterized by reflective criticism, innovative transcendence, and humanistic persistence, has established a theoretical system and practical methods for the transformation of traditional Chinese cultural elements into modern film and television works. In recent years, the reconstruction of classic IP symbols in Chinese film and television creation has gradually broken away from the predicament of superficial transplantation, and the adaptation path has moved towards in-depth cultural decoding, forming a creative consensus of “adhering to the core, innovating in form, and adapting to values”. From the perspective of aesthetic modernity, this paper adopts multiple perspectives such as Reception Aesthetics and cultural studies, taking three representative films, Creation of the Gods I: Kingdom of Storms, Chang’an 30,000 Li, and White Snake: Floating Life, as samples. It systematically interprets the deep logic and cultural value of the film and television reconstruction of classic IP from three dimensions: narrative logic, visual aesthetics, and value connotation. It reveals the dialectical relationship between “adhering to the core and innovating in form” of classic symbols driven by aesthetic modernity, providing a reference with both theoretical depth and practical guiding significance for the innovative expression of traditional culture in film and television.
Keywords: Aesthetic Modernity; Classic IP Symbols; Film and Television Reconstruction; Cultural Interpretation; Contemporary Transformation
1. Introduction
Aesthetic modernity originated from the Western modernity theoretical trend. The concept of “modernity” is concentrated in the innovation of time consciousness, and its concept was gradually established in a series of ideological emancipation movements such as the Renaissance and the Enlightenment. As a core cross-disciplinary issue, modernity has different connotations in different fields. Among them, modernity at the aesthetic level, namely aesthetic modernity, is a new form and core feature of aesthetics in modern society, and a specific reflection and inevitable product of aesthetic relations in modernization practice [6]. Its core essence lies in interpreting the cultural connotation of modern society from an aesthetic perspective, and realizing the independent development and humanistic persistence of art on the basis of reflecting on the tendency of modern rationalization and instrumentalization. This characteristic has formed a natural logical fit with the film and television reconstruction of classic IP symbols, providing important theoretical support for the contemporary transformation of traditional symbols [7].
As a material carrier of cultural memory, classic Chinese literary symbols have “universal human values” as the core of ensuring cultural inheritance. Film and television reconstruction is essentially a cultural practice activity that accurately aligns this core with the modern aesthetic context [8]. Jauss’s “horizon of expectations” theory provides an effective analytical framework for this practice: whether the film and television reproduction of cultural IP can be recognized by the audience depends on whether its expression form and spiritual connotation conform to the aesthetic standards and values of contemporary audiences [3]. Big data analysis conducted by the China Film Administration shows that among the film and television works derived from domestic classic IP from 2020 to 2025, the high-quality works with a Douban score of 7.5 or above have all achieved the “aesthetic balance between the artistic connotation of the original work and the screen re-creation”. This phenomenon fully confirms the theoretical adaptability between aesthetic modernity and the film and television reconstruction of classic IP symbols [9].
From the perspective of cultural studies, the trend of adapting classic literary IP into film and television works is essentially the transfer and reconstruction of cultural power [10]. In the process of spreading traditional cultural symbols, a barrier of authoritative discourse is often formed. The reconstruction measures supported by aesthetic modernity have effectively dismantled this monopoly and returned the dominant power of cultural discourse to the general audience, which is highly consistent with the core concept of Bakhtin’s “carnival theory” that advocates eliminating authority and constructing diverse meanings [11]. This transfer of cultural power has made classic symbols regain vitality in the interaction with the contemporary context, which is an intuitive embodiment of the “innovative transcendence” characteristic of aesthetic modernity, and also highlights the contemporary value of the film and television reconstruction of classic IP [12].
2. In-depth Interpretation of the Film and Television Reconstruction of Classic IP from the Perspective of Aesthetic Modernity
2.1 Narrative Reconstruction: Modern Logical Decoding of Classic Symbols
Narrative reconstruction is the core link in the film and television transformation of cultural IP. Its fundamental goal is to systematically analyze and innovatively reconstruct traditional narrative forms with the speculative perspective of aesthetic modernity [13]. The narrative mode of traditional classic symbols has distinct linear, moral and authoritative characteristics. The reconstruction of the narrative system triggered by aesthetic modernity focuses on breaking this established paradigm, integrating current hot topics and cutting-edge humanistic concepts, so as to achieve accurate connection between classic narratives and the aesthetic needs of modern audiences [14].
