The myth of ACGN nationalism in China : animation, audiences, and nationalism

Abstract: This thesis focuses on the prevalence of nationalism in the reception of Chinese animated films. One example of this is the widely-circulated online expression of ‘the rise of Chinese animation’ by engaged audiences and fans. The term ‘ACGN nationalism’ (erciyuan minzu zhuyi) has been coined to describe this phenomenon in previous research. This study aims to contribute to a further exploration of its forms and rationales, and most importantly, the hidden power mechanisms of this so-called ‘ACGN nationalism’ (ACGN: the abbreviation of animation, comics, games and novels). Guided by a qualitative methodology, this study applies ‘triangulation’ in the examination of the case Ne Zha (2019). In order to explore the forms of ACGN nationalism, it analyses audiences’ comments and performances towards this animated film, in the digital environment; and beyond that, it also highlights audiences’ consumption, performances and daily talk on the ground, in reproducing a sense of nation in their engagement with this animated film. In addition, this study investigates the nationalistic ideology embedded in the production and promotion of Ne Zha, which is considered nationalism from above. This contextual knowledge assists the main analysis of the audience study in the investigation of the rationales of ACGN nationalism. Further, it probes into the youth group who constitute the core audience of this animated film and explores their power in the construction of nationalism. As is shown in the findings, this thesis argues that it is both the online and offline form of ACGN nationalism which, collaborating together, reproduce a salient nationhood in the reception of Ne Zha. There are various rationales in the contribution of ACGN nationalism, including the outstanding quality of the animation production, the spirit of craftsmanship of the production team, the nationalistic ideology embedded in Ne Zha, and crucially, the national identity of domestic audiences. It further uncovers that there are three sources of power hidden behind ACGN nationalism: power from those born in the 80s (the production), the 90s (the audiences), and from the state. This thesis contributes to the newborn study of ACGN nationalism, which is an evolving form of nationalism in digital China, in terms of its forms, rationales and the hidden power mechanisms.