Trip to China

This day we took a cultural detour by watching Harry Potter and the Philosopher’s Stone at Wanda Cinema, the largest cinema chain in China. Located in a Wanda Mall, one of the real estate products developed by Wanda Group, the cinema reflected the franchising of cinema in China. The commercial success of the “Harry Potter” franchise was evident in a wide array of themed merchandise from branded Coca-Cola cups, popcorn containers, to notebooks and bookmarks. Given the limited selection of English-language films available, we opted for this movie, which was being re-released for the second time—the first having been in 2020 to stimulate the market during the COVID-19 pandemic. Patric Frater, writing for Variety, calls the “Harry Potter” franchise a representation of “the most-beloved and innovative film series from the west to arrive in Chinese cinemas”. The popularity of this franchise will also be further analyzed in Yining’s thesis, based on the data collected from research participants.

Meanwhile, the prevalence of CCP propaganda (image 4) in the cinema forms an interesting contrast with the its prevailing commercialism, an embodiment of the ideological mixture in China after it adopted “socialism with Chinese characteristics” in the 1980s, which combines market economy with the communist rule.

We met with student assistants at Nanjing University—Zhou Gujun (first from the left), Lu Meiyi (second from the left), Yangpaipai (third from the left), Ye Tiantian (second from the right), and Ranyi (first from the right)—and brought them Haribo from Germany. At the meeting, we talked about the plan to carry out empirical research during their stay in Nanjing. The student assistants played a crucial role in organizing workshops, recruiting participants, and conducting interviews as part of the research. We would like to extend our sincere appreciation to their contribution to the project.

Kathleen delivered a public lecture titled “From Feuilleton to Forever Franchise: A History of Seriality and Adaptation in Popular Culture” at the School of Foreign Studies of Nanjing University. The talk explored how serial narratives ensure their continued existence not only through the generative principle of repetition and variation but also through the renewing forces of media change. Tracing the enduring appeal of characters like Sherlock Holmes, Tarzan, and Superman, Kathleen examined how media evolutions have continuously revitalized these narratives for new audiences.

A Q&A session followed the lecture, and was hosted by Chen Chang, Assistant Professor at the School of Foreign Studies, Nanjing University. Questions included audiences’ fatigue of Hollywood franchises in recent years and the difference between film re-adaptation and remakes, further connecting the lecture to the context of Chinese academia and Chinese film market.

The Hollywood Memories research workshop was conducted in two rounds at Nanjing University’s Xianlin Campus, with 4 participants in each round. Recruiting participants and collecting empirical data is the major goal of this trip, so the workshop has been planned for a long time and we were very excited that it was finally materialized. We started the workshop by introducing the “Hollywood Memories” research project to the participants. Then, participants completed a questionnaire before engaging in group interviews.

The participants for the workshop are university students born after 2000. Despite their common age group and diverse movie-viewing repertoire, the participants expressed varied opinions on Hollywood movies. While some of them are fervent Hollywood fans, others have a more critical attitude toward Hollywood movies. In general, however, these young participants displayed strong interest in and influence from Hollywood movies and American popular culture.

Taking a break from academic activities, we explored Nanjing’s cultural heritage. Our itinerary included Jiming Temple, one of Nanjing’s oldest and most revered Buddhist temples, originally built in 557 during the Liang Dynasty. Perched on a hill near Xuanwu Lake, the temple offers breathtaking views of the cityscape and the lake. Known for its vibrant prayer halls, and the continuous chanting of monks, Jiming Temple remains an important spiritual site and a window into Nanjing’s deep-rooted Buddhist traditions.

We also visited Bookstore Avant-Garde, an iconic independent bookstore housed in a repurposed underground parking lot. A symbol of intellectual pursuit and artistic expression, the bookstore is often the venue for artistic and literary events such as book launches, movie screenings, and interviews. The bookstore has also become a famous touristic site, especially for young people.