The narrative improvement of the Fengshen system in Creation of the Gods I: Kingdom of Storms has typical modern significance. The traditional Fengshen narrative has always taken “the Mandate of Heaven belongs to Zhou and theocracy is dominant” as the core starting point. The character portrayal is limited to low-level conflicts between positive and negative factions, lacking in-depth exploration of human nature. However, the film jumps out of this narrative template and focuses on “individual awakening and the will of the people”. With the help of the reflective and critical characteristics of aesthetic modernity, this reconstruction dispels the theocratic supreme ruling symbols in traditional narratives and highlights the eternal values of eliminating the strong and supporting the weak and abiding by morality [5]. In terms of narrative structure, the traditional linear narrative paradigm has gradually dissipated in the digital context, and a more flexible narrative structure has begun to dominate, opening up new paths for narrative practice [15]. The film transforms the original “omniscient perspective + linear structure” into “limited perspective + non-linear structure”, enhancing the credibility and immersion of the story through multi-perspective switching. This innovation accurately meets the needs of modern audiences for self-expression and multi-meaning interpretation [16]. After the film was released, in the audience discussions in online communities, most audiences focused on the characters’ moral dilemmas in the dimension of human nature, rather than simply agreeing with the traditional mythical ending. This fully shows that the narrative reconstruction has accurately responded to the expectant psychology of modern audiences [17].
The narrative innovation of the “Tang poetry” symbol in Chang’an 30,000 Li also reflects the breakthrough thinking of aesthetic modernity [4]. The traditional dissemination of Tang poetry mainly focuses on text interpretation and recitation memory, lacking in-depth emotional resonance. The film closely combines the creation of Tang poetry with the poets’ life experiences and historical backgrounds, establishing a narrative connection between the poems and personal fate and the rise and fall of the times. This transformation is essentially consistent with the core viewpoint of Jauss’s “horizon of expectations” theory [3]. With the popularity of cultural programs such as Chinese Poetry Conference and Everlasting Classics, the aesthetic demand of contemporary audiences for Tang poetry has risen from knowledge mastery to emotional resonance. The director concretizes abstract humanistic care into perceptible emotional expression, which accurately meets the aesthetic expectations of the target group [18]. The film adopts a narrative mode that breaks away from the linearity of time, allowing poems from different periods to form a dialogue around the emotional tone. It not only retains the cultural foundation of Tang poetry, but also revitalizes the literary expression through the expansion of narrative techniques. This organic unity of “retaining essential characteristics and breaking through methods” is the core mechanism of narrative reconstruction under the influence of aesthetic modernity [19].
2.2 Visual Reconstruction: Modern Expression of Oriental Aesthetics
Visual reconstruction is an important dimension of the film and television reconstruction of classic IP. Its core goal is to realize the organic integration of the oriental classical aesthetic system and digital film and television presentation methods [20]. The popularization and development of digital technology, the efficient transmission of visual information, the transformation of entertainment consumption methods, the rise of social media, and the digital transformation of work and study have jointly promoted the formation and development of the visual reconstruction trend [14]. The integration of digital technology has realized the contemporary leap of aesthetic language. This process has always relied on the cutting-edge characteristics of aesthetic modernity to complete the organic connection between traditional culture and the modern context, highlighting the contemporary value of national aesthetics [6].
The image narrative adopted in Creation of the Gods I: Kingdom of Storms has realized the effective connection between the freehand artistic concept and technological innovation [5]. The carving of scenes such as Zhaoge City and Kunlun Ruins in the film not only absorbs the beauty of symmetry in traditional Chinese architecture and the artistic conception creation of ink wash landscapes, but also uses the real-time rendering technology of Unreal Engine 5 (UE5) to realize the immersive visual presentation of the oriental aesthetics of the coexistence of virtual and real [15]. From the perspective of technical aesthetics theory, the visual innovation of the film always revolves around the contemporary transformation of oriental aesthetics. For example, the shape of the nine-tailed fox integrates the line sense of folk paper-cut art, and the wing design of Lei Zhenzi draws on the flying apsaras image in Dunhuang murals. This design not only avoids the homogenization dilemma of Western magical vision, but also strengthens the recognition of traditional aesthetics through modern technology, highlighting the adherence of aesthetic modernity to the characteristics of national aesthetics [7].
