Recently, a rap song with a strong Lingnan style called 'Dazhan Hongtu' has become popular worldwide. The pyrotechnic atmosphere of the lyrics, the folk flavor of short videos, the rhythmic sense of rap, and the simple "magic" of dance movements make the whole song show a special interest in the balance between "unfashionable" and fashion, which is easy, witty, earthy, and has an attitude. This kind of interest has sparked exponential dissemination, with a massive number of foreign audiences accepting online challenges and sparking a wave of imitation. The popularity of 'The Great Exhibition' is not an accidental phenomenon, but a vivid footnote to the sustained success of Chinese culture's overseas dissemination in recent years. From songs and dances such as "Subject Three" and "The Great Exhibition of Hongtu", to film and television works such as "Ne Zha: The Demonic Children Roar in the Sea" and "The Legend of Canghai", to popular games such as "Black Myth: Wukong" and "Jiejie Ji", or global fan trend games like Pop Mart, Chinese popular culture is increasingly popular among global audiences and has become an undeniable phenomenon. Unlike previous cultures that have gone global, in recent years, cultural "going global" has particularly reflected the diverse creativity of Chinese culture in different artistic fields and product types. The breadth of dissemination is unprecedented, and it is deeply loved by ordinary audiences, especially young audiences. The continuity of dissemination is also outstanding, transforming occasional "highlights" into continuous "lines" and broad "surfaces", forming a certain brand effect, allowing overseas audiences to see a vivid and emotional China, and to see the lively charm and vitality of Chinese culture. This also inspires us to face the proposition that cultural image and cultural dissemination complement each other. Chinese cultural image is multi-level, multi-faceted, and multi angle, and the overseas dissemination of Chinese culture also needs different paths and focuses. Cultural dissemination should walk on two legs. On the one hand, we should refine our cultural identity and showcase the overall image of Chinese civilization, allowing more profound and atmospheric works with cultural and ideological depth to go global; On the other hand, there should also be more "down-to-earth" and "popular" cultural products, leveraging the dissemination of popular culture and popular culture, and making Chinese culture more deeply rooted in people's hearts through vivid ways and flexible paths. Take a look at the recent popularity of "going to sea" in the field of mass culture. These works are novel and lively in form, easy to understand, easy to feel, suitable for Internet communication, and can reduce communication losses; Rich and diverse in content, fully bloomed, making people enjoy and enjoy it; In terms of cultural expression, it not only has the charm and genes of Chinese culture, but also has strong adaptability and can be spread across cultures; The dissemination platforms and reception paths are also diverse and flexible, which can effectively reach, continuously arouse interest, and evoke resonance without barriers. The dissemination of high culture and popular culture complement and coexist with each other. The former makes people feel the height and depth of civilization, while the latter makes people deeply infected and attracted unconsciously; The former makes people respect and admire, while the latter makes people affectionately infatuated; The former stimulates more thinking and exploration, while the latter triggers more love and recognition. Both are indispensable for the dissemination and influence of culture. Walking on two legs, each with its own characteristics of elegance, depth, and enjoyment, each with its own stage, and each with its own achievements, together form a colorful cultural image. The vitality demonstrated by the current dissemination of Chinese culture is a true manifestation of China's own strength accumulation and a joint force of innovation and creation in various fields. It is certainly rooted in China's rich traditional culture and history, and is a new phenomenon brought about by the active development of Chinese popular culture in recent years. The following three factors that promote cultural globalization are particularly noteworthy. One is the effective empowerment of media and technology. With new conditions and new methods, the young generation of creators in China with broad horizons and cultural foundations can better unleash their creativity and imagination, continuously create stunning new works, constantly "activate" cultural resources, and receive widespread response to cultural innovation. With the help of the Internet platform, cultural communication is also more smooth and convenient, with a wider range of communication, more effective communication methods, and easier to penetrate cultural barriers. The second is the development and support of the cultural industry. Many of the cultural products that go global belong to new cultural types, such as micro dramas, which rely on effective support from the industry to develop. The continuous emergence of new types and formats is a condition for the emergence of new successful works. The complete range of subject types, a large number of works, and extensive pre testing by domestic netizens make it easier for new works to succeed overseas. The rise of new types and formats is also a "lane change overtaking" of the vast Western cultural industry, using different forms of innovation from traditional ones to attract audiences, especially young people. The popularity of the work may quickly dissipate, and the type and format will become more stable, which can make cultural dissemination more sustainable. Thirdly, the new platform plays an effective display role in it. Many works are displayed and showcased on platforms with certain cultural autonomy and local genes. This platform is not only a guarantee for dissemination, but also has aggregation and clustering effects, which can continuously discover new works, select good works, and form a certain market resilience. In recent years, Chinese cultural enterprises have shifted from "borrowing ships to go abroad" to "building ships to go abroad", in a form that is more in line with the acceptance habits of local audiences, allowing overseas audiences to have a natural sense of familiarity, thereby achieving smooth export of cultural products. The construction of cultural dissemination power and influence is not a one-time effort. The elevation of the global status of Chinese cultural brands and creations requires further efforts in market competitiveness, product attractiveness, and effective interaction with audiences. Not only rooted in the land of China to absorb nutrients, but also able to embrace the global context with an open attitude, seize and even lead global trends, use popular ways to express local culture more vividly, and let the world see a more three-dimensional and dynamic China. Continuously striving along this path, the future is promising. (New Society)