Dominion: Bilibili Jurassic World

The Chinese Digital Box Office: Analyzing the Symbiosis of Franchise Cinema and Fandom Culture in the Bilibili Ecosystem via Jurassic World Dominion

While Jurassic World Dominion (2022) underperformed critically in Western markets, its presence on the Chinese video-sharing platform Bilibili represents a significant case study in transmedia adaptation and digital fandom. This paper argues that Bilibili serves not merely as a streaming host but as a "deconstructive engine" for Hollywood blockbusters. Through the lens of Jurassic World Dominion , this analysis explores how Bilibili’s unique features—specifically its bullet-screen (danmaku) commenting system, its culture of fan-made parody and critique (erchuang) , and its vertical integration with gaming and merchandise —rehabilitate or re-contextualize Western IP for a Gen Z Chinese audience. 1. Introduction: The Bilibili Difference Unlike Western platforms (Netflix, YouTube) or mainstream Chinese streamers (Youku, iQiyi), Bilibili is fundamentally a community-centric ecosystem rooted in ACG (Anime, Comic, Game) culture. Jurassic World Dominion , the conclusion to the Jurassic World trilogy, is a text rich with nostalgia, CGI spectacle, and scientific absurdity—qualities that make it a perfect candidate for Bilibili’s dual treatment: high-production value viewing and irreverent, collective deconstruction. bilibili jurassic world dominion

For Bilibili’s Gen Z audience (born 1995-2010), Jurassic World Dominion is not a cinematic event; it is a . The dinosaurs are secondary to the danmaku. The plot is irrelevant compared to the erchuang. The platform has successfully turned the Hollywood blockbuster into a renewable resource of community engagement. The Chinese Digital Box Office: Analyzing the Symbiosis

[Generated AI Analysis] Date: October 2023 (Updated for Context) For Bilibili’s Gen Z audience (born 1995-2010), Jurassic