In 2008, Beijing was immersed in an atmosphere of excitement and optimism ahead of the upcoming Summer Olympics, a global event that marked a historic moment for China. The Olympics was not only an opportunity to celebrate sportsmanship, but also a platform to promote Chinese culture, enhancing its global reputation. In November of that year, as the world prepared for the Olympics, Chinese author Liu Cixin published the science fiction novel The Three-Body Problem. This work, along with its subsequent trilogy, quickly gained international acclaim. The series narrated an alien encounter that is closely knitted to the three-body dilemma in math and orbital mechanics, combining artistry with science. The novel became a huge success, which marked the beginning of a cultural trend that matured in the following years: the rise of Chinese artistic and cultural influence in the Western world.
Recently, The Three-Body Problem has been adapted into two TV series, one by the Chinese Tencent in January 2023 and one by an American production in March 2024, distributed on the Netflix platform, along with an unreleased film. Given frequent reinterpretations, it will be interesting to compare how the author is involved in each adaptation. In Tencent’s case, for example, Liu Cixin directly contributed to the series’ production, bringing his creative vision alive as a consultant. This decision led to two very different adaptations, with both series benefiting from the participation of the author, although the Tencent one had a greater fidelity to the plot and closer attention to detail. However, both series were successful and have been particularly praised for their mix of pop culture elements, from space and aliens to high-quality special effects.
These adaptations have brought Liu Cixin's work to an even wider audience, sparking growing interest in Chinese culture and its storytelling. While The Three-Body Problem is not the first, or only, example of a Chinese cultural project being extremely influential in the West, it has by far achieved the greatest audience reach thanks to Netflix’s streaming service. Netflix’s involvement is crucial, as it empowers The Three-Body Problem to be the first Chinese novel adapted as a Western TV series that has a broad audience and cultural outreach. In recent years, we have also witnessed popularity growth in other artistic fields transcending borders, such as pop music with singers like Leehom Wang, Vava, Huang Zitao and Bi Wenjun, as well as emerging visual artists and theatrical productions that have captured international attention. TV series and movies like the recent "The Pig, the Snake, and the Pigeon" as well as "The Rise of the Phoenix" from 2018 (both also distributed by Netflix although with a different impact), have contributed to spreading Chinese artistic influence and culture. It is also now common to have Chinese singers touring in Europe and America. Chinese music, particularly Chinese hip hop, is gaining more and more international followers, thanks also to online streaming platforms, as well as the fanbase of Chinese students and expats in various states of the Union and the UK.
These are just some examples of how Chinese culture is becoming increasingly relevant in the global cultural landscape. With the surge of film, music, and artistic production coming from China, it is evident that the Western world is opening its doors to a new wave of Asian cultural influences after experiencing Japanese ones between the 1980s and 2000s, and more recently Korean ones over the last twenty years since the early 2000s.
This trend has not gone unnoticed. Many cultural observers have noted the significance of "The Three-Body Problem,” highlighting the potential for a new era of cultural exchange and artistic collaboration between East and West, albeit with inevitable controversies. Netflix's recent success has sparked debates in China over its portrayal of the country's tumultuous history, juxtaposed with the positive reception in the West. For example, the opening scene, set during China's Cultural Revolution, depicts violent "struggle sessions” where a protagonist is brutally killed for defending Einstein's theory of relativity. Scenes like these, although present in the novel, have stirred anger among Chinese nationalists, who believe that the book has been distorted to portray China negatively, in addition to being set in London and featuring an international cast.
The TV series, however, is not the only recent example of a Chinese artistic work that has gained international fame and appreciation among Western audiences. In Chinese cinema, in addition to Zhang Yimou's films, there are directors like Wong Kar-wai and Ang Lee with works such as "In the Mood for Love (2000)", “Red Sorghum (1987)”, and the enchanted "Comrades: Almost a Love Story (1996)". These films have popularised Chinese cinematography and promoted an understanding of Chinese culture in the Western world for quite some time. From the perspective of Contemporary Chinese Art, artists like Ai Weiwei and Cai Guo-Qiang have gained global recognition for their works in addressing social, political, and cultural themes, with exhibitions in museums worldwide for several decades. Their artistry exposed Western audiences to the richness and complexity of contemporary Chinese art. Not to mention other cultural elements such as contemporary Chinese cuisine, with chefs like Jing Li and Yu Bo reinterpreting traditional dishes in a modern and creative way, as well as flourishing visual art, graphic design, and architectural work.
