This research focuses on the strategies and practices of the Palace Museum in relation to its use of transmedia narratives (2013-2021). Specifically, in 2014, the Palace Museum published a post on its WeChat account titled "Yongzheng: I feel cute about myself" (an emperor in the Qing dynasty). The post altered a portrait of the emperor in an amusing manner. This marked the first of many instances in which the Palace Museum tried to imbue historical characters with new personalities and storylines through transmedia channels to render them more attractive and acceptable to the public and young audiences in particular. Following this post, the Palace Museum has launched 12 main channels and more than 38 projects to create and enhance its transmedia media mothership. Its outcomes and achievements in this regard are readily apparent. The Palace Museum and its transmedia narrative practices have forged a powerful connection between the past and the present, individuals and grand history, traditional aesthetics and modern design, reality and fiction, and offline and online. This article will take the Palace Museum's case as an example to demonstrate how it created a sufficiently encompassing mothership. To do so, it will delineate the museum's transmedia ecosystem, analyze how it strategically customized different storylines according to various channels and presented those aspects in a manner that audiences could react to and interact with, and also detail its achievements. Finally, recommendations will be forward recommendations for the Palace Museum's future development.
Xiaolong Li, Nanyang Technological University, Singapore
Stream: Chinese Studies
This paper is part of the ACAS2022 Conference Proceedings (View)
View / Download the full paper in a new tab/window
Comments & FeedbackPlace a comment using your LinkedIn profile
Share this Research