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As a child god from Chinese legends, the figure of Nezha has a strong appeal to children, and his story has been adapted to various media. This article examines Nezha's image in three animated films, exploring how this figure has been altered to represent Chinese children and youth and symbolize their subjectivity. From a revolutionary hero to a socialized child and a rebellious adolescent, Nezha's transformations demonstrate how an iconic figure has been reimagined to reflect shifting socio-political contexts in the Chinese socialist and post-socialist eras.

Situated within the changing economic and political contexts of China's modernization and globalization, children's fantasy novels prove to be apt vehicles for exploring the plights and challenges that women and girls face in the new millennium in China. This article provides a feminist critique of two contemporary Chinese children's fantasy novels, "My Mother is a Fairy" by Chen Danyan and "Jiujiu From the Ghost Mansion" by Tangtang, and examines the marginalization and silencing of the otherworld female/child characters in these narratives. It focuses on how they rework old literary tropes and conventions, employing female children as focalizers. These novels are found to construct a binary opposition between the fantastic-female-child and the rational-male-adult, with the latter dominating the female and the child by repressing their propensity for imagination and fantasy. However, although these fantasy novels might seem to conform to the ideological status quo in terms of the patriarchal family structure, they also have a subversive edge in the way that the binary opposition between male and female is transgressed. Such novels point to the formation of a new kind of intersubjective relationship that is based on understanding and tolerance rather than refusal and dominance.

This articles examines the representation of the blurred boundary between bromance and romance in the Chinese drama, S.C.I. Mystery (2018) and how it can be interpreted in Chinese gender discourse because it is the unique boys' love fanfiction being adapted for an online drama in mainland China. We use the term bromance-as-masquerade to denote a representational strategy of depicting male–male romance under the guise of homosocial bromance. Bromance-as-masquerade facilitates the promotion of male intimacy cultivated by the leading actors themselves and the production team in the marketing process. Their actions demonstrate a proactive engagement in the counterpublic discourse; however, this article argues that the self-censored modification of the plot-setting represents a refusal and exclusion of boys' love subculture, which places the notion of the counterpublic in question. [ABSTRACT FROM AUTHOR]