The practice of transforming the artistic conception beauty of Tang poetry into film and television images in Chang’an 30,000 Li is also worthy of in-depth discussion [4]. The most distinctive aesthetic feature of Tang poetry is to convey profound artistic conception with concise language. The visual transformation of this abstract aesthetics is the core problem that must be solved in the visual reconstruction of classic IP [18]. The film adopts the creative method of “combining digital ink wash with 3D technology”, which not only retains the ink rhyme layers and picture blank sense of ink wash painting, but also optimizes the visual depth and movement track through 3D synthesis technology [19]. Taking the paragraph ofQiang Jin Jiu (Bring in the Wine) as an example, the surging river and the poet’s unrestrained posture set off each other in the ink wash picture, accurately capturing the bold artistic conception of the poem and realizing the perfect integration of abstract poetic meaning and concrete pictures [20]. Behind this visual reconstruction is the practice of the transcendental characteristics of aesthetic modernity—it not only transcends the limitations of the static composition of traditional ink wash art, but also jumps out of the framework of contemporary animation over-reliance on realistic pictures, finding a balance between tradition and modernity, making the visual presentation both have national sentiment and conform to the visual aesthetics of modern audiences [6].
2.3 Value Reconstruction: Contemporary Cultural Endowment of Classic Symbols
Value reconstruction is the ultimate pursuit of film and television adaptation. Its core method is to explore the contemporary significance of classic images with the humanistic characteristics of aesthetic modernity and realize the modern transformation of cultural core. This process fully reflects the inherent attribute of “humanistic persistence” of aesthetic modernity [7]. The value reconstruction of classic IP is not a negation of traditional values, but an accurate connection between traditional values and contemporary humanistic needs on the basis of reflective criticism, so that classic symbols can play a spiritual leading role in the contemporary context [10].
The value reconstruction of Legend of the White Snake in White Snake: Floating Life is of typical significance [8]. The traditional Legend of the White Snake takes “the difference between humans and demons” as the main conflict line, permeates feudal hierarchical ideas, and the tragic ending of the story conveys the cultural logic in a specific historical context [11]. However, the film breaks through this limitation and focuses its value core on true love equality and resistance to prejudice. This transformation is an inevitable result of the reflective and critical characteristics of aesthetic modernity—it peels off the feudal class elements in the traditional narrative and conveys the modern significance of sincere emotions breaking through constraints and resisting oppression [12]. From the perspective of cultural studies, the value reconstruction of the film is the breakthrough of individual expression to traditional discourse. The White Snake breaks away from the shackles of fatalism and becomes a new subject of active choice and positive resistance. This transformation of the image not only reflects the awakening of the current society to the reconstruction of gender order and the realization of self-worth, but also conforms to the logical of Foucault’s “resistance to discipline in pursuit of freedom” power discourse theory [13]. The director’s innovative interpretation of the “Flooding Jinshan Temple” segment transforms the simple magic confrontation into resistance to secular prejudice, enabling the deep connotation of historical images to form a dialogue with contemporary humanistic needs. This meaning construction not only retains the core connotation of fearless love, but also reflects the current cultural pattern [14].
The contemporary presentation of the value of Tang poetry in Chang’an 30,000 Li also highlights the humanistic persistence of aesthetic modernity [4]. With the help of the poets’ life experiences, the film explores the aesthetic connotation of adhering to the feelings of family and country and pursuing spiritual freedom in Tang poetry, which can still arouse strong spiritual resonance in the contemporary context [18]. Faced with the widespread survival pressure and spiritual anxiety in the current society, Li Bai’s unrestrainedness of “Enjoy the joy of life while you can” and Gao Shi’s clarity of “Thrive in adversity and perish in ease” provide spiritual guidance for comforting the hearts of different groups [19]. This value transformation is not a rigid modern grafting, but an in-depth analysis and reasonable presentation of classic characteristics, realizing the positive interaction between traditional values and contemporary spiritual landscape. It not only ensures the continuous inheritance of culture, but also endows the times with rich spiritual connotation, reflecting the core logic of the value transformation of aesthetic modernity [6].
3. Dialectical Thinking on the Cultural Value in the Film and Television Reconstruction of Classic IP
3.1 Cultural Inheritance: The Dialectical Unity of Adhering to the Core and Innovative Development
Reconstructing classic symbols in the form of film and television has opened up a new path for the inheritance of traditional culture. Its core feature is the dialectical unity of “adhering to the core and innovative development”, which profoundly reflects the internal connection between aesthetic modernity and the inheritance of traditional culture [7]. Aesthetic modernity is not an absolute negation of traditional concepts, but promotes the revival and development of tradition in the contemporary era on the basis of reflective criticism, realizing the organic integration of tradition and modernity [6].
