


































Communication, Society and Media 
ISSN 2576-5388 (Print) ISSN 2576-5396 (Online) 

Vol. 7, No. 2, 2024 

www.scholink.org/ojs/index.php/csm 

209 

 

Original Paper 

Study on National Image Construction and International 

Communication in CHINA ON THE MOVE Amid 

Deconstructionism and Constructivism 

PANG Ya-Qi
1
 & CUI Dan

2*
 

1 
Undergraduate student of School of English, Jilin International Studies University, Changchun, China 

2 
Doc of Literature, Professor, Dean of Institute of International Language and Culture, Leader of 

Comparative Literature and Cross-culture Discipline, Jilin International Studies University, Changchun, 

Jilin, China; School of Foreign Languages, Yanbian University, Yanbian, Jilin, China; Postdoc of 

Literature of School of English, Beijing Foreign Studies University, Beijing, China 

* 
CUI Dan, Corresponding Author, E-mail: summerelephant@126.com 

 

Received: September 10, 2024   Accepted: October 15, 2024   Online Published: November 5, 2024 

doi:10.22158/csm.v7n2p209                     URL: http://dx.doi.org/10.22158/csm.v7n2p209 

 

Abstract 

National image documentary is a key part in shaping a country’s brand, fostering cultural exchange. 

However, China has faced challenges in presenting a dynamic and multidimensional national image on 

the global stage. In recent years, China has intensified its international communication efforts, 

leveraging various media formats to portray a more comprehensive image. The paper critically 

analyzes the contradictions inherent in the construction of national image and its overseas translation 

and communication, focusing on the biases of logocentrism and egocentrism. Taking China on the 

Move as a case study and examining its production, characterization, narrative, and translation 

strategies to summarize patterns and practices from a series of high-quality Sino-foreign co-produced 

documentaries. The analysis explores how the deconstructionist strategy of decentralization contributes 

to the joint-shaping of national image, and how an emphasis on marginalization reflects broader 

societal structures through the lens of ordinary lives. The deconstructionist translation strategy 

underscores the translator’s active role and the importance of “creative rebellion”. Conversely, the 

constructivist strategy elucidates the underlying logic of China’s image for international audiences, 

promoting empathetic communication by seeking common ground while acknowledging differences. 

The constructivist translation strategy also imposes necessary limitations on “creative rebellion” to 

ensure coherence in the translation process. 



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Keywords 

national image construction, joint-shaping, deconstructionism, constructivism, translation and 

communication 

 

1. Introduction 

The study of China‟s national image construction, along with its overseas translation and 

communication, constitutes an interdisciplinary field that integrates insights from philosophy, 

psychology, communication studies, as well as translation theory. This integrative approach is essential 

to understanding the processes involved in the creation and global dissemination of national identity. In 

recent years, the advent of big data and the proliferation of new media have significantly influenced the 

role of documentaries as a pivotal medium in constructing and reflecting national images. Compared to 

traditional platforms such as newspapers, literary works, and radio, documentaries uniquely blend 

authenticity with artistic expression, providing a compelling visual impact and fostering emotional 

engagement. Their effectiveness in cross-cultural communication, combined with diverse narrative 

approaches, renders them a vital instrument for international communication. This paper employs 

China on the Move as a case study to examine the application of Jacques Derrida‟s deconstructionist 

strategies and Jean Piaget‟s constructivist approaches within the domains of documentary production, 

narrative techniques, interview dynamics, and translation practices. The objective is to analyze how 

promotional documentaries contribute to national image formation and examine the dissemination 

strategies that address the challenges posed by international communication, which remains 

substantially influenced by Western media. By doing so, the study aims to facilitate cultural exchange 

between China and Western countries, while also contributing to a more nuanced understanding of 

China, countering prevalent stereotypes. The literature informing this analysis encompasses research on 

national image construction methodologies, deconstructionism, constructivism, cognitive development 

theory, and medio-translatology. 

 

2. Generalization of China on the Move 

China on the Move is a two-season documentary series, with its 1
st
 season co-produced by Shanghai 

Media Group (SMG) and the UK‟s Lion Television, while the 2
nd

 season was a collaborative effort 

between SMG and Discovery Church International (DCI). The documentary was broadcast across 

multiple international television channels, including Sino Vision in the United States, ODC in North 

America, BFC in Italy, and ATV SPIRIT in Hungary. Additionally, it was distributed on overseas digital 

platforms such as Facebook, Twitter, YouTube, and Shanghai Eye, where it garnered widespread 

acclaim from global audiences. Adopting a Sino-foreign co-production model, the documentary takes 

on an international perspective, utilizing vivid personal narratives and extensive interviews to portray a 



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multifaceted, contemporary image of China. The series addresses five key areas—economy, 

governance, science and technology, ecology, and livelihoods—while also emphasizing significant 

initiatives such as poverty alleviation and pandemic response. The documentary has received several 

prestigious awards, including Best Documentary Short at the 13th Chicago Independent Film Festival 

and the Gold Award for Television Documentary at the 44th Annual Telly Awards in the United States. 

