中国符号，美国梦-《功夫熊猫》中的两种文化-开题报告

Nowadays, with the development of science and technology、economy、means of communication and so on, the concept of global village has become reality, which makes communication between countries and ethnic groups increasingly in-depth, and cross-cultural communication has appeared. Culture is the spiritual activity and product of human society relative to economy and politics. Film is not only a product of culture, but also one of the carriers of culture. In fact, Oriental culture is represented by China's long and rich history and culture, while Western culture is represented by Hollywood films dominated by the United States since World War II. With the development of China's economy, Chinese elements appear more and more frequently in Hollywood movies. As Yu Wang (2016) pointed out, “Chinese traditional culture is presenting its unique artistic charm with diversified forms.” One of the typical films, Kung Fu Panda has been a great success. Kun HUANG (2013) mentioned that “This movie perfectly blends two principal themes of China, the Kung Fu and the Panda, in the culture transmission form of movie by western artists. It fully embodies their comprehensions and understandings about Chinese culture and mixes many elements of western culture, displaying coexistence and integration of cultural diversity in the new period.” Its success has also attracted attention and research of many Chinese and foreign scholars, which can be roughly divided into two kinds of views, and I will elaborate on these two views respectively.

In the first category, scholars hold a positive attitude that Kung Fu Panda series films are typical representative works of cross-cultural communication. BU Xiao-yan (2012) believes that the cross-cultural communication can enhance the equal communications with different cultures and improve the cultural comprehension, which is important to intercultural communication. At the same time, with the increasing market response of Kung Fu Panda series films, "Kung Fu Panda 3" has become the first animation film co-produced by China and the United States. Hongjun ZENG and Mengna WANG (2016) mentioned that Kung Fu Panda 3, which has traveled abroad for many years and finally rediscovered its discourse right with the help of Chinese production team. On the other hand, Liu Xin, Xiong Shuhui (2019) also affirmed the Kung Fu Panda series from the perspective of subtitle translation. "The great success of the animated film revolutionized translation circle’s view of subtitle translation; this film is a typical representative of the successful subtitle translation."

 In the second category, however, researchers have raised questions. For example, Liu zuqiang (2018) believes that the way of invasion of western film culture is constantly changing, and the essence of its hegemony has not changed, so it is necessary to enhance the vigilance of national culture. Zhou Jinghui and Nie Yingjie (2019) proposed that the movie shows Chinese chivalry & American dream、empathy & individualistic heroism、the past is the past & present is a present，and all these Chinese & American culture elements that appears in the movie means  cultural integration and harmonious coexistence. It reconstructs Chinese tradition culture, on the other hand some confused concepts and ill-timed hedonism resulted in misreading of Chinese culture. In addition, Sima Tong (2018) pointed out in the article: "we have kung fu, we have panda, but we don't have kung fu panda, which is worthy of our vigilance and reflection."

Nowadays, cultural globalization has gradually become an objective existing fact, and Kung Fu Panda is undoubtedly a success, as Yuan Yue (2019) concludes, “It not only creates huge commercial profits for American Hollywood movie industry, but also spreads the oriental culture to the international stage. What’s more, it promotes the exchanges between Chinese culture and Western culture and plays an important role in pushing the world cultural integration forward.” And for China, what we should do is to draw a lesson from the foreign country’s experience, make use of their good things and reject the bad things to develop our socialistic culture. Yong Chen (2020) observes that: “In the international arena, once a country's cultural influence falls behind, it means the absence and deficiency of intangible spiritual elements in the comprehensive national strength. The introduction of Chinese culture into the world will help win China's voice in the world and enhance China's ability to participate in the international system.”

   To sum up, all the above studies have provided valuable insights for the analysis of the Chinese and Western cultures reflected in Kung Fu Panda. However, there seems to be a lack of in-depth study on the detailed analysis of the Chinese elements in the film and the core of the American dream, which will provide more enlightenment for cross-cultural communication. I hope my research can contribute to this.

B. Outline

1 Introduction

2 The brief review of the movie

2.1 Kung Fu Panda

2.2 Kung Fu Panda 2

2.3 Kung Fu Panda 3 

3 Chinese symbols in movies

3.1 Names of characters

3.2 Movie scene

3.3 Music in movies

3.4 The embodiment of Chinese Taoist philosophy

4 American dream in movies

4.1 Relationship with father and master

4.2 Personnel power and collective power

4.3 Individualistic heroism

4.4 The fusion and difference of Chinese and American culture

5 Conclusion

6 References

C. References

[1] Yu Wang, “Value Expression of Traditional Culture Elements' Digital Development in Modern Animation Film and Television Art” [P]Proceedings of the 2016 International Conference on Arts, Design and Contemporary Education2016.

[2] Kun HUANG, “Comparative Study Between Chinese and Western Culture in Kung Fu Panda 2” [J]Studies in Literature and Language Volume 6, Issue 3. 2013. PP 70-73

[3] BU Xiao-yan, "An Intercultural Interpretation of Kung Fu Panda—From the Perspective of Transculturation" [J]中美英语教学：英文版Volume 9, Issue 1. 2012.

[4] Hongjun ZENG; Mengna WANG," The Back-Coming Panda and the Out-Going Monkey: On the Ownership of National Classical Culture in Globalization" [J]Cross-Cultural Communication Volume 12, Issue 5. 2016. PP 25-29

[5] LIU Xin; XIONG Shuhui,"A Brief Analysis of Subtitle Translation Based on the Intercultural Perspective—A Case Study of Kung Fu Panda" [J]US-China Foreign Language Volume 17, Issue 4. 2019.

[6] 刘祖强.《功夫熊猫》的符号建构与文化传播[J].科技传播,2018,10(16):173-174.

[7] 周景辉,聂英杰.《功夫熊猫》对中国文化的释读与误读[J].电影文学,2019(07):132-134.

[8] 司马童. “我们没有《功夫熊猫》”的警醒与反思[N]. 河北日报,2018-03-09(009).

[9] 袁月.The American Culture Reflected in Kung Fu Panda[J].校园英语,2019(15):251.

[10] Yong Chen, "The Strategic Analysis of Chinese Culture Towards the World from The Perspective of Intercultural Communication" [J]International Journal of Social Sciences in Universities Volume 3, Issue 4. 2020.