The three representative works selected in this paper all deeply explore the core cultural connotation of classic symbols—Creation of the Gods I: Kingdom of Storms upholds the value core of “eliminating violence and protecting the good, and following the will of the people”, Chang’an 30,000 Li adheres to the cultural background of “humanistic spirit and feelings of family and country”, and White Snake: Floating Life practices the spiritual pursuit of “fearless for love and rising up to resist” [5][8][18]. This adherence ensures the continuity of the cultural genealogy, effectively avoids the negative impact of “cultural nihilism”, and lays a solid foundation for the inheritance of traditional culture [10]. At the same time, through the contemporary improvement of narrative techniques, visual presentation and values, the works have made classic cultural symbols break away from the limitations of the traditional communication framework, conform to the appreciation needs of the audience in the new media context, and realize the contemporary communication of classic culture [12].
From the perspective of cultural genetics, national cultural genes are passed down from generation to generation through traditional IP, and film and television adaptation is essentially the modern awakening of cultural genes [15]. It enables cultural genes to be recognized, approved and inherited and developed by contemporary audiences through modern presentation methods. The “reflective and innovative” characteristics of aesthetic modernity provide a scientific methodology for the activation of cultural genes—retaining the core sequence of cultural genes and endowing them with new vitality through contemporary form packaging [16]. This way of inheritance not only avoids the rigid dilemma of “adhering to tradition and being divorced from the times”, but also prevents the alienation problem of “excessive innovation and losing the foundation”, realizing the sustainable inheritance of traditional culture [17].
3.2 Cultural Construction: The Dual Value of National Identity and Aesthetic Improvement
Traditional cultural IP carries the common cultural memory of the nation. Film and television adaptation effectively enhances national cultural identity through “memory awakening” [18]. The three representative works have respectively aroused the cultural resonance of the public for mythological symbols, literary traditions and folk stories. Through the reconstruction of modern thinking, these cultural memories are combined with contemporary concepts to form a strong emotional resonance, allowing the audience to obtain a strong sense of psychological belonging and strengthen national cohesion during the viewing process [19].
The film and television reconstruction of classic IP has an undeniable value for aesthetic education [20]. Aesthetic modernity emphasizes the aesthetic education function of art. All three works take oriental aesthetics as the spiritual core, guiding viewers to explore the deep value of classical aesthetics on the screen and cultivate artistic appreciation literacy [6]. The ink wash style ofChang’an 30,000 Li, the freehand pictures of Creation of the Gods I: Kingdom of Storms, and the Jiangnan style of White Snake: Floating Life convey oriental aesthetic charm combined with their respective historical backgrounds, allowing the public to imperceptibly improve their aesthetic ability in an immersive experience [7][8][18]. This aesthetic improvement is not a one-way indoctrination, but an active cognition and exploration based on aesthetic experience. It not only plays a positive role in cultivating personal humanistic literacy, but also promotes the improvement and development of contemporary national aesthetic culture [10].
3.3 Cultural Communication: An Effective Path for Cross-Cultural Dialogue
In the process of globalization, the film and television adaptation of classic IP has become an important carrier for the cross-cultural output of traditional Chinese culture. The characteristic of “integrating global commonalities and cultural individuality” presented by aesthetic modernity provides strong support for cross-cultural communication [12]. The core difficulty of cross-cultural communication is the problem of “cultural discount”, that is, the difference in understanding of heterogeneous culture by audiences from different cultural backgrounds. The visual reconstruction and value reconstruction driven by aesthetic modernity have effectively reduced the cultural discount by exploring universal humanistic values [13].
The recognition of Creation of the Gods I: Kingdom of Storms by overseas audiences fully confirms the feasibility of cross-cultural communication of classic IP [5]. The spiritual connotations such as individual mission and pursuit of justice conveyed by the film through pictures have broken the barriers between Eastern and Western cultures, arousing emotional resonance and value recognition among overseas audiences [14]. At the same time, the oriental artistic visual elements integrated into the film conform to the aesthetic expectations of overseas audiences for “Eastern culture”, forming a communication pattern of cultural identity and global interaction [15]. This communication is not a shake of the national cultural foundation, but the practice of the concept of “dialectical unity of nationality and universality” in aesthetic modernity—it not only adheres to the main spirit of Eastern culture, but also explores a universal communication path, realizing positive interaction between different cultures [16].
4. Creative Enlightenment and Reflection on the Film and Television Reconstruction of Classic Symbols
4.1 Creative Enlightenment: The Dialectical Balance Between Adherence and Innovation
To achieve high-quality development in the screen innovation of classic symbols, it is necessary to adhere to the core direction of “spiritual inheritance, form innovation, and humanistic drive”, and realize the organic unity of traditional heritage and modern style, national complex and world pattern, aesthetic height and commercial feasibility [17]. This creative orientation is not only the internal requirement of aesthetic modernity, but also the inevitable choice for the film and television reconstruction of classic IP [6].
