


































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

Vol. 8, No. 2, 2025 

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

54 

 

Original Paper 

A Study on the Video Communication Strategies of the 

―China-Russia Headlines‖ Account on VK Platform from the 

Perspective of Framing Theory 

Youyou Lin
1 

1 
Department of Russian, School of Foreign Languages and Cultures, Communication University of 

China, Beijing, China 

 

Received: July 14, 2025         Accepted: July 29, 2025       Online Published: August 14, 2025 

doi:10.22158/csm.v8n2p54                       URL: http://dx.doi.org/10.22158/csm.v8n2p54 

 

Abstract 

As the global landscape undergoes profound changes, it is urgent to reconstruct the international 

communication structure. In recent years, China-Russia relations have continued to improve, and the 

need to enhance the cultural export mechanism has become increasingly apparent. VKontakte, a major 

Russian local social media platform, plays a significant role in communication with Russian audiences. 

This study examines the top VK account China-Russia Headlines (CRH) and applies Zang’s three-tier 

framing theory to analyze its communication strategies. The findings reveal that the framing features 

include diverse subjects, authoritative sources, and a mainstream narrative tone at the macro level; the 

narratives tend to be conservative, structurally uniform, and short in length at the meso level; the 

discourse is rhetorically rich with prominent Chinese cultural symbols at the micro level. However, the 

account still faces challenges such as significant variations in view counts and limited audience 

interaction. To enhance the efficacy of China’s international communication, this study proposes 

prioritizing audience-relevant content, integrating multidisciplinary themes, diversifying presentation 

formats, and fostering multi-stakeholder collaboration. 

Keywords 

China-Russia Headlines, Framing Theory, New Media Platform, Cross-cultural Communication 

 

 

 

 

 



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On May 31, 2021, Chinese President Xi emphasized during the 30th collective study session of the 

Political Bureau of the CPC Central Committee that telling China‘s stories well, spreading China‘s 

voice, and presenting a real, three-dimensional, and comprehensive image of China are crucial tasks for 

enhancing the country‘s international communication capabilities. In the current era of rapidly 

developing new media technologies and increasingly intense international public opinion, it is of great 

significance to build influential and communicative new media platforms to vividly present Chinese 

culture and enhance the national image within cross-cultural contexts. As early as 2017, the 

―China-Russia Headlines: Important News‖ account (hereinafter referred to as ―China-Russia 

Headlines (CRH)‖) was launched on Russia‘s VKontakte (VK) platform, co-developed by China Media 

Group (CMG) and the international news agency Russia Today (RT). With over 700,000 followers, it 

ranks among the top tier of Chinese cultural outreach efforts in Russia. It has become an important 

medium for Russian audiences to hear China‘s voice and a model of cross-cultural communication 

practices by China‘s mainstream media on foreign social platforms. 

 

1. Research Background 

The friendly relations between China and Russia have a deep historical foundation, and close 

exchanges between the two countries have become an inevitable trend under the wave of globalization. 

As the largest country along the Belt and Road Initiative, Russia actively responds to the vision of a 

―Community with a Shared Future for Humanity‖. In recent years, with the deepening of China-Russia 

relations, bilateral interactions in the political and economic spheres have grown increasingly frequent. 

Cultural cooperation has reached new heights, marked by initiatives such as the ―Year of China-Russia 

Scientific and Technological Innovation‖, the ―Year of China-Russia Media Exchange‖, and the ―Year 

of China-Russia Cultural Exchange‖. Against this backdrop, the Russian public has shown growing 

interest in the profound and time-honored Chinese culture, and the reach and influence of China‘s 

cultural communication with Russia have steadily expanded. 

Social media helps enhance the sense of affinity and identification in international communication, 

extend its coverage, and improve a country‘s global image, making it an essential arena for 

cross-cultural communication (Luan, 2012). With the advent of 5G networks and the AI era, the rise of 

new media platforms has brought new opportunities for China-Russia cultural exchange. According to 

a 2023 survey conducted by the All-Russia Public Opinion Research Center, Russian citizens spend an 

average of 4.5 hours per day browsing social media, with VK platform usage leading all platforms at an 

average of 129 minutes per day. Notably, 77% of users prefer subscribing to news content (MOSCOW, 

2023). VK, established in 2006, has users mainly from Russia, Belarus, Kazakhstan, and other 

countries. It is the largest tech company in Russia in terms of user base, with more than 95% of Russian 

internet users registered on the platform. As of February 2025, Similarweb data shows that VK attracts 



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around 100 million monthly visits, making it the largest social network in Europe (Similarweb, 2025). 