Moreover, the French version of the 2
nd

 season was featured at two prominent offline events: the 

inaugural Paris China-France Forum at UNESCO headquarters and the “China Audiovisuelle 

Exhibition” organized by the National Radio and Television Administration in Paris. 

 

3. Literature Review 

Research on the methods of constructing China‟s national image has largely concentrated on the 

conventional dichotomy between self-shaping and other-shaping. These studies typically characterize 

self-shaping as a positive force, while other-shaping is perceived as detrimental to the formation of 

China‟s national image. Although self-driven dissemination efforts are somewhat constrained by 

cognitive biases and various external factors, it is widely recognized that China is making concerted 

efforts to enhance its self-shaping capacities and transform the predominance of other-shaping within 

the global media landscape. However, this perspective is increasingly regarded as one-dimensional and 

subjective, as it overlooks the fact that China‟s international image construction still operates within the 

broader context of a relatively weaker cultural communication system. In response, scholars such as 

Shao Peng, associate dean and professor at the College of Humanities, Zhejiang University of 

Technology, have underscored the positive potential of joint-shaping strategies in the international 

promotion of Chinese culture. These scholars contend that by integrating the controllability of 

self-shaping with the expansive dissemination channels of other-shaping, it is possible to mitigate the 

limitations of both approaches. 

Furthermore, studies of cognitive development theory suggest that self-shaping often leads to 

“egocentric bias” (Samuel et al., 2019, p. 3), affecting both message senders and recipients. This bias is 

influenced by various factors, including “physiological similarities” (Wu Menghui et al., 2022, p. 138; 

Muto et al., 2018) and “cultural differences between East and West” (Wu Menghui et al., 2022, p. 138; 

Zhai et al., 2021), all of which shape China‟s international image to varying degrees. To minimize 

egocentric bias, it is crucial to adopt a “visual perspective taking (VPT)” (Michelon & Zacks, 2006, p. 

327). 

Research on deconstructionism and constructivism has primarily focused on the core tenets of these 

theories. Deconstructionism is not simply a method of breaking down and analyzing components. 

Rather, it is a strategy—specifically one of anti-logocentrism that emphasizes decentralization and 

marginalization (Du Xiaozhen, 2000, p. 95). One of deconstructionism‟s defining features is its 



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openness, as evidenced by the dissolution of binary oppositions and the concepts like différance (Wang 

Quan, 2004, p. 69). This deconstructionist strategy permeates the entire documentary. Conversely, Jean 

Piaget‟s constructivism emphasizes the interpretation of current situations through existing experiences, 

evoking empathy in audiences and thereby mitigating egocentric bias. This constructivist approach 

underpins the documentary‟s narrative structure. 

Medio-translatology (Xie Tianzhen, 1999), a sub-discipline of comparative literature, focuses on 

linguistic variation within translation studies. This field has expanded beyond traditional translation 

concerns, addressing factors such as the reading habits, cognitive styles, and ideological contexts of 

target-language audiences, which directly influence the effectiveness of international communication. 

Current translation practices often prioritize the act of translation itself, overlooking the constraints 

imposed by these external factors (Xie Tianzhen, 2014, pp. 5-7). For example, studies on translating 

subtitles for documentaries aimed at international audiences are popular among scholars, but they do 

not figure out the fact that overseas viewers often find subtitles disruptive to the viewing experience. 

The importance of the translator‟s subjectivity and “creative rebellion” as fundamental principles 

should be emphasized in cross-cultural communication (Xu Jun, 2003, p. 8). At the same time, 

constructivist translation theories provide necessary constraints on deconstructionist strategies, 

ensuring that creative liberties remain within appropriate boundaries (Lü Jun, 2005, pp. 36-37). This 

balance further validates the rationality of combining deconstructionist and constructivist strategies in 

the translation and communication of China on the Move. 