These sectors are where China is second to none, with artists, designers, and architects developing a new and original ‘Chinese language in Design’, while advancing other related disciplines. Designers like Neri&Hu and Zhang Zhoujie are attracting international attention for their innovative creations that blend tradition and modernity, reflecting the richness and diversity of Chinese culture. This latter design factor, combined with those listed before, also contributes to a revival of the perception of an Asian giant, no longer just a copycat and the world's factory, but a forge of innovative ideas and projects, not least artistic ones.
In conclusion, the rise of Chinese cultural influence in the West is a phenomenon of significant importance and worthy of further investigation. The adaptation of the book "The Three-Body Problem" into a TV series, distributed on a major American streaming platform, marks a significant turning point in this trend as the adaptation of the novel into a TV series, distributed on a major American streaming platform, signifies a pivotal moment in elevating Chinese cultural and artistic influence in the West. This particular exposure to Chinese storytelling introduces broader audiences they may not have encountered otherwise, fostering a deeper appreciation for Chinese culture. By reaching a mainstream Western audience, the adaptation not only promotes cultural exchange but also encourages collaborations between Chinese and Western creatives, leading to more opportunities for cross-cultural storytelling and artistic expression. Beyond entertainment, its success sparks discussions and interest in Chinese literature, science fiction, and cultural heritage, prompting audiences to explore more Chinese works and engage with Chinese culture in various forms.
In recent years, China has made significant strides in global cultural influence, presenting new perspectives and creative expressions. However, the extent of its cultural hegemony is still debated. While "The Three-Body Problem" adaptation signifies progress in sharing Chinese art, it's important to acknowledge the complexities of cross-cultural exchanges. This adaptation, while noteworthy, represents just one aspect of China's diverse cultural landscape. Therefore, while China's influence grows, the notion of it as a dominant force requires careful consideration within broader cultural discourse.
In the near future, the rising influence of Chinese culture is expected to gain widespread recognition and bring about positive outcomes across various domains, including language, education, and international relations. However, it's important to acknowledge differing perspectives on this issue, with some embracing Chinese cultural maturity while others remain skeptical. For instance, Chinese cultural works such as award-winning films, bestselling novels, and acclaimed art exhibitions have garnered international acclaim, showcasing the depth and richness of Chinese artistic expression. Additionally, instances where Chinese artists have been invited to prestigious international events or collaborated with renowned Western artists highlight the increasing recognition of Chinese creativity on the global stage.
On the educational front, China has made significant strides in STEM research, with notable achievements in fields such as artificial intelligence, renewable energy, and biotechnology or the rising ranking of prestigious academic institutions like Tsinghua University and Peking University.
However, the closure of several Confucius Institutes in the United States and its allied countries reflects growing concerns about academic freedom and potential Chinese influence in educational institutions. Critics argue that these institutes serve as vehicles for Chinese propaganda and espionage, raising questions about their impact on academic autonomy and freedom of expression. Despite these challenges, initiatives such as educational exchange programs and cultural collaborations continue to promote mutual understanding and cooperation between China and the West. By addressing concerns and fostering dialogue, we can navigate the complexities of Chinese cultural and educational influence while building a more inclusive and interconnected world that celebrates diversity and fosters collaboration.
ABOUT THE AUTHOR
Leonardo Santetti, a versatile professional from Florence, Melbourne based, boasts a design background with both bachelor's and master's degrees, specializing in interior and graphic design, particularly branding. In 2022, he pivoted to cinema, studying acting and directing. By 2024, he completed his first short film, now dedicating about directing, blending his design expertise with a newfound passion for storytelling in the cinematic arts.
This article was edited by Kalos Lau and Sardor Allayarov.
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