According to Mediaskope, VK surpassed YouTube in monthly coverage in Russia by December 2024 

(VKCO, 2024). Therefore, Russia has fertile ground for new media-based cultural communication. 

The CRH account on VK is based on a mobile multimedia application jointly developed by China and 

Russia in 2017 and co-operated by China Media Group and RT (People‘s Daily Online, 2017). This 

platform symbolizes the cooperation between Chinese and Russian mainstream media in the new media 

era. To promote mutual understanding and friendship between the two peoples, it integrates resources 

from both countries to facilitate multidimensional and cooperative communication. As of March 1, 

2025, the account had reached 717,000 followers and has become a crucial channel for disseminating 

China‘s voice in Russia. 

In 1973, sociologist Goffman proposed the concept of framing in his seminal work Frame Analysis. He 

argued that frames are cognitive structures people use to perceive and interpret the external world. 

Individuals rely on specific frameworks to organize, generalize, and explain their lived experiences 

(Xiao, 2010). In the field of communication studies, Taiwanese scholar Zang further localized 

Goffman‘s framework theory by proposing a three-tier framing model, suggesting that the 

communication process can be analyzed through macro-, meso-, and micro-level frames. The 

macro-level frame refers to the definition and construction of core themes or events. The meso-level 

frame focuses on narrative structure and format, including strategies such as storytelling structure, 

narrative genre, attitudinal stance, and frequency. The micro-level frame involves language and 

symbolic usage, including rhetorical devices, stylistic features, and textual techniques. The CRH 

account has been operating on Russia‘s VK platform for over a decade, gradually forming a relatively 

stable pattern of cultural communication. Therefore, Zang‘s three-tier framework provides a useful 

analytical lens for understanding how Chinese imagery is constructed and communicated through its 

videos. This study applies the framework theory to analyze the video content posted by the account, 

identifying framing strategies across three levels to explore its overall video communication logic and 

effectiveness. 

 

2. Materials and Methods 

The CRH account publishes content in various formats, including videos, articles, and images, 

featuring both short-form videos and livestreams. As of March 1, 2025, the account had posted over 

8,000 videos and more than 1,300 articles. Given the dominant role of video content, analyzing its 

structure and communication effect can shed light on the effectiveness of China‘s mainstream media in 

cross-cultural communication with Russia. This study focuses on videos published by the account on 

VK between January 1, 2024, and February 20, 2025. A total of 1,039 valid video samples were 

collected via web scraping. Each sample was analyzed for its title, theme, duration, and view count. To 



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better explore the account‘s framing strategies and cross-cultural communication mechanisms, this 

study uses Zang‘s three-tier framework model, applying methods such as word frequency analysis, 

categorical coding, and data processing to examine the video content across macro, meso, and micro 

levels. 

 

3. Results 

3.1 Macro-Level Framing 

Macro-level framing primarily manifests in the definition of the event‘s central theme and the thematic 

presentation within news coverage. Such framing exerts a maximal influence on the audience‘s 

perception of the reporting subject. This study selects video themes, video sources, and video tonality 

as the focal points for analysis, thereby examining the portrayal of China at a macro-level frame. 

3.1.1 Video Themes: Emphasis on Soft Communication 

According to Van Dijk, every linguistic text structure contains a salient theme. The theme constitutes 

the core of the news, determining its central message, selection of materials, and language use. Hence, 

this paper chooses theme analysis as the entry point for framing analysis. The 1,039 video samples 

were categorized into nine major thematic domains, ranked by their proportion as follows: Culture, 

Tourism, Society, Diplomacy, Politics, Technology, Economy, Environment, and Cuisine. Within each 

domain, specific event clusters can be further identified. 

