This paper explores how poetry—a highly condensed lyrical genre—achieves cross-artistic transformation through cinematic media, with particular focus on the transmedial transcoding mechanisms of imagery transmission, rhythm control, and emotional expression. Focusing on Bi Gan’s Kaili Blues as a primary case study—wherein the director strategically incorporates Bolaño’s poetry—the research delineates three fundamental processes by which cinematic language reconstitutes poetic essence: firstly, the materialization of poetic symbolism through visual metaphors (exemplified by aqueous imagery); secondly, the simulation of poetic cadence via montage temporality; and thirdly, the actualization of polyphonic lyricism through techniques of sound-image disjunction.

Successful poetic cinematization does not merely illustrate text but reactivates poetry’s latent spatiality through medium-specific devices (e.g., long takes, chromatic composition), creating an immersive “wanderable-habitable” aesthetic experience. While digital technologies (e.g., algorithm-generated imagery) have opened new experimental frontiers for poetic films, vigilance is required against technological spectacle eroding poetic negative capability. This study aims to establish practical paradigms for intermedial poetics research while constructing theoretical bridges for creative dialogue between literature and cinema.

This study explores the integration of fictional characters from classic literature into “daily-use AI-driven roleplaying models” (hereafter “Language Cosplay models”) to bridge literary narrative and artificial intelligence technologies. By developing AI-powered virtual agents, this study proposes a corpus-based character modelling framework that systematically transfers personality traits, behavioural patterns, and narrative trajectories of fictional figures from classic literature into interactive AI entities. This enables literary figures to “come alive” and enter real-world conversational scenarios to elevate readers’ interactive literary experiences. A case study based on Harry Potter from children’s literature illustrates the implementation. Using deep neural networks trained on domain-specific corpora (e.g., children literature) and psychological profiling algorithms, this study’s method attempts to construct cognitively credible agents that preserve narrative authenticity while enabling adaptive interaction. Such models not only demonstrate foundational literary comprehension capabilities but also engage users in multi-turn emotional interactions, delivering an immersive text-based reimagining experience.

A preliminary experiment demonstrates this framework’s potential to elicit multi-layered immersive experiences in user interaction. These include: (1) re-experiencing the source text through context-aware dialogue aligned with character development arcs; (2) enhanced empathic cognition via emotionally responsive outputs that reflect the protagonist’s psychological evolution; and (3) user-driven transmedia narrative expansion beyond the boundaries of the original text. This approach contributes to the growing field of digital humanities by reimagining literary engagement through intelligent character simulation.

Amid the era of "literature encountering images," Nietzsche's deconstructionist-inspired visual theories demand re-evaluation, offering fresh perspectives for both literature and photography. Just as literary works are seen as reading events, photography should be deconstructed as a multi-phase activity—a methodological approach to organically integrate Nietzschean thought. This process comprises three phases: Pre-shoot calibration (Focusing-Gazing)，Image-formation (Framing-Recording)，Post-shoot product (Photograph-Document). These phases align with Nietzsche's biography, constructing an experimental scenario wherein Nietzsche transforms: from photographer to "aesthetic phenomenon"，into "lens of life" generating "negative-world"，ultimately solidified into a photograph and then disembedded as an "ether dust particle" . This framework expresses Nietzsche's critique of metaphysical traditions via photographic metaphors, while offering Nietzschean interpretations of photographic imaging principles and AI diffusion models.

À l'ère de la « rencontre entre littérature et images », les théories visuelles de Nietzsche, inspirées par la déconstruction, exigent une réévaluation et offrent des perspectives novatrices pour la littérature comme pour la photographie. Tout comme les œuvres littéraires sont envisagées comme des événements de lecture, la photographie doit être déconstruite en une activité multiphase — une approche méthodologique pour intégrer organiquement la pensée nietzschéenne. Ce processus comprend trois phases : calibration pré-photographique (Focusing-Gazing), formation de l'image (Framing-Recording), et produit post-photographique (Photograph-Document). Ces phases s'articulent avec la biographie de Nietzsche, construisant un scénario expérimental où Nietzsche se métamorphose d'un photographe en un « phénomène esthétique », puis en une « lentille vivante » générant un « monde-négatif », pour finalement se solidifier en photographie et se désencastrer en « particule d'éther ». Ce cadre théorique exprime la critique nietzschéenne des traditions métaphysiques à travers des métaphores photographiques, tout en proposant des interprétations nietzschéennes des principes d'imagerie photographique et des modèles de diffusion AI.

The development of printing technology and the rise of the newspaper industry provided important vehicles for constructing a national imagination. Newspapers created extraordinary mass rituals that shaped the imagination of millions of people simultaneously, forming a shared "Imagined Communities". Tcheng Ki-tong, a diplomat from the late Qing dynasty who was stationed in France, was active in European intellectual circles. He frequently interacted with figures from the media and cultural spheres. He delivered speeches and published articles in newspapers. This made him a "cultural celebrity" in French society. During the golden age of journalism in France, this "Géneral Tcheng Ki-tong" actively utilized forms such as reportage and roman-feuilleton to rewrite the image of China and eliminate European prejudices and misunderstandings about China, aiming to promote mutual understanding between East and West. What were the characteristics of his literary practices in newspapers? How did they differ from traditional Chinese literary practices? Did he achieve his goal of changing the image of China?

Compared to other Chinese envoys of the same period, Chen Jitong's literary works reflected the characteristics of French reportage, blending political and literary elements. He emphasized introducing traditional Chinese culture and demonstrated the superiority of China's social system and ancient civilization. His works also carried national symbols and an underlying tone of civilization. He employed ethnographic and empirical methods to introduce customs that would civilize China's image.

Additionally, he recognized the influence of newspapers on public opinion. Through the literary form of serialized novels, which were easier for readers to understand and accept, he presented an alternative image of China. In creating and publishing Le Roman de l'Homme Jaune, it is evident that he shaped China's image not only through political justice, but also by introducing Chinese literature and depicting Chinese scholars and virtuous women to showcase various aspects of his homeland.

In the process, Chen Jitong also constructed multiple cultural identities: a diplomat who responded to current events with sensitivity; a celebrity with anecdotes; and a Chinese literati who was familiar with the French literary tradition and was able to use it positively. Taking Chen Jitong as a case study helps to understand how traditional Chinese intellectuals in the late 19th century react with emerging media technologies, and how Chen Jitong, as a Chinese diplomat, took advantage of the golden age of the European press industry to write about China and realise his own literary ideals; last but not least, it helps to understand the connection and interaction between literature and the press in the nineteenth century.