While there has been limited research on China on the Move, existing studies have largely focused on 

cross-cultural communication strategies, multimodal discourse analysis, narrative techniques, and the 

role of media rituals in constructing national identity. Han Guozhen et al. (2024) explored the “7W” 

model in cross-cultural communication, analyzing the communication subjects, content, and audience, 

and concluded that documentaries should cater to international audience preferences, adopt an 

international narrative perspective, and lower the barriers to global dissemination. Mu Yujia (2023) 

conducted a multimodal discourse analysis using visual grammar, examining the representational, 

interactive, and compositional aspects of China on the Move, highlighting the positive impact of visual 

construction on cross-cultural communication. Yang Yingying et al. (2024) examined narrative choices 

in the 2
nd

 season of the documentary, focusing on topic selection, narrative strategies, structure, and 

perspective, and emphasized the importance of co-productions considering international audience 

preferences, finding common cultural ground, and adopting foreign perspectives to enhance credibility 

and facilitate acceptance by overseas audiences. Zhan Weizhen et al. (2022) discussed how media 

rituals create national identity across temporal and spatial dimensions, offering insights into how 

Chinese promotional films could utilize media rituals to strengthen national identity. 

 



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Overall, research on China on the Move has been fragmented, lacking a comprehensive analysis of the 

philosophical and psychological frameworks underpinning the documentary‟s strategies. This study 

seeks to fill that gap by providing a macro-level examination of the documentary as a whole. 

 

4. Strategies for National Image Construction 

4.1 Approaches to National Image Construction 

The construction of a country‟s international image typically encompasses both “self-shaping” and 

“other-shaping” approaches. Self-shaping refers to the proactive efforts of a country to create and 

project its image, positioning itself as the primary agent of communication. In contrast, other-shaping 

transpires when a country‟s image is passively constructed by external actors, often other nations (Liu 

Zhen, 2013, p. 106). A critical aspect of this process is the identity of the individuals or groups involved 

in image-shaping activities, as their identity significantly affects the audience‟s capacity to relate and 

identify with the projected image. Historically, China‟s international image has been largely shaped by 

external forces, particularly through the lens of Western countries, with the United States assuming a 

leading role. Western media that dominate over 90% of global news dissemination (Yan Wenbin, 2016, 

p. 17), have largely controlled the narrative. This media monopoly, akin to monopolistic market 

structures, tends to impede the evolution of narratives, as the absence of external checks and balances 

frequently culminates in a stagnation of perspectives and a violation of communicative equity. Within 

this unilateral narrative framework, China‟s image has progressively become one-dimensional, biased, 

and stereotyped—a consequence of sustained monopolistic dominance. According to a survey by the 

Pew Research Center conducted in April 2024, 81% of Americans reported a negative perception of 

China, marking the highest percentage recorded since the survey‟s inception. 

 



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Figure 1. Survey on opinion of China 

(From Pew Research Center, April 30, 2024) 

 

4.2 Constraints of Logocentrism in National Image Construction 

China has long sought to rectify Western misconceptions through self-driven efforts to shape its 

international image. However, owing to the information asymmetry engendered by the media monopoly, 

these initiatives have attained only limited success. Additionally, China‟s focus on constructing its 

image solely from its own perspective has struggled to disrupt the prevailing information flow patterns 

from high-density to low-density regions, and at times, has even yielded unintended negative 

consequences. “It has been argued that China has been unable to shed its image of an „international 

propagandist [that has been] inherited from the years past‟” (Ho, 2021, p. 94). 

Given complex international factors, it is understandable that China, for a time, concentrated on 

self-shaping while resisting external influences. This approach, shaped by logocentric thinking, is 

evident in practices such as the addition of subtitles to documentaries, exclusive reliance on domestic 

media for dissemination, and the presentation of exclusively positive interviews with national experts. 

These actions illustrate the limitations imposed by logocentrism. 

Logocentrism, a concept introduced by German philosopher Ludwig Klages in the 1920s, emphasizes 

the primacy of logos in philosophical systems, forming the core of Western metaphysics. A key feature 

of logocentrism is its reliance on binary oppositions, such as male and female, truth and falsehood, 

wherein one side typically dominates. Within the context of national image construction, self-shaping 

and other-shaping are treated as binary opposites, with self-shaping regarded as central and original, 

whereas other-shaping is deemed secondary and marginal. 



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4.3 Deconstructionist Strategy 

China on the Move diverges from conventional approaches to national image construction by 

incorporating deconstructionism, as the production team employed innovative strategies and 

communication techniques to transcend the logocentric model typically used in international promotion. 

Deconstructionism, introduced by French philosopher Jacques Derrida in the 1960s, critiques the 

structuralism and logocentrism inherent in Western metaphysics, challenging binary oppositions and 

centralism while emphasizing marginalized individuals and groups. The documentary utilizes 

deconstructionist concepts such as différance and supplementarity to make self-shaping and 

other-shaping complementary, thereby dissolving the subjective-objective dichotomy in national image 

construction. As Sino-foreign co-productions increasingly dominate China‟s international 

communication efforts, deconstructionist strategies have become increasingly prevalent. 