 

 

 

 

 

 

 

 

 

 

Figure 1. Video Themes 

 

The results reveal that Tourism and Culture dominate in terms of quantity and length, accounting for 

36.4% (378 videos) and 18.3% (190 videos) of the total sample, respectively. These two themes 

contribute to the ―softening‖ of previously rigid and stereotypical images by presenting content 

characterized by affinity, vitality, and novelty. They comprehensively showcase tourism resources and 

portray cultural features from multiple perspectives, emphasizing emotional resonance and everyday 



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relevance. This approach achieves an effective ―soft communication‖ narrative that tells China‘s story 

in a relatable and engaging manner. Besides, it shows that the Tourism category constitutes the main 

content of the CRH videos. This segment primarily shares videos of natural landscapes, highlighting 

diverse regional scenery and folk customs across China. Unlike Russia‘s predominantly continental 

climate, China‘s geographic configuration exhibits a more varied combination of climatic and 

geomorphological features, ranging from Harbin in Northeast China to subtropical coastal areas, from 

the glaciers and permafrost of the Qinghai-Tibet Plateau to expansive coastal plains. China‘s rich and 

unique natural resources attract Russian audiences. Moreover, the channel synchronizes natural scenery 

presentations with the current season, including peonies blooming in spring, fish playing among lotus 

leaves in summer, bountiful harvests in autumn, and frost and rime in winter, eliciting emotional 

resonance among viewers. The Culture theme centers on China‘s traditional cultural heritage, 

highlighting national characteristics and sharing cultural achievements. It encompasses over twenty 

types of traditional cultural treasures, including Chinese painting, paper-cutting, traditional 

craftsmanship, martial arts, ancient poetry, folk festivals, dance, and opera, showcasing the unique 

charm of folk arts. Beyond traditional cultural subjects, the videos also feature developments in 

contemporary Chinese popular culture. Additionally, eighteen videos illustrate cultural exchanges and 

integration between China and foreign countries, reflecting the inclusive spirit of contemporary China. 

 

Table 1. “Tourism” and “Culture” Categories and Event Clusters 

Category Construction Content Type Video Title 

 

 

Tourism 

 

Seasonal Landscapes The Great Wall in Colorful Autumn Attire 

Water Landscapes Hukou Waterfall: Streams and Rainbows 

Wildlife Ecology Sichuan Welcomes Wintering Swans 

Hidden Wonders 
Majestic Danxia Landform of Xinjiang 

Grand Canyon 

Photographic Perspectives 
Time-lapse Captures the Moment Water 

Lilies Bloom 

Urban Architecture 
Phoenix Light Spectacle in Xi’an’s Night 

Sky 

 

 

Culture 

Intangible Heritage 
Paper Cutting: A Millennia-Old Chinese 

Art 

Stage Performance Tibetan Tap Dance 

Festival Celebration 
China Central Television Spring Festival 

Gala 

Tradition Meets Modernity Musician Plays Modern Songs on 



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Ancient Chime Bells 

Museum Restoration 
Preserving History: The Art of 

Restoration 

Classical Poetry Immortal Verses: The Poems of Du Fu 

 

3.1.2 Video Sources: Predominance of Official Media Reposts 

Video sources, defined as the entities responsible for video creation, significantly influence the 

selection of content and stylistic orientation, thereby shaping the overall tone of the videos. Analysis of 

the 1,039 video samples reveals three primary categories of sources. 

First, approximately 70% of the videos are reposted from official media outlets, including central 

media organizations such as CGTN Russian Channel, CMG Local Headquarters, and CCTV News. 

This official sourcing ensures that the CRH platform disseminates the most representative Chinese 

voices on overseas media platforms. Notably, CGTN Russian Channel targets Russian-speaking 

audiences with videos featuring Russian language narration, Russian-speaking anchors, or Russian 

participants. Second, a portion of the videos originates from new media accounts, supplementing the 

official media content. These are mainly reposted from platforms such as Lizhi Video, Farmer Channel, 

and Pear Video, offering more flexible and diverse content presentation that highlights natural 

landscapes or aspects of everyday cultural life. Third, a small number of videos are self-produced by 

the CRH project itself. These videos employ a data journalism format to present China‘s development 

status by combining Russian-language data visualizations, explanatory texts, and video imagery, 

achieving precise point-to-point communication effectiveness. 

A comprehensive analysis of these three video sources indicates that the CRH video samples combine 

macro-level positioning with targeted dissemination. Compared to official media, new media and 

self-produced videos tend to be more engaging and entertaining; relative to new media, official and 

self-produced videos are more closely aligned with Russian audience preferences. Comparative data 

further shows that self-produced videos, which balance both engagement and audience relevance, 

generally achieve higher view counts. 

