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一个故事，两种文化 - 《花木兰》和电影《花木兰》的比较-开题报告

Ktbg11309 一个故事，两种文化 - 《花木兰》和电影《花木兰》的比较-开题报告Many have been devoted to the analysis of either the ballad or the movie. However, only a few are focused on the comparative study of the two versions. Later, I will discuss their arguments in two categories. But first I shal..

一个故事，两种文化 - 《花木兰》和电影《花木兰》的比较-开题报告 Ktbg11309 一个故事，两种文化 - 《花木兰》和电影《花木兰》的比较-开题报告

Many have been devoted to the analysis of either the ballad or the movie. However, only a few are focused on the comparative study of the two versions. Later, I will discuss their arguments in two categories. But first I shall provide some background.

As we all know, the world today is made up of neither lonely islands nor isolated cultures - global culture is going through a process of communication and probably conflicts or integration. It often happens that cultural icons cross national boundaries in the form of movies. What happens in these cross-cultural cinema works has drawn wide attention from cultural researchers and educators, as Tierney (2006) concludes, “transcultural interpretation of film is an inevitability in both daily life and academic settings” (Tierney 414). Importantly, Chan and McIntyre (2002) is a collection of research papers exploring transcultural topics such as Hollywood and the film market in China, contributing towards “our understanding of the increasingly global nature of nationality, culture, and identity”.

Having set the background, I shall return to the two categories of arguments concerning the comparison between the two versions. In the first category, researchers argue that the movie has preserved the values reflected in the original ballad. Bi Gen & Li Dongqing (2000) claim that Mulan in the movie is a symbol of such virtues as piety towards her parents, loyalty towards her homeland and ambition for glory while Li Yinsu (2001) noted that her great mission of is to defend against foreign invasion and preserve the family honor.

In the second category, however, researchers propose some kind of transformation in the adapted movie. For example, Zhang Yanbin (1999) compares the ordeal that has led to Mulan’s success to the American dream. In this category, different analytic frameworks are applied, one of which is the cultural theory. Joseph Chan (2002) proposes the notion of transculturation - the transformation of one culture by another. In the case of Mulan as a Chinese cultural icon, he has demonstrated how one culture is decontextualised, essentialised, indigenised and recontextualised. By dissecting Mulan from her Chinese background and recasting her into the American cultural context, Disney successfully created a cultural hybridized Mulan who has far more American features than Chinese ones. Liu Lai (2001), Luo Ynaqiu (2007) and Jia Dongliang & Li Lin (2005) agree with Chan in that piety was replaced by independence and pursuit of self-identity in the Disney movie. Furthurmore, Gao Li (2006) observes that the surface values of piety, loyalty and pursuit of self-identity reflect such basic cultural values as hierarchy and collectivism in Chinese culture and equality and individualism in American culture.

Another framework applied is feminism. Xia Xiaoyan (1999, 2000) argues that originally, Mulan joined the army out of her piety towards her father, which tacitly complies with the institution of masculinity and therefore only an excuse, while her real feelings and self-evaluation remain unknown. But in the movie, no longer an object of man’s desire for a wife and confusedly, Mulan took the first step towards self-emancipation when she left home and achieved independence and self-identity when she fought as a self-confident woman rather than under the disguise of manly appearance. Similarly, Ju Guiqin (2007) observes that the new Mulan broke out of the shackles imposed upon women and succeeded in a hostile environment.

In sum, all the above studies have put forward valuable ideas about the cultural difference reflected in the two versions. However, there seems to be a lack of in-depth and detailed analysis and comparison, which will surely shed more light onto the cultural implications. Thus my study may hopefully make some contribution in this direction.

Outline

1.Introduction

2. The storylines and characters of the two versions

2.1 the storyline of the ballad

2.2 the storyline of the movie

3. A Comparison between “The Song of Mulan” and the Movie“Mulan”

3.1 the characterization of Mulan

3.1.1 her personality and manners

3.1.2 her relationship with her father

3.1.3 the real causes for her joining the army

3.2 the characterization of the Emperor

3.2.1 his relationship with his people

3.2.2 his view on individualism

3.3 The newly added elements in the movie

3.3.1 the character of Grandma

3.3.2 the character of Mushu

3.3.3 other manifestations of American Culture

4. Conclusion

5. References

References

[1] Joseph M. Chan, “Disneyfying and Globalizing the Chinese Legend Mulan: A Study of Transculturation” in In Search of Boundaries: Communication: Nation-States and Cultural Identities (ed.) by Joseph M. Chan and Bruce McIntyre (Westport, Connecticut: Ablex Publishing, 2002). pp225-48.

[2] Tierney, Sean M. “The East is (Mis)Red: Transcultural Misperceptions in Selected North American Scholarship on Hong Kong Cinema”, available at

< .cct.go.kr/data/acf2006/cinema/cinema-Session%205%20-%20Tierney.pdf>, accessible until 16 Oct 2007.

< .greenwood.com/catalog/ABP5716.aspx>, accessible until 16 Oct 2007.

Elizabeth Rudnick:Mulan live Action Novelzation,Disney USA Publishing,2020.

Sherry Thomas:The Magnolia Sword:A Ballad of Mulan,Tu Books Publishing,2019.

Grace Lin:Mulan:Before the Sword,Tsachen Publishing,2020.

Sophie Li and Natasha Yim:Mulan’s Lunar New Year,Disney press,2018.

[8] 毕耕，李冬青：《花木兰：迪斯尼演绎的东方传奇》，《中州大学学报》，2000年第2期，第35-36页。

[9] 高莉：《试析〈木兰辞〉与美国电影“Mulan”中的中美文化差异》，《怀化学院学报》，2006年第3期，第80-82页。

[10] 贾东亮，李琳：《从电影“MULAN”看中西文化的融合与冲突》，《渤海大学学报(哲学社会科学版)》，2005年第6期，第120-122页。

[11] 鞠贵芹：《女性主义视阈下的花木兰形象演变》，《哈尔滨学院学报》，2007年第4期，第81-84页。

[12] 郦因素：《当代动画片艺术的文化阐释——〈小倩〉、〈花木兰〉和〈宝莲灯〉比较分析》，《电影艺术》，2001年第3期，第87-90页。

[13] 林希(今译), 杨宪益、戴乃迭等(英译)：《乐府：汉英对照》，北京外文出版社，2000年。

[14] 刘慧敏：《迪斯尼〈木兰〉（Mulan）对中国叙事的消解》，《洛阳师范学院学报》，2007年第1期，第85-87页。

[15] 刘来：《从电影〈花木兰〉谈文化转换理论——文化全球化与本土化》，《高校园地》，2001年第2期，第117-119，123页。

[16] 罗艳秋：《木兰形象在文学接受中的演变》，《牡丹江教育学院学报》，2007年第2期，第3-4页。

[17] 夏小燕：《女性意识的展露——小议美国动画电影〈花木兰〉》，《当代电视》，1999年第12期，第38-39页。

[18] 夏小燕：《成功化妆的战斗者——评花木兰及动画电影〈花木兰〉》，《世界华文文学论坛》，2000年3月，第42-46页。

张岩冰：《两种视角看〈花木兰〉》，《社会科学》，1999年第3期，第74-77页。

[20] 陈韬文：《文化转换：中国花木兰传奇的迪斯尼化与全球化》[A],第六届全国传播学会议^范文[C],1999年。

一个故事，两种文化 - 《花木兰》和电影《花木兰》的比较-开题报告......


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