The ‘Eight-brokens’, also called Bapo Painting (八破图), though well-known as a symbol of the prospering urban culture in the mid-19th century China, has a winding artistic genealogy which not only is highlighted by the eccentric Monk Liuzhou (1791-1858) but also extends to the renowned master Qian Xuan (1239-1299). With the rise of visual and material culture studies, more art historians have begun to focus on this topic, exemplified by the first-ever exhibition dedicated to ‘Eight-brokens’ at the Museum of Fine Arts, Boston (2017). This article focuses on the remediation of ‘Eight-brokens’ through printing technologies and channels of mass communication. It aims to unveil and analyze the tension between art communication and ‘the original object in context’, by referring to discussions on global art history, particularly Wu Hung’s concept of historical materiality and Hans Belting’s interpretation of media in his Bild-anthropologie. The conclusion emphasizes that communication does not simply disseminate objects, techniques, styles or ideas of art, but also plays a more nuanced and fundamental role in the figuration of the deep time structure of art history, precisely because of the coexisting shaping and shearing forces of that tension.

In the early twentieth-century era of transnationalism, Cummings’ intermedial artistry works beyond the juxtapositional adoption of the ideogrammic method and draws from the holistic, integrative aesthetics of East-Asian verse, literati painting, and calligraphy – collectively known as the “three perfections.” This globalised paradigm catalyses his modernist verbal-visual experimentation, imbibing new energies across the historical binaries such as word and image, the hearable and the seeable, discourse and representation, signification and resemblance, and the West and the East. He started rediscovering his (inter)artistic role as a “Poet-Painter of China” by following the Poundian translation of Chinese philosophies and East-Asian aesthetics. To highlight Cummings’ innovative poetics of “poempicturality,” this paper will examine the idiosyncratic facets of his “poempictures” – the coinage of a syntactically abstract yet pictorially concretised artform – by situating them within the compositional lineage, especially, of Chinese ink-and-wash paintings and calligraphic works. As a subjectivist creator, Cummings transforms his alphabetic and semiotic prosody into a stylistic re-presentation of formal or structural ideographism that resonates with the gestural, virtuoso brushwork of Chinese classical artifice. Through this radical process, this modernist poet-painter prioritises the self-expressive articulation of one’s experience, recollection, and the “IS” of being/becoming, over the mimetic or sentimental reflection of perceptible realities. Cummings’ prosodic intermediality, thus, is not enclosed to just generic innovation but extends to a cross-cultural engagement with mediums and their constitutional expressiveness. Instead of conforming with a fixed or singular mediation, his “poempictures” celebrates the aliveness, reconfiguration, and self-transcendence which ontologically foregrounds an ever-shifting, pluralistic conceptualisation of selves and their relational agency in-between.

"Journey to the West", a masterpiece of Chinese classical literature, boasts rich story content and vivid character portrayals. It has been widely disseminated through various media forms after hundreds of years of inheritance and development. This study focuses on the cross-media communication of "Journey to the West" in animated films, delving into its communication characteristics, influencing factors, and significance in the context of the new era. By analyzing animated films of "Journey to the West" from different periods, this study finds that while retaining the classic plots and character images of the original work, these films continuously incorporate new elements and creativity to cater to the aesthetic needs of audiences in different times. From early traditional hand-drawn animation to today's computer animation technology, animated films of "Journey to the West" have seen significant improvements in image quality, visual effects, and narrative styles. At the same time, cross-media communication has further expanded and extended the stories and characters of "Journey to the West" into other related fields, such as animation merchandising, theme parks, online games, and more, forming a vast cultural industry chain. The cross-media communication of "Journey to the West" in animated films not only contributes to the inheritance and promotion of traditional Chinese culture, enabling more people to understand and appreciate this classic work, but also provides important resources and impetus for the development of China's cultural industry. Through cross-media communication, the cultural value of "Journey to the West" has been further enhanced, and its influence has continued to expand, making it one of the key windows for Chinese culture to go to the world.

In the 1950s Hong Kong – a British colony caught between Cold War ideologies and fading imperialism – the left-wing Cantonese film adaptation of Charles Dickens’s Great Expectations (1955) reimagines Dickens’s class critique into an overt indictment of colonial capitalism and postcolonial modernity. By recasting Pip as Fuqun, a blacksmith turned pharmacist, the film reframes Victorian social mobility as Hong Kong’s struggle under dual oppressions: colonial hierarchies and capitalist exploitation. More to the point, the adaptation positions medicine as a tool for socialist progress yet corrupted by profit-driven commodification. Dickens’s moral concerns are amplified by positioning Fuqun’s medical career as resistance. Fuqun’s shift from individual ambition to communal care critiques not just class inequality but colonial modernity’s moral decay. The “doctor-healer” trope for collective progress, common in left-wing lunlipian (social ethic films), becomes a postcolonial counter-narrative, advocating science as a socialist praxis against colonial-capitalist alienation. Also, the audience was addressed as active participants in social reflection and moral construction. By rerouting Fuqun’s ambitions from bourgeois self-advancement to communal care, the film interrogates not only class struggle but also the cultural contradictions of a colony aspiring to socialist modernity amidst residual imperial frameworks. Therefore, the transnational adaptation serves as a mediator of anti-colonial socialist discourse. It reveals how Hong Kong’s left-wing cinema reimagined socialist ideals as tools to suture the wounds of a society torn between colonial legacies, capitalist pressures, and socialist futures.