3.1.3 Video Tonality: Focus on Mainstream Narratives 

Articulating the mainstream narrative on overseas media platforms to showcase a refreshed image to 

broad international audiences constitutes a crucial content tone in global communication. Economic 

development, political dialogue, diplomatic interactions, technological innovation, and environmental 

protection form the core components of the CRH video series, playing a foundational role in shaping 

China‘s international image, conveying its official positions, and presenting its national identity. The 

results reveal that videos with a primary focus on political and diplomatic themes demonstrate notable 

dissemination effectiveness within Russian audiences. For example, highly viewed samples include 



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―General Secretary Calls for a Fair World of Common Development at the G20‖ (views: 1,247,819), 

―Maria Zakharova‘s Memories of China‖ (views: 1,187,802), ―Xi Jinping Holds Talks with Peruvian 

President‖ (views: 1,129,996), ―Xi Jinping Meets Putin‖ (views: 416,155), and ―Promoting the 

‗Shanghai Spirit‘: Actions of the SCO‖ (views: 109,518), all ranking among the top ten by viewership. 

Russian audiences not only pay close attention to Sino-Russian bilateral relations but also show strong 

interest in China‘s performance on the international stage, with forums such as the G20 Summit and the 

Shanghai Cooperation Organization (SCO) receiving widespread attention. 

Further thematic analysis reveals distinct focal points that collectively compose a contemporary 

panorama of China‘s development. Under the environmental theme, emphasis is placed on Eastern 

wisdom regarding harmonious coexistence between humans and nature, showcasing China‘s 

responsible leadership role in global environmental governance. The economic theme highlights 

regional economic development as a microcosm, illustrating China‘s high-quality economic growth in 

the new era and underscoring China‘s powerful momentum as a global engine for sustainable 

development. The technological theme accentuates the empowerment of traditional industries through 

new productive forces, demonstrating China‘s efforts to build a globally leading technological 

industrial chain. The political theme presents the practice of whole-process people‘s democracy, 

articulating China‘s model of modern political civilization. The diplomatic theme emphasizes the 

friendly bilateral relations between China and Russia. It adopts the concept of a community with a 

shared future for humanity as a value orientation to address new challenges in the era of globalization. 

Figure 2. Mainstream Discourse Word Cloud 



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3.2 Meso-Level Framing 

Zang conceptualizes meso-level framing as the structural form of news events. It involves situating the 

thematic content of each news report within the broader framework of the event, thereby clarifying the 

comprehensive narrative strategies, including narrative techniques, structures, and genres. 

3.2.1 Narrative Techniques: Generally Conservative, Aligned with Thematic Style 

Compared with textual content, video media offers more diverse narrative possibilities. The CRH 

account adopts a hybrid approach by integrating multiple narrative techniques across visual 

presentation, sound design, video editing, and thematic expression. While videos under the same theme 

tend to share similar narrative styles, this study selects the most-viewed and representative video 

samples under six major themes, including tourism, culture, technology, society, politics, and 

diplomacy, for detailed analysis. 

The selected video samples are as follows: 

(1) A Dragon-Shaped Tide in the Qiantang River (В реке Цяньтан приливная волна создала 

«дракона»); 

(2) Russian Girls in Intricate Chinese Paper-Cut Dresses: China‘s Intangible Cultural Heritage 

(Девушки из России в резных бумажных нарядах из Китая—нематериальное культурное 

наследие Китая); 

(3) AI Anchor Alena-Nana Explores Outer Space (Video by Алена Nana); 

(4) A 70-Year-Old Chinese Man Rescues a Drowning Child in Time (70-летний китаец оперативно 

спас ребенка из воды)； 

(5) Xi Jinping Calls for Building a Fair World of Common Development at the G20 Summit (Си 

Цзиньпин на саммите G20 призвал к построению справедливого мира общего развития); 

(6) Maria Zakharova Shares Her Memories of Life in China (Мария Захарова поделилась 

воспоминаниями о жизни в Китае). 

These videos received 46,273; 136,143; 353,633; 40,240; 1,247,819; and 1,187,802 views, 

respectively. 

