The preservation of declining xiqu heritage through remediation and transmediation has often been ineffective in attracting a wider audience. The Cantonese opera film White Snake (2021), with its unusual utilization of computer-generated technology and transgressive combination of various media, offers a fresh approach to popularizing xiqu among younger audiences. To overcome aesthetic differences between cinema and xiqu, the film transforms medium specificities and transmedial potentials of Song landscape paintings and martial-arts film, adapting them to a new scenic and choreographic setting. By altering the original play’s sensory and semiotic modalities, White Snake’s transmedia aspects blaze a new trail for popularizing xiqu heritage for a new generation.

通过修复和转换来保护日渐衰落的戏曲遗产往往无法有效吸引更多观众。粤剧电影《白蛇传》（2021）以其不同寻常的电脑生成技术的运用和各种媒体的跨界结合，为在年轻观众中普及戏曲提供了一种全新的方式。为了克服电影和戏曲之间的审美差异，该电影改变了宋代山水画和武侠电影的媒介特性和跨媒体潜力，使它们适应新的风景和舞蹈背景。通过改变原剧的感官和符号模式，《白蛇传》的跨媒体方面为新一代戏曲遗产的普及开辟了新的道路。