The workshop Film and Society featured Kathleen’s keynote speech, “Film and Memory: Negotiating Past and Present”, discussing how Hollywood remakes shape cultural memory. A roundtable discussion followed, featuring scholars from Nanjing University: Prof. Chengzhou He (Dean of School of Arts, Nanjing University), Prof. Shanshan Ding (School of Journalism and Communication, Nanjing University), Prof. Liu Yang (School of Liberal Arts, Nanjing University), Prof. Ke Shi(Global Institute of Humanities, Nanjing University), and Dr. Xing Zhao (School of Arts, Nanjing Unviersity). Covering a wide range of topics, from political message in movies and remakes to Chinese domestic remakes and film memories, the discussion explored a number of the latest research topics in film, literature, and cultural studies.

Kathleen delivered a class lecture titled “How Film Remakes Work”, hosted by Prof. Zhang Ying at the School of Foreign Studies, Nanjing University. The session analyzed the mechanics of remakes, examining examples such as King Kong, Invasion of the Body Snatchers, and Psycho.

Later, we were glad to have dinner with Prof. Zhang Ying, who had known Kathleen since 2018 when Kathleen visited Nanjing for the first time.

On this day we visited the Ming Xiaoling Mausoleum, the grand resting place of Emperor Zhu Yuanzhang, the founding emperor of the Ming Dynasty (1368-1644). Nestled at the foot of Purple Mountain, this UNESCO World Heritage Site is renowned for its majestic Sacred Way, lined with imposing stone statues of guardian animals and officials. The mausoleum complex, blending traditional Chinese and early Ming architectural styles, reflects the power and influence of the dynasty, with its solemn tomb chamber hidden within lush, ancient forests.

We also paid our respects at the Sun Yat-sen Mausoleum, dedicated to Dr. Sun Yat-sen, the father of modern China and the leader of the 1911 Revolution that ended imperial rule. Situated atop Purple Mountain, the mausoleum is a grand architecture with white marble entrance, blue-tiled dome, and vast open square offering a tranquil yet awe-inspiring atmosphere.

The next day, we explored the Presidential Palace in Nanjing, a historically significant site that has played a pivotal role in China’s political evolution. Originally built during the Ming Dynasty as a government office, it later served as the headquarters of the Taiping Heavenly Kingdom in the mid-19th century. In the 20th century, it became the seat of the Nationalist Government under Chiang Kai-shek. Today, the sprawling complex, with its elegant Western-style halls, traditional Chinese gardens, and preserved government offices, serves as a museum showcasing China’s modern history.

Invited by Chengzhou, we traveled to Suzhou on 25 October for a conference at the Global Humanities Institute based in Nanjing University, Suzhou Campus.

Suzhou is a city renowned for its classical gardens, silk industry, and canals, approximately 100 km from Nanjing. On 25 October, we went to the Lion Grove Garden, (Shizi Lin), one of Suzhou’s most famous classical gardens, renowned for its intricate rock formations and labyrinthine pathways. Built in the Yuan Dynasty (1342), the garden is named after the lion-shaped rocks scattered throughout its landscape. In the garden, we were impressed by the maze-like stone arrangements and elegant pavilions, all of which embody the aesthetics and philosophy of classic Chinese garden design, where nature and human intelligence harmoniously intertwine.

After the tour in the garden in the late afternoon, we took a boat ride on Pingjiang River, a historic waterway that flows through Suzhou. As the wooden boat glided smoothly over the calm waters of the narrow canals, the boatwoman performed traditional Pingtan. This centuries-old folk art which combines poetic narratives and singing was delivered in the soft, lilting Suzhou dialect, embodying Suzhou’s water town heritage.

On October 26, Kathleen presented at the conference “Rereading Classics and the Frontiers of Literary and Artistic Theory” at Nanjing University’s Suzhou Campus. Her talk, “Rereading ‘Classics’ in the Cinema: The Film Remake as Archive”, focusing on A Star Is Born, King Kong, and Invasion of the Body Snatchers, shows how every new remake of these movies continues to chronicle the history of cinema’s technological evolution, to shape audience memory of and knowledge about film and film history, and to operate as cultural snapshots oscillating between the timelessness of a good story and the timeliness of visual aesthetics and politics of representation.

