Popular culture is often seen as being simplistic, denying any subtle complexity and reducing everything to its most obvious points. It is the author’s contention that the complexity of “high” culture/art is conveniently used to establish and also to maintain its aesthetic and intellectual superiority to “low” culture/art so as to naturalise the superior taste of a certain class or group. In this chapter, the author argues that popular culture, whether in China or in the West, is always shot through with all kinds of contradictions, complexities and uncertainties that usually escape control. A “popular” cinematic text, for example, may be profoundly rich in its allusions to and connections with an array of other “texts” from both “high” and “low” cultures. In other words, such texts often reveal class, ethnic and gender dynamics in a society and, because of their intertextuality, they often reject neat interpretations and refuse facile solutions in translation. This chapter takes Chinese “commercial” film director Feng Xiaogang’s transnationally produced film Da wan (Big Shot’s Funeral€, 2002) as a major text and focuses on its deep structures, from which ideological, psychoanalytical, sociosemiotic, and cultural interpretations can be derived. Borrowing ideas and theories from cultural studies for this project, the author, while reading Big Shot’s Funeral# as a polynuclear text, selects some specific examples from the film in the analysis of parody and intertextuality, which create different levels of difficulties for the translator when working cross-culturally.