The Study On Cross-media Changes Of Classical Fairy Tale The Magical Brush

With the rise of emerging media, the popularization of mass culture and consumerism culture and the formation of visual culture context, cross-media adaption of classics of literature and art constantly appears. Among them, the classical fairy tale The Magical Brush, which was published in 1955 by Hong Xuntao and has been well-known to everyone, also shows new vitality in this new era and new context. The sixty-year-old The Magical Brush has been highly recognized by most of theorists and critics of children literature and has been a representative of classics; for the other aspect, it has spanned multiple existing forms of art medium, such as literature texts, short cartoons, picture books, comic books,3D animated movies and computer games. At the same time, with the development of social historical context, The Magical Brush has gone through double changes with era features and formal meaning. Moreover, the cross-media development also represents a continuous canonization process as emerging media in the context of contemporary popular culture is a constructing power of classics which could not be underestimated.To study the double changes and the canonization process represented by The magical brush, the application of cross-media research method is adopted. The author would divide the development of more than half of a century into three periods including the "Seventeen-year literature" period, "The Great Culture Revolution" period and the new period after "the reform and opening-up policy" and outline its cross-media development chain completely to reveal the three main power for cross-media development which are media, capital and ideology and their complicated relation and to rethink the prospect of classics of literature and art in the context of contemporary popular culture and the quick development of emerging media culture by analyzing the difference of media forms and skills and the difference of historical connotation. It must be pointed out that though we agree that emerging media and popular culture could be positive power in the process of constructing classics or the canonization process, special historical meanings of classics of literature and art and its classical images which come from certain eras are being clearing up constantly and even become general simulacrums and simple symbol consumption as cultural resources or products to be developed. It is actually the alienation of aesthetic during the generalization process which is a common paradox faced by all classics of literature and art in the context of emerging medias. Therefore, for The magical brush and contemporary classics of children literature and art it represents, we not only have to acknowledge the positive function of emerging medias, but need to impel it to walk out of the visual city built by various screens which has nothing to do with the socist reality.