Following the conference, we went with Prof. Theo O’Haen from Katholieke Universiteit Leuven, who also gave a speech at the event, on a tour of the Suzhou Museum and the Grand Temple of Gratitude. Situated in the heart of Suzhou, the Suzhou Museum is known for its elegant courtyards, whitewashed walls, and dark gray-tiled roofs, reminiscent of the city’s classical gardens. Inside, it houses a vast collection of cultural treasures, including ancient ceramics, paintings, calligraphy, and artifacts that reflect the rich history of Suzhou and Jiangnan culture. The Grand Temple of Gratitude (Baoen Temple, 报恩寺) is a historic Buddhist temple known for its rich cultural and architectural significance. Originally built during the Southern Song Dynasty (1127–1279), it has undergone multiple renovations. Today, it is part of the Suzhou Museum complex, preserving its heritage while integrating with modern architectural design.

Arriving in Beijing on October 28, we met with Dr. Lyu Yafei, a lecturer at the Capital University of Economics and Business. Yafei is also an associate of the “Hollywood Memories” project and was invited to give a speech in the annual “Global Hollywood” workshop in 2024. Over dinner, we talked with Yafei about further academic collaborations concerning the Hollywood Memories project and other potential future projects, while Yafei introduced us to traditional Beijing hotpot.

On October 29, we explored some of the key historical sites in Beijing. Our journey began at Tiananmen Square, the vast and iconic public square at the heart of Beijing, known as the political and cultural epicenter of China. Surrounded by monumental structures, such as the Monument to the People’s Heroes, the Great Hall of the People, and the Mausoleum of Mao Zedong. The square has witnessed numerous historic events, from the founding of the People’s Republic of China in 1949 to contemporary national celebrations.

Next, we visited the Imperial Ancestral Temple (Taimiao), a sacred site once used by emperors of the Ming and Qing Dynasties to perform ancestral rites. Located near the Forbidden City, the temple complex features grand halls, serene courtyards, and intricate architectural details reflecting imperial grandeur, and reinforcing the deep Confucian traditions of filial piety and reverence for the past.

Our final stop was the National Museum of China, a museum dedicated to preserving and showcasing China’s vast historical and cultural heritage. Spanning thousands of years, the museum’s exhibits range from ancient artifacts like the Simuwu Ding, the world’s heaviest bronze vessel from the Shang Dynasty, to cultural treasures such as the jade burial suits of the Han Dynasty and exquisite Tang Dynasty pottery.

On this day, we met with Yafei again at her department, School of Foreign Studies, Capital University of Economics and Business. There, Kathleen gave a speech titled “Making Sense of Repetition: Industrial, Cultural, and Academic Perspectives on the Film Remake”. Catering to the specialty of the university, Kathleen’s speech explores the categories and evolutions of film remakes, but more focused on the industrial aspect.

Following the lecture, Yining conducted a group interview with four faculty members of the university, who shared their movie watching and cinemagoing memories. A lecturer in the English department said that she used to watch Hollywood movies to improve her English, which resonated with another participant who watches Hollywood movies with her child to improve her child’s English. Another interesting phenomenon is that the mentioning of Chinese movies inspired more enthusiastic discussions than questions concerning Hollywood. The discussion brough up several frequently mentioned old movie titles, such as Landmine Warfare (Deleizhan) (1962), Tunnel Warfare (Didaozhan) (1965), Fighting North and South (Nanzhengbeizhan) (1952). These beloved titles manifest that while Hollywood movies are immensely popular in China, Chinese films and the culture and history they represent are still lodged in the memory of the generations of audience born before 1990.

The final days of Kathleen’s stay were quite hectic: after returning to Nanjing on 31st October, we went on another journey to Shanghai the very next day.

Despite the stormy weather brought by the passing typhoon, we managed to meet with Marcela Godoy, Associate Arts Professor of Interactive Media Arts at NYU Shanghai, to discuss the ongoing research on both sides. We also discussed measures of recruiting participants in Shanghai for the “Hollywood Memories” research. Marcela kindly offered us help to recruit a student assistant at NYU to conduct interviews with Shanghainese audiences.

The next day, it was a relief to us that Kathleen’s flight was not disturbed by the typhoon, and that she traveled safely back to Hannover. We are very glad that the entire trip went smoothly, with all the speeches delivered and all the workshops and meetings carried out.

In November, Yining stayed in Nanjing and conducted most of her research in Nanjing University. She focused on recruiting more participants, while leveraging access to the libraries in Nanjing University to gather historical materials.

