We selected a representative official Douyin account promoting ICH for multimodal content analysis. As Gustafsson (2017) noted, focusing on a single case enables a richer and deeper exploration of a phenomenon compared to investigating multiple cases.

For representative account selection, we first searched on Douyin using the keywords ‘非物质文化遗产’ (Chinese translation of ‘Intangible Cultural Heritage’) and its abbreviation ‘非遗’ (Chinese translation of ‘ICH’). Among the results, three criteria were applied for account filtering: 1) verified by official agency, 2) number of followers, and 3) number of likes received. Specifically, all unofficial accounts were first excluded. The remaining verified accounts were then ranked in descending order according to their number of followers. The top 10 accounts were further sorted in descending order based on their number of likes received. The account ranked first after this process was selected.

Finally, we identified the account ‘Intangible Cultural Heritage is Coming’ (ICHC; Chinese name: ‘非遗来了’; ID: feiyitv). ICHC is an official Douyin account managed by Radio Shanghai, a provincial, state-owned media organization. This account was dedicated to promoting Chinese ICH, which has gained significant recognition and popularity nationwide. As of September 12, 2024, this account had the highest number of followers (1.483 million) and the highest number of likes received (7.729 million) among all official accounts promoting ICH in Douyin. A total of 532 SFVs published in this account were downloaded for multimodal content analysis.

We adopted Serafini and Reid’s (2023) framework for multimodal content analysis. This framework (see Figure 1) includes 11 steps: (1) Recognizing an area of interest; (2) Developing initial research questions; (3) Constructing the data corpus; (4) Defining the object of study; (5) Developing initial categories; (6) Developing the analytical template; (7) Testing the analytical template; (8) Applying the analytical template to the data corpus; (9) Constructing potential themes; (10) Implications of the analysis; and (11) Dissemination of findings.

The rationale for selecting this framework lies in its extension of the traditional content analysis approach (e.g. Schreier, 2012) by integrating a multimodal theoretical perspective (e.g. Kress, 2009). This enables researchers to consider the interactions among various communication modalities, including video, image, text, and audio, which is particularly suited to the information characteristics of SFV content.

To better address the proposed RQs, the analytical template (AT) for this study included two codebooks, each addressing RQ1 and RQ2, respectively. Both inductive and deductive coding approaches were used. To address RQ1, we applied Braun and Clarke’s (2012) thematic analysis approach. This is a pure inductive coding approach. The codebook was developed based on the commonality of raw qualitative data. All generated codes were subsequently categorized, evaluated, and refined to construct appropriate themes. To address RQ2, we leveraged Kress’s (2009) social semiotic theory of multimodality. This theory highlights that signs exist in various modes (e.g., visual, auditory, linguistic) and emphasizes the interplay among these modes in meaning construction. Drawing on this theoretical lens and considering the SFV’s contexts, we proposed four primary categories: narratives, videography, visual symbols, and music genres. These categories served as a foundation for developing the elements within the codebook. Specifically, we further developed and confirmed corresponding elements (i.e., codes) of each category by coding a portion of the data. This process culminated in a finalized RQ2-specific codebook.

In the actual coding process, two trained researchers in information sciences systematically coded all SFVs (N=523). As shown in Figure 2, they first independently coded the first 100 SFVs and developed the initial AT. Subsequently, they discussed and resolved all inconsistencies and ambiguities of codebooks in AT. After that, they confirmed the AT. Guided by the AT, the two researchers worked collaboratively to code the remaining SFVs. Based on the coding results, they constructed a series of initial themes. In the last stage, codes with less than three occurrences were removed or merged. And coded themes were finally named, defined, refined, and confirmed. To ensure intercoder reliability, the coding process was repeated twice.

Cultural democratization was the most frequent theme of ideological presentations (N=303; 56.96%), which refers to the advocacy of making cultural access, participation, and production available to a wider and more diverse population. Within the official SFVs published by ICHC, a non-formal, de-authoritative discourse environment was gradually constructed to democratize the ICH. The content allowed people to be active digital participants rather than passive information receivers of the culture. This looked for broader rights for communities and individuals by involving more stakeholders in heritage practices.

This ideological theme was most likely expressed through grassroots events. For instance, stories about the everyday lives of ordinary citizens, such as plots of marriage proposals or creating postcards for Teacher’s Day, were frequently used by ICHC to engage a broad audience. In terms of videography, user-generated styles, including point-of-view and close-up shots, were employed to enhance visual appeal. The SFVs usually started with or were introduced by craftsmen or artisans, emphasizing the role of ICH artisans in heritage preservation and promotion practices. These kinds of interactive videography were hardly seen in previous ICH promotions by traditional media. Additionally, internet meme elements like popular animations or gifs, along with background music based on trending songs, were widely deployed in content creation. The incorporation of these elements made the SFV’s content more layman-friendly and easier to understand, reducing the emphasis on authoritative official discourse in the promotion of ICH, while highlighting a more democratized engagement with popular culture.