 

 

 

 

 

 

 

 

 



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Table 2. Theme Classification and Narrative Techniques 

Theme Category 
Leisure-oriented themes Formal themes 

Tourism Culture Technology Society Politics Diplomacy 

Visual 

Representation 

Color Tone Warm Tone 
Chinese 

Red 

Aerospace 

Blue 

News 

Tone 
News Tone News Tone 

Scenery Shot 
Aerial 

Long Shot 

Wide + 

Close Shot 

Wide + 

Close Shot 

Static 

Camera 
Static Camera Static Camera 

Composition 
Rule of 

Thirds 
Symmetry 

Rule of 

Thirds 

Rule of 

Thirds 

Center 

Composition 

Center 

Composition 

Voice Design 

Voice None None AI Voice 
Natural 

Interview 
Speaker Speaker 

Background 

Music 
Folk Music Folk Music Sci-Fi Music Pop Music None None 

Sound Effect 
Dragon 

Roar 
Applause 

Mechanical 

Sound 
None None None 

Video Editing 

Duration 15–30s 30–60s 1–2min 15–30s 30–60s 3min+ 

Format Vertical Horizontal Horizontal Vertical Vertical Vertical 

Editing 

Frequency 
Fast Fast Fast Moderate Moderate No Editing 

 

Text Theme 

Subtitle None None Yes Yes Yes Yes 

Title None Yes Yes None None None 

Annotation None Yes Yes None None None 

 

Overall, the narrative techniques employed in the CRH videos can be characterized as relatively 

conservative. In terms of post-production, the videos are generally short and feature rapid editing. This 

fast-paced narrative strategy facilitates efficient information delivery within a limited timeframe, 

enhances narrative engagement, and increases the dynamism of the content. In terms of visual language, 

the videos incorporate a variety of shot types, including panoramic, medium-close, and close-up shots. 

Each serves a distinct function: panoramic shots offer intuitive visual overviews, medium-close shots 

capture scene details, and close-ups emphasize emotional expression. In terms of auditory language, the 

videos alternate between synchronous sound, voice-over narration, background music, and sound 

effects, thereby enhancing the visual impact and enriching the narrative layering. Textual elements, 

such as Russian-language titles, subtitles, and annotations, are relatively concise and serve to clarify 

video content and reinforce the overarching narrative themes. 

 



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Moreover, to align with the stylistic demands of different thematic categories, the narrative techniques 

vary significantly across content types. Entertainment-oriented content emphasizes sensory stimulation, 

while more serious themes prioritize informational efficiency, achieving a balance between 

communication effectiveness and audience experience. In videos related to tourism, culture, and 

technology, the narrative is characterized by vibrant color schemes, diverse camera angles, dynamic 

camera movements, pronounced background music, and rich sound effects conveying a lighthearted 

and lively tone. Conversely, in videos dealing with social issues, politics, and diplomacy, audiences 

tend to prefer content that is clear, authoritative, and structurally coherent. These videos typically 

feature neutral color palettes, emphasize medium-close shots of key individuals, maintain orderly 

composition, present clear vocal narration, and avoid background sound effects. 

3.2.2 Narrative Structure: Coexistence of Linear and Nonlinear Modes to Stimulate Audience 

Engagement 

Narrative modes of event reporting can be broadly categorized into linear and nonlinear structures. 

Linear narratives typically follow a chronological sequence, including beginning, development, climax, 

and conclusion, and include forms such as progressive (step-by-step) narration and central-thread 

narration. For instance, the video ―A Dragon-Shaped Tide in the Qiantang River‖ employs a stepwise 

progressive structure, adhering to a temporal sequence to depict the flowing process of the tide, 

ultimately forming a dragon-shaped landform. In addition, ―All for the People: Chinese Leader Draws 

Inspiration from His Father‖ exhibits a central-thread narrative, where memories of the father serve as 

the main axis, linking together childhood events and third-party commentary to construct a coherent 

storyline. 

In contrast, nonlinear narratives abandon strict chronological progression and instead utilize techniques 

such as flashbacks and interjections to piece together events. This fragmented narrative style expands 

the space for meaning-making and often manifests as looped, modular, or scattered structures. For 

example, ―A Russian Conductor‘s First Experience Playing the Chinese Bamboo Flute‖ adopts a 

circular narrative: it begins and ends with scenes of flute playing, while inserting interview clips of the 

conductor in between, thereby creating strong recall points for the viewer. In ―Boy Studies Sugar 

Painting for 13 Years‖, a modular narrative structure is applied by alternating between the creation of 

two sugar paintings (one brown and one blue), visually conveying each step of the traditional folk art in 

a more accessible way. Scattered narrative structure breaks down spatial or temporal continuity, as seen 

in ―Woman Knocks on Doors One by One After Detecting Fire‖, where the narrative switches back and 

forth between the early and advanced stages of the fire, between interior and exterior scenes, and 

between the perspectives of dense smoke and emergency escape, heightening narrative tension. In sum, 

the CRH project flexibly adopts diverse narrative structures, selecting the form most appropriate for 

each video‘s thematic focus. These strategic choices help to quickly capture audience attention and 



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elicit emotional resonance within the constraints of short-form video. 