On 6^th December, Yining visited NYU Shanghai and met with Yuke, the student assistant there, who made significant contributions to the project by recruiting of Shanghainese participants.

The next day, Yining took part in Prof. Marcela Godoy’s “Secret Society of Kombucha” workshop at NYU Shanghai and had the honor to with Marcela again.

Later that evening, Yining attended a film screening at the Grand Theatre, one of the oldest and most iconic cinemas in China. Originally built in 1933, the theater is a masterpiece of Art Deco architecture, reflecting the glamour of old Shanghai. Inside, the theater retains its vintage charm, with its elegantly curved balconies, plush red seats, and a grand auditorium that evokes a sense of nostalgia. Watching a film in this historical theatre blends cinematic storytelling with Shanghai’s rich cinematic heritage.

Yining visited the former site (image 1) of the Nanjing Film Machinery Factory, established in 1952 as the first film machinery manufacturer of the People’s Republic of China. The factory has relocated from the old location to a modern industrial complex that houses companies from various industries (image 2).

Inside the old factory building, Yining had the honor of interviewing former employees who were born in the 1960s. They enthusiastically shared their memories of the film industry and their experiences working at the factory during the early socialist years. They mentioned that their factories had an auditorium, which offered movie screening events for employees as part of their welfare program in the 1970s and 80s. Their recollections offered valuable data for later analysis.

Yining went to Beijing Municipal Archives to research the history of cinema in Beijing. Although most materials were classified, Yining managed to retrieve a few letters that hint at the accessibility of Hollywood movies during the early 1980s, when China was transitioning from the Cultural Revolution to a market economy. Applications from educational institutions for internal reference films (Neicanpian) – foreign films shown exclusively to the ruling class and film professionals for critique and research – suggest that Hollywood movies remained absent from the general public. Additionally, Yining discovered a few articles from 1950 criticizing Hollywood’s cultural imperialism and their dominance over the Chinese film market, as well as some reports from mobile film exhibitionists in the 1950s documenting their efforts of showing motion pictures to rural audiences

Yining met with Prof. Wendy Su at Peking University, one of the oldest and most prestigious universities in China and Wendy’s Alma Mater. Wendy is Associate Professor or the Department of Media and Cultural Studies at the University of California Riverside. She has published extensively on the topic of the relationship between China and Hollywood, among which the monograph, China’s Encounter with Global Hollywood: Cultural Policy and the Film Industry. Wendy has also played a crucial role in our program, not only through her seminal works on China and Hollywood, but also through her invaluable help in recruiting participants. Thanks to Wendy, Yining also had the chance to interview Lixin and Fang, Wendy’s friends from Peking University. Later, Yafei joined the group for dinner, and shared with Wendy and Yining her memories inspired by the questionnaire and interview.

Yining visited Daguanlou Cinema in Beijing. As one of the earliest cinemas in China and regarded as the “Birthplace of Chinese Cinema”, Daguanlou Cinema is where the first Chinese film was screened. Located in one of the busiest tourist and commercial areas in Beijing, the cinema is still in operation. Exhibits on the walls of the cinema hall also provided interesting information about the movies shown and audience behaviors and reactions from a century ago.

Yining visited China National Film Museum, the world’s largest national film museum. Opened in 2005 to commemorate the 100th anniversary of Chinese cinema, the museum features 20 exhibition halls that chronicle the entire history of Chinese film. The exhibits cover key areas such as the inception of Chinese cinema, revolutionary films, animation, dubbed films, and technological advancements, including artistic design and special effects. The museum combines multimedia displays, interactive curation, and exhibition of rare artifacts to provide an engaging and immersive experience of Chinese cinema.

By Yining’s return to Hannover on 7 January, she had collected a total of 100 questionnaires and conducted 13 group interviews with 43 participants. The data collected so far is sufficient for the project in quantity and quality — the participants are evenly distributed in different age groups, which facilitates the later analysis based on the theory of “movie generation”. The successful collection of data would have been impossible without the help of our associates, particularly Prof. Chengzhou He, Prof. Wendy Su, Prof. Chang Chen, and Dr. Yafei Lyu, and our participants, who generously shared their memory with us.

The trip is also a homecoming for Yining, both literally and symbolically, as it allowed her to reflect on a China-Hollywood relationship nested in the consciousness of the Chinese audience.