The paper argues that self-hybridisation by Chinese media producers is one of their strategies in wooing international audiences in the global media. The paper places the notion of selfhybridisation in the context of cross-cultural, inter-cultural, and trans-cultural relations, as discussed in the literature. In doing so, the author draws a sharper-then-usual distinction in negotiating cross-cultural and inter-cultural competence. Contrary to Kraidy's influential arguments in favour of trans-culturalism as a way of overcoming both cultural imperialism and cultural pluralism, the paper places hybridisation between cultural imperialism and cultural essentialism as a way of avoiding both extremes and at the same time making cultural difference accessible. This concept is then illustrated by two case studies. T here are clear difficulties faced by producers as much as by consumers in cross-cultural exchanges between China and the West in the global media (Chu, 2013). In spite of an undeniable cultural divide, these difficulties need to be re-examined in light of the fact that China now has a strong presence in the global media market. How can we explain China's rapidly increasing cultural media offerings on a global scale? It is the aim of this paper to suggest that a partial answer to this question can be seen by looking at China's deliberate cultural policy, particularly in relation to its attempts at wooing a global media audience by adapting traditional and contemporary themes for consumption abroad, a phenomenon this paper attempts to capture by the notion of self-hybridisation. A major goal of such a strategy is to undercut Western media imperialism, and especially Anglophone homogenisation, as part of the broader policy of China's 'going abroad' campaign. In order to make the case of Chinese self-hybridisation persuasive, I will place it in the context of cross-cultural, inter-cultural and trans-cultural relations, as well as in the context of scholarly literature on hybridity. In this respect, I believe that a number of issues pertaining to cultural exchange in the domain of the global media deserve our attention: a dearth of cross-cultural analyses of media consumption in spite of a massive literature on mass media; the need to avoid arguments in favour of 'cultural essentialism' and 'media imperialism'; and a clarification of the distinction between 'cross-cultural' and 'inter-cultural competence' . In Downloaded by [University of Nebraska, Lincoln] at 20:35 11 June 2016 345 self-hyBridisaTion: china as a GloBal media player light of these markers, this paper looks at sources of complexity characteristic of cross-cultural production and consumption in the global media. In doing so, one cannot but pay attention to technological, economic, political and cultural aspects of media programming. An exemplary context for such an analysis is the reception of Chinese cultural products in the West. What is of special interest here is the fact that China is not only flooding global markets with programmes celebratin...