 

Table 3. Representative Narrative Structures and Samples 

Narrative Style Representative Sample 

Stepwise 

Progressive 
A Dragon-Shaped Tide in the Qiantang River 

Central-Thread All for the People: Chinese Leader Draws Inspiration from His Father 

Circular Narrative A Russian Conductor‘s First Experience Playing the Chinese Bamboo Flute 

Modular Narrative Boy Studies Sugar Painting for 13 Years 

Scattered Narrative Woman Knocks on Doors One by One After Detecting Fire 

 

3.2.3 Narrative Length: Dominated by short videos, capitalizing on the traffic dividends 

In the current media landscape, video content is generally categorized by length: short-form videos (< 5 

minutes), medium-form (5-30 minutes), and long-form (30+minutes). Audiences‘ comprehension and 

perception of news content vary with video duration. The results reveal that CRH primarily utilizes 

short-form video to present China‘s image. Among the total sample, there are 870 short videos, 152 

medium-length videos, and 18 long videos. Short videos predominantly cover engaging and culturally 

rich topics within the cultural and social domains. Examples include ―Girl Playing with Penguin‖ 

(Девочка забавляется с пингвином) and ―Chinese Math Teacher Teaches Students to Dance‖ 

(Китайский учитель математики учит учеников танцевать). This aligns with the broader global 

media ecosystem, where short-form content not only defines platforms like TikTok but also serves as a 

major traffic driver across various social media platforms. In the current streaming era, short videos 

offer a compelling means of conveying targeted messages within limited time frames, catering to 

audiences‘ fragmented entertainment needs. The CRH account effectively capitalizes on the global 

short-video boom, leveraging platform algorithm mechanisms to capture traffic dividends. It 

emphasizes the production and distribution of short-form content with high interactivity and 

fragmentation, thereby opening new channels for outbound communication. These efforts contribute to 

establishing a stable stream of cultural dissemination, facilitating the international outreach of Chinese 

culture via dynamic and accessible short video formats. 

3.3 Micro-Level Framing 

Micro-level frames are primarily manifested through language and symbols, including syntactic 

structures, rhetorical devices, and discursive styles. These elements influence the audience‘s perception 

of news reports on a micro level and subtly shape their value orientations. 

 

 



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3.3.1 Video Titles: Skillful Use of Rhetorical Strategies 

In news reporting, integrating journalistic writing with literary techniques, including blending factual 

accuracy with artistic expression, can enhance the expressiveness, emotional appeal, and interest of the 

news content (Chen, P. & Chen, Q. H., 2022). As a literary device, rhetoric can communicate discursive 

intentions and improve communication effectiveness in news discourse. The CRH account frequently 

employs rhetorical strategies such as quotation, rhetorical questions, metaphor, and exclamation in its 

video titles. Examples include: ―I remember the beautiful moments on the Tibetan Plateau‖, ―Why must 

one visit China this spring?‖, ―A hidden current forms a ‗dragon‘ in Qiantan River‖, and ―A stunning 

painting!‖ Appropriate rhetorical embellishments in titles can stimulate imagination, arouse curiosity, 

offer visual cues, and convey emotions, thus increasing click-through rates before viewing and 

enhancing memorability afterward, effectively contributing to external communication with Russian 

audiences. 

3.3.2 Video Content: Effective Use of Chinese Symbols 

Symbols are perceptions that carry meaning and serve as key vehicles for conveying meaning in 

cross-cultural communication. According to Saussure, a symbol is a composite of the signifier and the 

signified; the signifier being the perceptual form and the signified the abstract concept it represents. 

Their interconnection forms the basis of a shared cultural understanding (Saussure, 2017). Based on 

this theory, this study summarizes and analyzes the symbolic system across 1,039 videos from the CRH 

account. 