For instance, China Central Television (CCTV) Documentary Channel co-produced in partnership with 

Big Pacific with Natural History New Zealand, and Speed Kills with the Smithsonian Channel and 

South Africa‟s EARTH TOUCH. Both documentaries employ nonlinear narrative techniques, rejecting 

traditional chronological structures in favor of fragmented timelines and juxtaposed scenes or themes. 

This non-conventional structure challenges the audience‟s expectations of linear storytelling, prompting 

active engagement in constructing meaning from the fragmented content. Similarly, Winter Gold, 

co-produced with the Dutch Insight TV, reinterprets the symbolic meanings of “winter” and “gold 

medal” by focusing on the unique appeal of winter sports in China and the athletes‟ journeys, thereby 

expanding these concepts beyond seasonal or competitive contexts. In Smart China: Start Up 

Revolution, co-produced by the China International Communication Center and the UK‟s Meridian 

Line Films, the entrepreneurial ecosystem in China is explored through the perspectives of 

entrepreneurs, investors, and scholars. This multi-perspective approach challenges the limitations 

inherent to singular narrative, encouraging viewers to consider diverse viewpoints. 

4.3.1 Decentralization in Deconstructionist Strategy 

In documentaries, visual footage offers the most immediate impact on the audience, with the identities 

of characters playing a pivotal role in evoking emotional resonance. In selecting character shots and 

interview subjects, the footage is categorized into self-shaping (Chinese participants), other-shaping 

(foreign participants), and joint-shaping based on the identities of the interviewees (group dynamics). 

This categorization is accomplished using a combination of keyframe extraction techniques and 

descriptive statistical analysis. 

4.3.2 Application of Deconstructionism in Character Portrayal 

In the 2
nd

 season of China on the Move, British director Arthur Jones emerged from behind the scenes 

for the first time to engage directly with the audience. By gathering diverse perspectives and 

conducting on-site investigations, he portrayed a favorable image of China‟s economy. The 2
nd

 segment, 



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which centers on the economy, examines how China balances its domestic and international markets, 

sustains high-quality economic growth under the dual pressures of environmental concerns and trade 

conflicts, and explores its potential to inject new vitality into the global economy. The documentary 

features 269 character shots in total, with 125 focusing on Chinese individuals (approximately 46%) 

and 78 showcasing foreign individuals (some 28%). These character portrayals, serving as a crucial 

visual communication instrument, directly correspond to the concepts of self-shaping and other-shaping, 

wherein Chinese and foreign individuals representing each approach, respectively. 

4.3.3 Application of Deconstructionism in Selecting Interview Subjects 

While self- and other-shaping are widely acknowledged as two primary methods of national image 

construction and have been extensively analyzed in academic discourse, they do not the entirety of 

possible approaches. Deconstructionist strategies blur the boundaries between these two methods, 

organically merging them to produce a third, often overlooked approach—joint-shaping. This strategy 

offers a more “moderate” method for the construction of national identity. In the Economy segment of 

the documentary, 66 instances feature both Chinese and foreign individuals together, representing 

approximately 26% of the total shots. When other- and joint-shaping are combined as non-first-person 

perspective methods, they account for 54% of the documentary, while first-person perspectives 

constitute 46%. By strategically arranging the identities and appearances of individuals or groups in 

these shots, the documentary fosters a sense of identity among international audiences, thereby 

reducing ideological resistance in cross-cultural communication. 

 

 

Figure 1. The Types of Figure Shots for National Image Shaping (S2E02) 

 

The figure above illustrates the frequency and distribution of interviews from various perspectives in 

the Politics segment of China on the Move. According to the statistics, interview content is directly 

cited 34 times: 15 citations from foreign interviews (other-shaping), 9 from Chinese interviews 

(self-shaping), and 10 from interactive interviews (joint-shaping). The frequency distribution of these 

three shaping methods creates an “inverted trapezoid” pattern in the figure. 



