Materializing the digital landscape: the cinema–ecology complex and Chinese fantasy media

Abstract

Contemporary cinema and media studies are marked by a materialist turn that highlights material elements, such as objects, non-human agencies, the environment and places on and off screen, as well as the materiality of media productions and consumption. This article expands on the important scholarship of “materialist” media studies as well as existing ecocinema scholarship by stressing the materiality of digital landscapes in contemporary Chinese fantasy (or qihuan and xuanhuan) film and television works that have gained significant popularity in China and Hong Kong. Specifically, this article examines the animist landscape in film and television adaptions of Eternal Love, a fantasy romance television serial that loosely draws on Daoist mythology. Focusing on the material aspects of digital landscapes of Chinese fantasy cinema, the article develops the notion of the “cinema–ecology complex” to address the materiality of digital landscapes, the cinematic footprint of digitally enhanced landscapes through location shooting and the consumption of landscapes as scenic spots, including daka practices, in film studio cities and related film-induced tourism. Ultimately, this article calls for a textual–infrastructural approach in cinema and media studies, which tends to reorient to the infrastructural aspects of media production, distribution and consumption.

The Portrayal and Representation of Mythological Stories in Chinese Cinema in the Digital Age

“…The analytical framework is enriched by Jia Tan's (2022) notion of the "cinema-ecology complex," which examines the tangibility of digital environments in these films. This approach affords a layered interpretation of the manner in which digital technologies mold the representation of mythological components [10].…”