 

Table 4. Analysis of Representative Symbols of China 

Symbol Type Representative Symbols Signified Meaning 

Natural  

Symbols 

Panda, Penguin, Dolphin, Dove 
Peace & Friendship, Harmonious 

Coexistence 

Tulip, Cactus, Lotus, Magnolia 
Beautiful Symbolism, Ecological 

Protection 

Regional  

Symbols 

Xinjiang, Xizang, Guangxi 
Ethnic Unity, Pluralistic 

Coexistence 

Shanghai, Hangzhou, Beijing, 

Chengdu 

Modern Metropolis, Livable 

Cities 

Mount Everest, Changbai Mountain, 

Salt Lake 

Natural Resources, Tourism 

Resources 

Social  

Symbols 

Children, Elderly, Hearing-impaired 
Social Security, Care for 

Vulnerable Groups 

Doctors, Migrant Workers, Police, Professional Dedication, 



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Teachers Everyday Heroes 

Floods, Torrential Rains, Earthquakes 
United as One, Institutional 

Superiority 

Cultural  

Symbols 

Paper-cutting, Traditional Painting, 

Peking Opera, Folk Music 

Cultural Confidence, Heritage 

Preservation 

Qingming Festival, Spring Festival, 

Ancient Poetry 
Cultural Roots, Traditional Values 

Great Wall, Old Summer Palace, 

Forbidden City 

Civilizational Continuity, National 

Spirit 

Economic 

Symbols 

Drones, AI, Electric Vehicles 
Technological Innovation, 

High-quality Development 

High-speed Rail, Made in China 
National Brand, Infrastructure 

Strength 

Poverty Alleviation, Rural 

Modernization 

Common Prosperity, Livelihood 

Improvement 

Political  

Symbols 

CIIE, BRICS, SCO 
Opening-up, Major-country 

Responsibility 

People's Stability, Deepening 

Reforms, Chinese Wisdom 

Civilizational Dialogue, Solution 

Contributions 

 

The visual symbols presented in the videos strongly reflect the image of China. Through specific 

symbols, viewers form associative concepts that collectively construct a modern Chinese image 

characterized by vast natural landscapes, diverse regional features, harmonious communities, and a 

booming economy. The recurring use of such symbols reinforces these associated concepts, thus 

playing a crucial role in shaping Russian audiences‘ perceptions of China. 

 

4. Discussion 

An analysis of the three-level narrative framework reveals that the CRH account has established a 

relatively mature content publishing system. However, the video data still exhibits significant volatility 

and low engagement. First, view counts fluctuate widely, ranging from over 1,000 to over 1 million per 

video, an inconsistency considering the account‘s follower base of over 700,000. Second, engagement 

rates remain low, with most videos receiving only a few or no comments, and the highest number of 

shares barely exceeding 20. Further investigation reveals the following key issues in the dissemination 

of video content on the CRH account: First, the themes covered are broad, and the account lacks clear 

positioning. Although the account benefits from CMG‘s extensive media resources, this also results in 



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content redundancy. Notably, there is significant thematic overlap across videos, leading to viewer 

fatigue. For example, many re-posted videos from Litchi Video focus on floral time-lapse photography, 

which generally attracts low viewership. Moreover, the variety of content formats, ranging from news 

commentary and aerial footage to personal interviews, makes it difficult to establish a consistent 

stylistic identity, hindering the account‘s ability to foster long-term viewer loyalty among Russian 

audiences.  

Second, the heavy reliance on official media sources has led to a singular narrative perspective, making 

it difficult to achieve cross-cultural resonance from the ―others‘‖ point of view. While the account plays 

a key role in mainstream narrative dissemination, its propagandistic tone may feel tedious. Additionally, 

the videos are primarily in Chinese. Although CGTN Russian and some self-produced content include 

Russian subtitles, the prevalence of untranslated Chinese text and spoken Mandarin increases the 

cognitive barrier for Russian viewers, further discouraging engagement. 

Third, in terms of format, the account overwhelmingly prioritizes short videos, while mid- and 

long-form content is underrepresented. While short videos are compact and engaging, and have become 

a popular format in the digital era, they are insufficient to showcase China‘s rich history and cultural 

depth fully. This results in a loss of nuanced information. In terms of structure, the narratives remain 

relatively simplistic. Scholars have noted a positive correlation between the number of journalistic 

elements and the completeness of a narrative (Zang, 1999). Moreover, much of the content consists of 

re-posted material, with limited original reporting. The account tends to focus on studio-based 

commentary, with a lack of deep-dive segments such as live reports, on-the-ground interviews, or street 

vox pops, all of which could enhance interactivity and authenticity. 