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·Other-shaping ·Self-shaping ·Joint-shaping 

Figure 2. The Arrangement of Interviews from Different Perspectives (S2E01) 

 

Figure 2 illustrates the distribution of self-shaping, other-shaping, and joint-shaping interviews across 

different time dimensions in S2E01. The horizontal axis represents the duration of the documentary. By 

employing frame-capture techniques, the first frame in which interviewees appear in each type of 

interview is pinpointed, thereby revealing their distribution throughout the entire documentary. The 

frequency and distribution of foreign interviews correspond with the upper base of the inverted 

trapezoid, spanning the longest duration. The documentary introduces its first interview at 5:10, 

featuring Western scholar Daniel A. Bell discussing his perspective on China‟s meritocratic political 

system, and concludes at 33:37 with John Ross, Former Director of Economic & Business Policy for 

the Mayor of London, providing a comprehensive assessment of China‟s political system. Consequently, 

the documentary begins and ends with an other-shaping approach. Of the 15 foreign interviews cited, 

11 are situated in the final ten minutes, while the remaining 4 appear within the first ten minutes. The 

production team strategically employs the primacy and recency effects (Ladins, 1957) by positioning 

foreign interviews at the outset to create a “primacy effect” that shapes overseas viewers‟ initial 

impressions of China‟s image (Ma Yan, 2009, p. 62). Furthermore, the “recency effect” reinforces the 

audience‟s memory of the high-frequency other-shaping content at the end of the film, making it more 

impactful than the self-shaping segments in the middle. This symmetry from beginning to end deepens 

the connection with international audiences and reinforces their sense of identification. 

Therefore, self- and joint-shaping gradually unfold like a scroll throughout the documentary, with 

Chinese and interactive interviews alternating to propel the narrative forward. As a more moderate 

approach, joint-shaping occurs with a frequency and distribution corresponds to the lower base of the 

inverted trapezoid, spreading more evenly than the other two methods. This relatively subtle 

joint-shaping method cirumvents the perception of excessive self-promotion while preserving 

objectivity and neutrality (Shao Peng, 2020, p. 119). On a broader level, the documentary itself, as a 

Sino-foreign co-production, exemplifies the joint-shaping approach. By targeting shared denominators 

in storytelling, it enables the audience to feel as though their own stories are being conveyed, thus 

forging a connection between the Chinese narrative and the viewers, which is vital for achieving 



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optimal communication effects (Shao Peng, 2018, p. 13). 

China on the Move employs the deconstructionist concepts of différance and supplementarity to 

alternate and the integration of the three shaping methods in character shots and interviews. By 

mitigating egocentric bias, the documentary presents a comprehensive, and objective portrayal of a 

multidimensional, vivid, and authentic image of China to its audience. 

4.4 Marginalization in the Deconstructionist Strategy 

Two fundamental aspects of the deconstructionist strategy are the decentralization of focus and 

emphasis on marginalization. The documentary achieves decentralization through its production 

choices, shot selection, and the diversity of interview subjects. In terms of character roles and content, 

it strategically highlights marginalization. 

Conventional approaches to constructing a national image frequently focus on portraying China from a 

macro perspective, emphasizing economic growth and showcasing the nation‟s development and 

contributions, while downplaying its challenges. Although understandable, this macro-level portrayal 

could make it difficult for ordinary people to emotionally connect with such distant narratives. For 

many, these large-scale presentations feel too remote; they are more interested in learning about daily 

life and personal stories from foreign lands than hearing content resembling a State of the Union 

Address. Moreover, a sole focus on positive aspects may risk being perceived as propaganda. China on 

the Move adopts a strategy of emphasizing marginalization, reflecting China‟s broader image through 

the everyday experiences of ordinary people (petty narratives). Instead of relying on grand narratives, 

the documentary foregrounds the challenges China has faced and the solutions implemented, replacing 

realism‟s grand narratives with postmodern, engaging stories. 

Differences in political systems and ideologies have long posed sensitive issues and obstacles in the 

international communication of national images. Nevertheless, China on the Move integrates elements 

of the superstructure into the everyday lives of ordinary individuals. For instance, it recounts the story 

of ZI Yang-Ping, a Jino ethnic doctor from the Jino Mountain Township Health Center, who also served 

as a member of the National Committee of the Chinese People‟s Political Consultative Conference 

(CPPCC). Her village, once on the migration route of wild Asian elephants, suffered annual damage to 

houses and crops. After conducting field visits, gathering local feedback, and listening to opinions, Zi 

submitted an “elephant proposal” during the 2022 Two Sessions, which was eventually adopted and 

implemented. Consequently, the government began compensating residents for damages caused by wild 

animals. That year, CPPCC members like Zi, submitted 6,000 proposals, all of which were addressed or 

processed within the legally mandated timeframe. Through the story of a Jino ethnic doctor and a group 

of wild elephants, China on the Move introduces international audiences to the concept of the 

whole-process of people’s democracy, illustrating how China‟s political system, socialism with Chinese 

characteristics, functions in operates. 



