The Survival Crisis and Reconstruction Mechanism of Chinese Culture and Arts in the Age of Platform Capitalism

This ‌thesis ‌grapples ‌with the precarious survival of Chinese cultural arts amid platform capitalism: and the ways those arts could get rebuilt. At its heart lies a stark tension. China's civilizational thread runs unbroken for thousands of years, but cultural handover now wobbles badly. Old art forms pack in thick histories: memories stacked with ethical tales, social bonds tied to ceremonies, beauty skills handed down family lines. Yet platform setups chase other prizes altogether. Quickness. Exposure. Raw feeling. Code-driven spread.Rather than dismiss digital platforms as mere dangers to cultural richness, the work poses another query. In what forms could age-old cultural stuff get reshaped to stay vital, involving, enduring inside the grab-for-attention game?Here, seven standout cultural examples come under scrutiny side by side: The Untamed, Escape from the British Museum, Butterflies in the Inkstone; ENEMY, Black Myth: Wukong, Love and Deep Space, plus the homegrown idol scene orbiting Yu Liu. From this review, two main routes for spreading culture online stand out. One route, lifting dimensions, guards cultural thickness via universe-crafting and hazy symbols, via audience work in unpacking meanings; via enveloping setups that defy quick wraps. The other, shrinking dimensions, eases entry by boiling cultural sense into instant-feel bits: easy to pass around, fitted for platforms.Through these instances, the thesis builds up a notion termed the transmissibility unit, that tiniest standalone chunk of stuff able to zip around algorithms on its own. Such an idea sheds light on how varied media setups forge varied ties; spread's width tugs against viewer involvement, and each dances with cultural deepness differently by type.Findings from the breakdown muddle any neat divides. Stuff on the shrinkage track, say Escape from the British Museum, blasts cultural know-how far and fast, with feelings turned into objects and ethical pushes squeezed into brief emotional shards. Items on the lifting track, like The Untamed or Black Myth: Wukong, spark involvement that digs deeper, though slower: decoding traditions, fan efforts, play dives, universe assembly that pays off for steady focus. Cases with back-and-forth or fan roots, Love and Deep Space and Yu Liu above all, reveal how cultural looks can weave into everyday mood habits, communities gather around them in shared doing.No need to pit size against deepness as total foes. Instead, the thesis pushes for chained steps: notice turned to reading, reading to joining in, joining in to lasting cultural recall. Steady cultural passing hinges on those shifts.In the end, what this inquiry brings is a framework for grasping change. Chinese cultural arts might endure under platform capitalism, but enduring means handling viral spread as a doorway, not the finish. Makers, groups, even platforms could craft stacked content webs; bolster group-led unpacking, craft gauges past just counts of eyes and thumbs-up. Then those platform spaces turn into instruments, not solely for market speed but for real cultural remaking.