Currently, the videos on CRH are categorized clearly but tend to remain thematically isolated. Some 

experimental segments have shown promising results. For example, the five videos featuring the 

AI-generated virtual host ―Alyosha Nana‖ all surpassed 15,000 views. Building on this success, future 

content should explore thematic integration, using emerging AI technologies to breathe new life into 

traditional culture and create regionally tailored IPs that appeal to Russian audiences. Content strategies 

should shift from quantity to quality by localizing narratives, avoiding direct content transfer, and 

instead customizing material for the Russian market. For instance, with the recent surge in Russian 

tourism to Sanya, content could combine local scenic resources with regional cultural elements, 

simultaneously promoting tourism and cultural understanding. The current over-reliance on national 

media sources has led to a narrow thematic range. To address this, content production should draw 

from both mainstream Chinese media and independent creators, while fostering bilateral institutional 

cooperation. Collaboration between Chinese and Russian media, such as between Chinese state outlets 

and Russian platforms like RT or local influencers, could help blend the self-represented narrative with 

a receptive outsider‘s perspective. 



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In addition, shared cultural values can help bridge emotional distances. Currently, most videos focus on 

traditional topics that may feel removed from viewers‘ everyday lives. For example, ―How to Make a 

Lantern‖ is likely to be more engaging than simply showcasing ―Lantern Designs‖. Interactive cultural 

events, livestreams, and topic-based campaigns should be introduced to make Chinese culture ―come 

alive‖ in Russian social spaces. Moreover, video editing and translation should aim for clarity and 

familiarity, adding colloquial Russian annotations and reducing excessive Chinese-language content to 

lower entry barriers. Videos with emotional appeal that resonate with Russian values are particularly 

effective. Given the shared values of mutual aid, patriotism, and selflessness between Chinese and 

Russian cultures, the account should publish more videos that showcase collective assistance and 

community spirit. Emotional connectivity can build psychological bridges and drive resonance, 

amplifying the overall impact of cross-cultural communication. 

Last, due to differences in language, history, and cultural background, China‘s cultural exports often 

face a ―cultural discount‖. This necessitates the development of content with greater depth in both form 

and substance. First, the account should produce long-form, well-planned videos that provide 

comprehensive, multi-angle portrayals of specific topics. This would enable systematic storytelling and 

more effectively present a holistic image of modern China to deepen Russian audiences‘ understanding. 

Second, content should incorporate modern cultural trends, such as rock music, historical dramas, or 

high-speed rail innovations and Olympic achievements, to broaden the spectrum of cultural narratives. 

Blending traditional and contemporary elements can help craft Chinese stories that resonate with 

Russian viewers. Finally, thematic campaigns could be launched around specific timeframes or events. 

For example, the Spring Festival Gala or the Asian Winter Games, anchored in traditional festivals or 

international events, can serve as windows to showcase contemporary China through the interplay of 

past and present. 

 

5. Conclusions 

As one of the earliest accounts established under the initiative of China‘s cultural outreach to Russia, 

CRH presents the modernization of Chinese society through a wide range of themes. It employs diverse 

narrative techniques and rhetorical strategies, integrating distinctive Chinese symbols to attract the 

interest of Russian audiences. Drawing upon framing theory, this study finds that, rooted in its state 

media background, CRH has become a key channel for official communication with Russian audiences. 

Although its content aligns with mainstream discourses, it often lacks proximity and audience 

relevance. While the account covers a broad array of topics, it also suffers from content 

homogenization. Over the years, it has developed a stable narrative tone, relying on fast-paced, 

fragmented short videos to tell Chinese stories, yet remains deficient in in-depth, high-quality 

productions. Entertaining video titles and culturally symbolic visuals continue to draw in Russian 



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viewers, but problems such as inadequate Russian subtitles and translations persist. These issues reflect 

broader challenges in China‘s cross-cultural communication with Russia. 

In the era of new media, international communication faces both unprecedented opportunities and 

complex challenges. Promoting China‘s national image through cross-cultural dissemination on new 

media platforms requires integrating the state media‘s grand narratives with personal ―meta-narratives‖. 

This entails understanding audiences‘ basic emotional needs and producing content that is emotionally 

resonant, rich in form, and of high cultural value. Enhancing the appeal and influence of Chinese media 

accounts targeting Russian audiences depends on continuously refining communication strategies, 

exploring innovative dissemination paths, and expanding the boundaries of international 

communication. Only by doing so can China truly seize discursive power amid the profound global 

transformations of our time. 

 

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