With the development of short videos, DouYin (Chinese version) and TikTok (international version) have taken the initiative in disseminating world culture. In this article, based on case study analysis, it is mainly analyzed from the aspects of generalization and comparison to find out the difficulties and solutions for globalization and cross-cultural vision communication. The results show that DouYin and TikTok are a part of globalization diffusion and have the ability to create new cultural sources. TikTok have established a communication paradigm characterized by “Eastern elements+global narrative “through technological empowerment, local operations, and the user-generated content (UGC) model. However, it also encounters challenges such as data security disputes cultural discounts and policy barriers. The research posits that its success affirms the dual role of digital platforms in cultural globalization and holds theoretical and practical significance for Chines. internet companies going global have been proved to be creative destroyers in cultural globalization. The research reports show that DouYin and TikTok’ s expansion abroad validates the theory – digital platforms are both creators and destroyers for their contribution in cultural globalization. On one hand, they restructure the power architecture of cultural communication thanks to the empowerment of technology in which common users can play a more important role than traditional media; On the other hand, it reveals fundamental gap in essence between globalization and localization, as well as between commercial interests and social responsibilities. The implications of this study for Chinese Internet companies going global are as follows: it is necessary to build a three-dimensional model of “technical compliance-cultural translation-value resonance “, enhance global governance capabilities at the levels of algorithm transparency hierarchical content operation and participation in public issues and provide practical references for building an inclusive digital cultural ecosystem.
Zihang Tu (Tue,) studied this question.