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5. Constructivism Strategies for National Image Construction 

5.1 Reasons for Adopting Constructivist Strategies 

In the context of global communication of China‟s national image, conflicts between the constructed 

image and foreign audiences‟ preconceptions could lead to resistance. China on the Move addresses this 

by acknowledging the challenges faced by China, rather than solely promoting its achievements. It 

aligns the narrative with the concerns of foreign audiences, using these tensions to subtly guide viewers 

in reconstructing China‟s image. This approach reflects Jean Piaget‟s theory of constructivism, which 

emphasizes that knowledge and problem-solving are actively constructed through interpreting new 

situations in light of existing knowledge and experience. 

5.2 Principles for Adopting Constructivist Strategies 

“Effective communication requires adopting the perspective of others; however, we often make errors 

by relying on our own subjective experiences to predict others‟ reactions” (Kelley & Jacoby, 1996, p. 

173). This tendency, known as egocentrism bias, constitutes a primary cause of communication barriers 

and failures in social interactions (Wu Menghui et al., 2022, p. 179). China on the Move applies 

deconstructionist strategies to address egocentrism bias. Despite China‟s efforts to mitigate this bias in 

constructing its national image, effective communication remains a bidirectional process. A 

collaborative study by Michigan State University, the University of Chicago, and Indiana University 

analyzed 104,365 adults from 63 countries, revealing that individuals across individualistic societies 

tend to exhibit lower levels of empathy compared to those from collectivist societies (Chopik et al., 

2017, pp. 8-22). 

Additionally, cultural comparisons between East and West indicate that individualistic societies, which 

emphasize independence, generally foster lower empathy than collectivist societies that promote 

interdependence (Markus & Kitayam, 1991, pp. 247-248), which presents a cross-cultural 

communication challenge for both the national image construction of China and the understandings of 

audiences. The long-standing imbalance in cultural information flow between East and West reinforces 

entrenched knowledge and experiences, posing challenges for some foreign audiences to fully 

recognize China‟s evolving international image, even when presented with factual content in the 

documentary. To address this, China on the Move adopts a constructivist strategy, engaging with 

international concerns and clarifying the logic behind China‟s current achievements. 

5.3 Application and Effects of Constructivism 

The stereotypes of China, propagated by Western media, tend to deepen as individuals mature. It is fact 

that the national images are formed mostly in childhood (Boulding, 1959, p. 122). Given that, the 

process of constructing China‟s national image is essentially an address of pre-existing stereotypes. 

However, imposed images are fragile by comparison with those which are deeply internalized 

(Boulding, 1959, p. 122). It is urgent to shift strategies in content selection and narrative during the 



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process of constructing the national image. 

5.3.1 Content Selection 

China on the Move adheres to the principle of “the globalization of local media and the localization of 

global media” (Michael, 2019, p. 188), integrating global values, Western culture, and contemporary 

elements into the construction of China‟s national image. “By employing universal communication 

techniques, the documentary interprets its culture and core principles, leveraging international 

platforms to convey China‟s stories, solutions, and models, aligning with global trends and promoting 

its culture” (Shao Peiren & Shen Jun, 2017, p. 73). In selecting content, it incorporates global 

challenges such as human rights, gender equality, climate change, and desertification to showcase 

China‟s contributions to the world, balancing its distinct characteristics with global values. 

5.3.2 Narrative 

In its narrative, the documentary applies a storytelling technique that contrasts with the monotonous 

rhythm typical of conventional documentaries. By interweaving conflict and resolution, it effectively 

combines the “record” elements of documentary filmmaking with the “narrative” aspects of feature 

films (Li Zhongzhi, 2016, p. 82), resulting in a dynamic and engaging storyline. Empathy functions as 

a catalyst in the constructivist approach, encouraging foreign audiences to actively engage in 

constructing China‟s image. “While telling stories with facts is essential, effective communication 

techniques are equally important. These techniques allow for skillful and precise delivery of 

information, engaging the audience emotionally and fostering strong empathetic communication” 

(Shao Peng, 2020, p. 119). 

China‟s poverty alleviation efforts stand as a prominent “national card”, highlighting its significant 

contribution to global poverty reduction. Over an eight-year period, China successfully lifted 

98,990,000 people out of poverty by the end of 2020 (from Poverty Alleviation: China’s Experience 

and Contribution), becoming the 1
st
 country to achieve the United Nations Millennium Development 

Goals (MDGs) and leading the world in the number of people lifted out of poverty. This achievement 

has been recognized by the United Nations and offers a “Chinese solution” to other countries. 