First of all, it is necessary to deeply interpret the cultural theme of classic symbols, avoiding rigid application and one-sided interpretation [18]. The vitality of traditional symbols lies in the national cultural heritage and universal humanistic care they carry. In the creative process, we should focus on these core essentials, so that the reconstruction is always rooted in the cultural origin [19]. At the same time, we should use the perspective of aesthetic modernity to rationally screen the outdated elements in cultural heritage, realize the accurate connection between core values and the contemporary context, and construct an “optimized inheritance” mechanism [20].
Secondly, it is necessary to promote the innovation of expression forms [14]. Film and television adaptation needs to accurately grasp the contemporary image technology and artistic logic, optimize the narrative structure and visual expression system, so that traditional elements conform to the aesthetic needs of modern audiences [15]. However, innovation is not a rigid grafting of Western models, but to draw nutrients from oriental aesthetics and national culture, create works with distinct national styles, and avoid homogenized creation [7].
Finally, it is necessary to adhere to the leading position of humanistic spirit and properly handle the relationship between aesthetic standards and market demand [16]. In the context of the development of the film and television industry, the transformation and innovation of classic symbols should guard against the digestion of cultural connotation and aesthetic experience by commercial pursuit, put humanistic spirit in the first place, and realize the balanced development of spiritual value and economic return [17]. Practice has proved that works that take into account ideological depth and aesthetic standards have a much higher reputation and return on investment than unbalanced works, which fully shows that adhering to cultural mission and following commercial logic are not contradictory [18].
4.2 Reflection: The Boundary and Limit of Reconstruction
The film and television re-creation of traditional elements has important cultural value, but it also has clear boundaries and limits [19]. From a theoretical perspective, the “criticality” of aesthetic modernity is not a complete dismantling of classics. Extreme dismantling will lead to the demise of the cultural core of classic symbols, and eventually fall into the dilemma of “cultural nihilism” [6]; innovation is not a complete separation from tradition. Artistic innovation without a cultural foundation will eventually become a shell without a soul [7]. Therefore, adapters need to clearly defend the respective artistic nature of literature and film and television, respect their independent existence, treat their mutual integration, reference and coexistence with tolerance, uphold an open and developing artistic vision, and promote the harmonious coexistence of classic IP and film and television art [10].
From a practical perspective, the problem of commercial alienation has become a realistic challenge for the reconstruction of classic symbols [20]. Some creations take the pursuit of economic benefits as the only goal, pile up consumerist symbols, dilute cultural significance and aesthetic connotation, leading to the loss of the true face of traditional symbols [12]. In the practice of the development of the film and television industry, it is necessary to further improve the cultural guidance for the adaptation of classic IP. Film and television creators should adhere to the cultural bottom line, avoid the improper use of classic representations by capital forces, and realize the positive balance between commercial value and cultural value [13]. At the same time, it is necessary to strengthen industry self-discipline and aesthetic guidance, abandon the impetuous atmosphere of “valuing appearance above all else” and “relying on traffic”, return to the creative origin of “content is king and characters are fundamental”, and ensure that the film and television reconstruction of classic IP always develops in a healthy direction [21].
5. Conclusion
Aesthetic modernity has laid a theoretical foundation and pointed out the practical direction for the film and television reconstruction of classic Chinese symbols. Its core revolves around the threefold logic of “reflective criticism, innovative transcendence, and humanistic persistence”, promoting the reconstruction of the contemporary value of traditional symbols. The three landmark works, Creation of the Gods I: Kingdom of Storms, Chang’an 30,000 Li, and White Snake: Floating Life, have carried out systematic film and television reconstruction practices for three types of classic symbols: mythological systems, literary works, and folk traditions. They have practiced the aesthetic modernity theory from three dimensions: narrative logic, visual aesthetics, and value connotation, realizing the organic unity of “value core and visual innovation”.
These practices not only provide strong support for the inheritance and development of excellent traditional Chinese culture, accumulate valuable experience in cross-cultural communication, but also highlight the cultural activation value of film and television reconstruction for classic symbols, making traditional images radiate fresh vitality in contemporary film and television works. In the future, the film and television reconstruction of classic IP needs to continue to adhere to the core orientation of aesthetic modernity, balance the relationship between adherence and innovation, not only dig deep into the connotation of classic culture, but also conform to the modern aesthetic needs, continuously improve the cultural taste and communication power of works, and point out the practical direction for enhancing cultural soft power and promoting excellent traditional Chinese culture to the world.
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