Multimodal Translation of the White Snake Cinematic Universe in the Perspective of Post-translation

With Jakobson’s (1959) division of translation into intralingual, interlingual, and intersemiotic types, and referring to interlingual translation as “translation proper”, translation studies have traditionally been text-centric and heavily influenced by European models. However, in recent decades, scholars like Gentzler have argued that translation is inherently multidisciplinary, calling for expanding its scope and urging the field to reflect on translation beyond its conventional boundaries. This need has become particularly pressing with the acceleration of cultural dissemination, the emergence of novel media forms, and rapid technological advancements. Cases once considered peripheral, involving not only linguistic texts but also visual and auditory elements, now offer deeper insights into the nature of translation.
Proposed by Nergaard and Arduini (2011) and refined by Gentzler (2017), the posttranslation perspective challenges traditional approaches by focusing not only on translation as a completed act, but on the conditions preceding translation, the process itself, and its immediate and long-term impacts. Here, “post” signifies new ways of conceptualizing translation.
This paper argues that the post-translation perspective is particularly suitable for studying modern forms of translation, as it broadens the discipline’s scope while maintaining its core focus. Then, by examining the most culturally and economically influential form of multimodal translation — film, this study demonstrates how this perspective, supported by visual grammar, sound grammar, and multimodal critical discourse analysis (MCDA), transcends concerns over fidelity and accuracy. It employs interdisciplinary tools to examine how verbal and non-verbal semiotic systems interact, resulting in an overall effect surpassing the sum of their parts. Additionally, by addressing historical, cultural, political, and technological dimensions, it provides a comprehensive analysis of the conditions that give rise to a translation, as well as the reception and dissemination that follows.
The main research material is Light Chaser Animation Studios’ White Snake trilogy, which redefined Chinese fantasy films from “box-office poison” to “box-office miracles”. The Chinese cinematic universe featuring traditional myths and legends has attracted a large and loyal fanbase, generated substantial economic benefits, and received domestic and international awards. Beyond innovative storytelling skills and high-quality special effects, its success is driven by the cultural movement of “New Mythicism” in China and state endorsement. These films have inspired similar productions, influenced other art forms like video games and theatre, promoted global dissemination of Chinese culture, and through the evocation of the collective memory of the Chinese nation, strengthened personal and national identity.