 

 

·Conflict ·Mitigation 

Figure 3. The Arrangement of the Conflict and Mitigation (S1E01) 

 



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Figure 3 displays the distribution of conflicts and solutions in S1E01. The horizontal axis represents the 

duration of the documentary. The black dots below the axis indicate conflict points, while the above 

denote solutions. The alternating appearance of these points presents a stable, zigzag wave pattern, 

which illustrates how the 1
st
 season of the documentary employs a narrative structure of “posing a 

problem—analyzing the problem—solving the problem”, interweaving conflict and resolution to 

demonstrate how China accomplished its poverty alleviation goals. 

 

Table 1. The Abstracts of the Conflict and Mitigation 

Conflict [(x)] Mitigation [x] 

(1) Women lack of opportunities a. Integration of fashion and ethnic elements  

(2) Cheap labor, low income b. Embroidery cooperated with garment industry  

(3) Land desertification for farmers c. Ant Forest app for tree planting 

(4) Poverty due to desertification d. Ant Forest jobs and reforestation  

(5) Low land utilization in Yunnan Province e. Coffee cultivation based on demand 

(6) Unscientific coffee farming practices f. Starbucks-CFPA coffee support project 

 

The documentary introduces six points of conflict, which are grouped into three pairs, with each pair 

leading to a corresponding solution. These conflicts and solutions unfold progressively, increasing in 

complexity. For instance, the sequence “(1) → a → (2) → b” illustrates one such pair, demonstrating 

how Bouyei women integrated traditional handicrafts with the modern fashion industry to lift 

themselves out of poverty through entrepreneurship. The other two groups represent marginalized 

communities: farmers battling desertification and coffee plantation owners lacking farming experience. 

These perspectives emphasize the “solutions with Chinese characteristic” in the fight against poverty. 

Rather than merely listing China‟s poverty reduction achievements—represented as grey points in the 

figure—it presents the process of constructing China‟s international image through a spiral of problem 

identification and resolution. This approach enables the audience grasp not only what was achieved but 

also how and why these successes were realized. 

 

6. Translation and Communication of Constructed National Image 

Translation and communication play a pivotal role in the international dissemination of a nation‟s 

image, directly influencing how effectively the pre-constructed image is conveyed abroad. Today, 

conventional translation practices, with their limited scope, no longer suffice to meet the demands of 

international exchange. As a form of cross-cultural communication, the dissemination of a national 

image overseas requires not only employing effective translation strategies but also considering the 

factors that constrain and shape the translation process. 



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6.1 The Deconstructionist Strategy in Translation 

The strategy of emphasizing marginalization through grand themes conveyed by petty narratives is a 

hallmark of deconstructionism and is prominently employed in promotional films. This approach aligns 

the documentary‟s content more closely with the lives of grassroots individuals, creating a more 

authentic and relatable style. Characters in these stories often come from diverse ethnic backgrounds, 

regions, and local cultures. During interviews, the presence of dialects and ellipses in speech challenges 

translators to move beyond literal translation. Instead, they must apply the deconstructionist principle 

of “creative rebellion”, using their subjective initiative to reveal the underlying meanings of the 

original content but not just focusing on “loyalty”. In doing so, the translator takes on a more active 

role in shaping the message conveyed to international audiences. 

The deconstructionist strategy in translation was inspired by Roland Barthes‟ 1968 concept of “the 

death of the author”, which challenges the conventional centrality of the author in interpreting a text. 

Barthes, a key scholar in deconstructionism, proposed that the completion of a work marks the end of 

the author‟s dominance, allowing readers—and in the case of cross-cultural communication, 

translators—to interpret the work independently of the original intent. The “hollow onion” theory by 

Barthes suggests that texts have multiple layers and dimensions, and it is the role of the reader, or 

translator, to peel back those layers and construct meaning based on their own perspective. This 

approach directly challenges the notion of textual centralism and allows for a more flexible, dynamic 

interpretation of the original work. 

With the growth of intercultural communication, translators have emerged as a third entity between the 

author and reader. Historically, translators acted as “ferrymen”, striving to remain faithful to the author 

by translating as accurately as possible. However, the rise of deconstructionism and concepts like 

“textual indeterminacy” and “creative rebellion” have challenged conventional translation practices. 

These ideas question the authority of the original work and the feasibility of achieving complete 

equivalence between source and target languages (Xie Tianzhen, 2002, p. 31). Attempting such 

equivalence could result in mistranslation, which may hinder the dissemination of a nation‟s image. 

Deconstructionism emphasizes the translator‟s subjective initiative, allowing for the systematic 

disruption and reassembly of the original text. This process enables the work to survive and reach new 

audiences through translation (Huang Zhending, 2005, p. 21). In this context, readers engage more with 

the translator‟s reinterpretation than the original author‟s work. The quality of the translation directly 

influences the audience‟s ability to accurately comprehend the documentary‟s intended message. 

