Maria Alberto – författare

The 2019 Chinese drama Chén Qíng Lìng (CQL; translated The Untamed) quickly became a massive phenomenon, drawing millions of viewers in China and beyond. Its resonant story, rich cast of characters, and striking production captured audience attention globally; its paratexts and fandoms helped keep that attention sustained. What made this particular mix so compelling, and what can The Untamed show us about increasingly transcultural media flows?Catching Chén Qíng Lìng explores how The Untamed has been translated, produced, distributed, watched, and remixed. Contributors offer multifaceted insights into the path from subcultural writing tradition to highly profitable entertainment media, as well as some of the challenges such change engenders.From fan translations and digital labor to the 227 Incident and issues of censorship, this collection explores some of the questions raised by The Untamed’s enduring resonance and considers what this might mean for the future of transcultural media.

The 2019 Chinese drama Chén Qíng Lìng (CQL; translated The Untamed) quickly became a massive phenomenon, drawing millions of viewers in China and beyond. Its resonant story, rich cast of characters, and striking production captured audience attention globally; its paratexts and fandoms helped keep that attention sustained. What made this particular mix so compelling, and what can The Untamed show us about increasingly transcultural media flows?Catching Chén Qíng Lìng explores how The Untamed has been translated, produced, distributed, watched, and remixed. Contributors offer multifaceted insights into the path from subcultural writing tradition to highly profitable entertainment media, as well as some of the challenges such change engenders.From fan translations and digital labor to the 227 Incident and issues of censorship, this collection explores some of the questions raised by The Untamed’s enduring resonance and considers what this might mean for the future of transcultural media.