The second frequent ideological theme reflected in ICHC was tradition revivalism (N=198; 37.22%). In recent years, the importance of traditional culture for the improvement of China’s soft power and the construction of the national ideological system has been increasingly emphasized. ICHC placed great emphasis on promoting traditional Chinese culture or philosophy. However, this

action did not refer to the blind praising of ancient values. We found that this ICHC leveraged SFVs to revitalize traditional customs or values of ICH, making them vibrant and relevant in today’s political and societal landscape.

The SFVs categorizing this ideological theme often drew upon various ethnic events in their narratives, such as traditional festivals or folklore. This approach allowed the integration of diverse values from multiple ethnic traditions. For example, by reporting the dragon boat races during the Duanwu Festival, ICHC sought to convey current inheritances and interpretations of the ancient Chinese spirit of perseverance and determination. This also subtly implied the country’s strength and prosperity. Regarding videographic presentation, SFVs featuring this theme adopted a more conservative style than others, frequently utilizing professional production formats like documentaries and official interviews. Traditional visual symbols, such as Spring Festival couplets and dragon stickers, were also extensively used in this content. However, we surprisingly observed that the background music in these SFVs showcased the fusion of traditional and popular elements. For instance, traditional instruments might be used to play popular music. The abovementioned SFV practices of ICH conveyed the ideological value of Chinese tradition revivalism, highlighting its important role in fostering ethnic and cultural identity.

Patriotism (N=81; 15.23%) was a key ideological theme embodied in the SFVs published by ICHC. These SFVs evoked a strong resonance of national identity among the audience, through presenting a sense of national pride or collectivist beliefs. Further, due to political and historical factors, the ‘Red’ culture was inextricably linked with patriotic beliefs in China (Huang et al., 2023), especially in the cyber context. The connection between ICH and the Communist Party of China (CPC) was constructed in these SFVs, to spread the ideology of patriotism.

In terms of narratives, these SFVs were often themed around national events, presenting the country’s development milestones and heroic stories through ICH practice. For instance, an artisan used paper-cutting to commemorate important events like the national day. Another typical example was that during major disasters, such as the COVID-19 pandemic, much of the content connected to or conveyed the values of nationwide solidarity and collective resilience. In addition, the user-generated style of videography was primarily employed by ICHC, which showcased more spontaneous acts of patriotism by individuals, rather than state-driven initiatives. This significantly differed from the previous patriotism education or communication in mass media. Moreover, visual symbols associated with the identification of the country or CPC, such as the national flag, Tiananmen Square, or CPC emblem, were frequently incorporated to promote patriotic values. Notably, compared to other themes, SFVs featuring patriotic content often utilized mixed-style background music to evoke emotional responses. For instance, epic-style or ‘Red culture’ songs were performed using ICH instruments to heighten emotional impact.

Multiculturalism was also an important theme reflected in ICHC’s ideological presentation (N=65; 12.22%). The values of respectfulness and inclusivity of diverse cultures were incorporated in many SFVs in ICHC. This constructed democratized discourse for the promotion of ICH from various ethnic groups. At the same time, ICHC also widely introduced the ICH from other countries and regions, such as African or Oceania tribes. This placed its official viewpoints of heritage in a broader context of globalization. Surprisingly, we also discovered that there was cross-cultural integration of ICH among ethnic groups, regions, and even countries in the ICHC’s content. The folklore customs and artistic elements of various regions were dynamically represented, exchanged, and co-created, transcending the boundaries of individual groups.

Both national and international events were frequently selected as narrative topics. For example, during the 2022 Beijing Winter Olympics, ICHC published numerous works related to the event, such as an ICH artisan using gourd carving to create the pattern of the panda mascot, Bing Dwen Dwen. In these types of SFVs, although user-generated style remained dominant, professional- generated, or professional-user-generated styles were more prominently featured compared to other SFVs with other ideological themes. For example, common filming techniques of documentaries and news reporting, such as wide-angle and high-angle shots, were frequently utilized, emphasizing a sense of objectivity by creating a distance from the subject (Berglund, 2007). In terms of visual elements, international symbols were extensively utilized in these SFVs. For instance, in response to the hosting of the 2023 Asian Games, the logo was transformed into a paper-cut design, becoming a significant visual motif in its presentation. Lastly, the content of this ideological theme did not focus on any genres of main or background music, which indirectly reflected their broader content positioning for a wider range of audience.