For example: 

Original text：我的手，小的时候七岁，跟父母干农活，为了轧糖，轧断了左手。后来就是说我

干别的，抬也抬不动，扛也扛不了，自己慢慢想来学刺绣，要有耐心一点（每天）要学 6 个小时。

到今年的话就是 40 多年了。(The sentence is selected from an interview in the documentary.) 



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Translation：When I was seven years old, I was doing farm work with my parents, my left arm was 

crushed (by the machine making sugar). (I needed a job to make a living,) but I couldn‟t lift or carry 

things, (so) I thought about embroidery. (At first,) I had to be patient and learned (the skill) for six 

hours (a day). (I‟ve been doing embroidery) for over 40 years. (The translation has been provided in 

the interview) 

The characteristic of Chinese having a higher information density than other languages, which means it 

could convey the same amount of information with fewer characters. This often results in the omission 

of implied meanings during translation. Deconstructionist translation strategies allow translators to 

apply their subjective initiative (as shown in the brackets in the translation version) to make the implicit 

logic in Chinese explicit in English, thereby avoiding potential translation errors. Without destructively 

reorganizing the original text, it would be challenging for the audience to fully grasp the meaning, 

potentially leading to serious misunderstandings. For instance, consider the first underlined sentence in 

the original text: without amplification or logical clarification, it could lead to the following 

mistranslation: 

“My hand, when I was seven years old, doing farm work with parents, in order to make sugar, I broke 

my left hand.” 

Therefore, if the translation strictly adhered to equivalence theory, the result might seem formally 

accurate but would distort the original meaning. By applying deconstructionist translation strategies, 

the documentary production team made the implicit logic explicit, effectively preventing 

mistranslations. 

6.2 Constructivist Translation Strategy 

The constructivist translation approach is informed by the principles of consensus-based truth, 

relativism, and the role of language as a medium with social functions, which shape both constructivist 

translation practices and media strategies. 

While deconstructionism and constructivism share certain foundational elements, they differ in 

significant ways. Deconstructionist translation strategies emphasize the creativity and agency of the 

translator and reader, suggesting that their interpretations of a text may differ from that of the original 

author. Fundamentally, there is no essential difference between the two approaches. However, 

deconstructionism highlights individual differences in interpretation without imposing constraints, 

particularly with respect to the influence of “pre-understanding structures” (or egocentrism bias). This 

absence of limitations could lead to multiple interpretations, carrying the risk of generating arbitrary 

meanings (Lü Jun, 2005, p. 37). Constructivism, by contrast, introduces constraint mechanisms within 

the deconstructionist framework, limiting the arbitrariness of meaning generation and ensuring that the 

dissemination of the national image remains stable and neutral. 

 



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As a paradigm of Sino-foreign co-production, China on the Move actively implements the Go Global 

initiatives in its media strategy, collaborating with new media platforms across multiple countries. The 

documentary is broadcast in various languages during prime time on major platforms such as Sino 

Vision, Discovery Exploration, North American new media ODC, BFC in Italy, and ATV SPIRIT in 

Hungary. The production team carefully considered cultural differences between Chinese and Western 

films, opting to exclude subtitles for international audiences—a decision often overlooked but one that 

many overseas viewers appreciate. This nuance, frequently absent in other documentaries like Every 

Treasure Tells a Story and China in Classics, reflects the team‟s sensitivity to audience preferences. 

Additionally, the team expanded and innovated upon the symbolic representation of China throughout 

production. They enhanced the visual impact of scene transitions through aesthetic design and 

AI-assisted techniques, utilizing animation, font changes, and other elements to accentuate deeper 

meanings. 

 

7. Discussion 

As an exemplar of Sino-foreign co-produced documentaries, China on the Move leverages 

deconstructionist strategies, such as decentralization and marginalization, to transcend the constraints 

of logocentrism in constructing China‟s national image. Through content selection and narrative 

techniques, it applies constructivist strategies to reveal the foundational logic underpinning China‟s 

continuous development, thereby fostering empathy among its audience. In translation and 

communication, the strategies of deconstructionist translation highlight the indispensable role of the 

translator‟s subjective initiative, whereas the constructivism one introduces necessary constraints on 

“creative rebellion.” Additionally, international communication must account for the cultural norms and 

ideologies that influence and constrain translation activities. Deconstructionism and constructivism 

offer novel perspectives and pathways for the construction of national image, fostering curiosity in 

audiences and encouraging them to critically evaluate different narratives demonstrated by diverse 

media about China, which would be considered a meaningful step toward fostering greater 

understanding on national image. 

 

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