跨文化传播视角下对欧美电影中东方元素的合理性分析 An Analysisof Rationality of Oriental Elements in Western Films from the Perspective of Cross-Cultural Communication开题报告

1. 研究目的与意义（文献综述）

Influenced by globalizationand the market economy, cross-cultural communication has flourished. Movies inthe cultural industry have quickly become a popular way of culturalcommunication because of their vividness, intuitiveness, and the diversity ofmodes of communication. The film industry has developed rapidly, and as a carrierof culture it is also influencing people's thinking in a subtle way andcognitive styles. Movies from a variety of cultural backgrounds have beenintroduced into China, with mixed contents, which have profoundly impacted thecurrent culture of our country, which not only provides a new progressiveideology and culture, but also brings about a culture of decay and extremes; atthe same time, Chinese culture has also gone abroad. Inthe process of cultural communication, due to no basis of Chinese culture, culturalreceivers will inevitably have different understandings of Chinese culture,including positive and correct understanding, or misunderstanding andmisinterpretation. Some film writers and directors are influenced by globalthinking and try to create great works by combining cultures from multiplecountries when creating. In this process, due to the inevitable effects ofhistorical reasons, prejudice, and speech, some foreign directorsmisinterpreted Chinese culture when creating movies, causing some movies toconflict with their backgrounds, characters, and reality. It will causeaudiences with non-native cultural background to have a wrong understanding ofChinese culture. The film vividly displays the cultural image and conveyscultural connotation as a cultural carrier in terms of character settings,scenery modeling and color tone. For example, the animated movie Kung Fu Pandauses a large area of thecolor tone of the Chinese people's favorite red and vibrant bamboo. Theformation of green echoes and displays the color collocation of Chineseculture; for example, the main character of Panda Abao in the movie, and thefive heroes of the world take the "five birds show"(Wuqinxi) as theprototype are the output and embodiment of Chinese culture (Yuan Shuai, 2013).The purpose of this article is to compare and analyze the Chinese characters,Chinese culture, and Oriental culture in the three films, so as to derive thecontradiction, cultural prejudice, and rationality of cultural exchange andintegration among them. The three films cover animation Movies, reality movies,science fiction movies, and more.

Basedon the literature of cross-cultural communication, this study analyzes thecontradiction and rationality of the backgrounds of Chinese characters, Chineseculture, and oriental culture from the perspective of literary research, usingcross-cultural communication theory and film research theory. It points out themisunderstandings and enriches the parts of cross-cultural communicationliterature related to the spread of oriental culture. In practice, it canawaken the Chinese people's attention to the accuracy of cultural expressionsin movies. At the same time, film directors and screenwriters will pay moreattention to the accuracy of cultural communication when creating in thefuture, and appropriately adapt and maintain within the scope allowed bycultural expressions exaggeration Chinese culture, oriental culture,correctness and dignity. At the same time, we must also reflect on why thetraditional culture has not been formed into a certain form of culturalproducts in China, and why China has vigorously promoted Chinese culture andits impact has not received a great response. Absorb and learn from foreigncross-cultural communication methods, and further promote cultural exchange andintegration. Chinese director Ang Lee, as a cross-cultural filmmaker, iscommitted to the production of conflict films between Eastern and Westerncultures and co-existing theme films. The culture in his films does not lie onthe surface, but contains profound reflections on culture everywhere. On theone hand, it is the recognition of traditionalization; on the other hand, it isa reflection on the crisis that traditional culture faces in modern situations.Ang Lee's films, as a benchmark and criterion, plays an important role in theanalysis and comparison in this thesis.

2. 研究的基本内容与方案

why and what we research：

phrases likemartial arts (or wushu), meditation, cause and effect, and takenori (or martialvirtue)have appeared in western movies many times, especially in severalpopular individual heroic movies, and we have to pay attention to the influenceof eastern elements (or eastern culture) on western society. in addition to theinherent impact of language communication on people, with the rapid developmentof new media and globalization, non-verbal communication has a particularlysignificant impact on people, such as the animated films hua mulan, kung fu panda, and marvel's film series dr. strange. thefilm industry's that gains at the box office are positively related to theirdegree of cultural dissemination and output. what’s more, in addition toembodying oriental elements in character appearance, special effects, and scenelayout, these films have focused more on injecting oriental spirit in thespirit of characters in recent years. like kungfu panda named abao, the crystallization of eastern and western cultures,his subjective image is china the national treasure panda bears both theamerican hippie humor and the east's emphasis on reunion and filial piety.compared to the movie kung fu panda, dr.movie strange use of oriental elements with facility. with the furtheropening of the chinese market, fans are more willing to pay for this orientalelement; western fans on the other side are also willing to pay for mysteriousoriental elements and marvel's powerful special effects.

how we research:

3. 研究计划与安排

before 4th january : settlementof the title

before 6th march: submission of the outline

before 29th april : submission of the first draft

4. 参考文献（12篇以上）

[1] cui rongrong.0n thechinese—western cultural conflict in the cross—cultural communication [j].college of foreign languages zhengzhou institute of technology. academ ics no 7jui 2017 . generai no 230.pp.294-301

[2] film and cross-cultural communication: the film festival inretrospect. anthropology today, vol. 1, no. 6 (dec., 1985), pp. 22-25

[3] john adair; sol worth. the navajo asfilmmaker: a brief report of research in the cross-cultural aspects of filmcommunication [j].american anthropologist 1967 vol.69 no.1 pp.76-78 1548-1433