The Interaction and Acculturation of the Sino-American Culture in Films

The Interaction and Acculturation of the Sino-American Culture in Films

Abstract

Film, as an art form, is not a pure entertainment or a purely commercial behavior. It is an intuitive carrier of culture, containing a wealth of cultural content. A country and a people’s culture can be obtained in its fullest expression in the film. One of China’s four classics Journey to the West was filmed at NBC adapted into The Lost Empire; the Chinese popular ballad Ode of Mulan was shot by Walt Disney Company as a cartoon Mulan; China’s national treasure the giant panda also performed a Chinese martial arts show in Hollywood and become the Kung Fu Panda. Though based on the ancient oriental story, all these films are given a strong American cultural flavor. Chinese elements infiltrate into the American culture, or American culture into Chinese elements. These westernized reconstruction satisfies the European’s novelty seeking psychology without losing the oriental aesthetic charm, making these films a global success. Whether the plot structure or role shaping reflects a blend of Sino-American culture. In the context of cultural globalization, this cultural transformation is of great significance as reference to the national culture exchanges.

Key Words

Sino-American Culture Interaction and Acculturation reference

摘要

电影，作为一种艺术形式，并不是一种纯娱乐、纯商业的行为，其包含了丰富的文化内容，是文化的一个直观载体。一个国家、一个民族的文化都可以在它的电影中得到淋漓尽致的体现。中国四大名著之一的《西游记》被美国哥伦比亚电台改编拍摄成了《The Lost Empire》（《遗失的帝国》）；中国脍炙人口的乐府民歌《木兰辞》被美国迪斯尼公司搬上了银幕，制作成了大型动画片《Mulan》；中国可爱的国宝大熊猫也在好莱坞秀了一把中国功夫，成了《Kung Fu Panda》（《功夫熊猫》）。这些影片虽然都取材于古老的东方故事，却被赋予了浓厚的美国文化色彩。中国元素中渗透进了美国文化,或者美国文化渗透进了中国元素。这些

西化改造，满足了欧美人的求新心理与求奇心理，又不失东方人的审美意趣，造就了它在全球市场上的成功。无论是情节架构还是角色塑造，都体现出了中美文化的交融。在文化全球化的背景下，这种文化转换对国家和民族文化的交流具有巨大的借鉴意义。 关键词

中美文化 交互影响与融合 借鉴

The Interaction and Acculturation of the Sino-American Culture in Films

1. Introduction

Anyi Wang once lamented the “city without a story” in some collections. The feeling really surprises many people. However, in recent years, with the prevalence of the winds of the global entertainment, large enough for Hollywood continuing to rack up the world’s ultra-high record, small enough for Zhang Yimou and Feng Xiaogang who always lead China’s moviedom, they are all stressed by a common goal how to find one called “wonderful” story in the context of globalization. As a result, cultural exchanges began to appear in the film. With the big hit of Kung Fu Panda, Chinese audiences will also find Chinese elements exist in other Hollywood movies. However, these elements do not simply appear. They mutually influenced and interacted with each other, which reflects the possibilities of multicultural exchange and integration.

2. Analysis of Cultural Interaction and Acculturation Reflected in Films Films are the most intuitive stage where cultural differences and integration are displayed clearly. Through films, the subtle can be appreciated immersively. 2.1. The Sino-American Culture Infiltration Reflected in The Lost Empire

One of China’s four classics Journey to the West is a classical novel along with the growth of the Chinese. In 2001, it was adapted into the U.S. version of NBC’s The Lost Empire. In The Lost Empire, there are many Chinese cultural symbols scattering from the actors’ clothing, scenes, props to the dialogue and the plot. Americans

through it express their esteem and respect for this classic book and Chinese traditional culture. Firstly, in the choice of actor costumes and scene arrangement, there are many symbolic symbols, such as Guanyin’s long sleeves, Pigsy’s exposed belly and big jug ears, Master Wu’s grizzled beard and a standard Han dress and so on. Of course, the dragon, the traditional totem of the Chinese nation, also appears. Not only does it appear on the cover of the play binding Journey to the West, is also the embodiment of the power in one scene, highlighting the imperial culture of China. Secondly, many Chinese cultural thoughts are reflected in dialogues. In the film, characters will start with “Confucius says”; the Ministers reprimand maids-in-waiting “Do not let a man see your feet, otherwise your husband will be unhappy”---these shackles of ideology against women only appear in the background of traditional Chinese feudal culture. These word fragments which break off relations with the context before and after suddenly airborne to the play and become one of the means to render Chinese style. Thirdly, the incidental music are more played by Chinese musical instruments, such as the erhu, dulcimer, Chinese zither and so on. In a plot across space and time, Tang Seng and Guanyin took Master Wu to China which is in the Anti-Japanese War. They became fighters wearing green military uniforms and hats embroidered with five-star. When they passed by the construction hanging a giant portrait of Mao Zedong, the common people on both sides of the road were enjoying the open-air opera. Perhaps this is the American image of China, or cultural imagination. Lastly, American Tang Seng on different occasions said that he was very fond of Chinese people. In the context of contemporary America, he was portrayed as a person who was so fascinated with the study of terracotta warriors that neglected his wife. In fact, this reflects the Americans are very interested in China’s long history and profound traditional culture that they explored actively.

On the other hand, American culture has been embedded concept-orientedly. The implantation of American cultural values which is hidden in the film makes the film reveal traces of American culture. Firstly, a lot of elements of contemporary American daily life can be found in the film. For example, in the dialogues of the Pigsy and Monkey King or others, typical American-humor dialogues often appear such as

“appetizer”, “coffee”, “court” and other buzzwords come up. Secondly, the film is full of American culture which stresses equality and advocates individualism. Monkey King breaks the convention of hierarchy order, not only to be Tang Seng’s teacher but also addressing Tang Seng’s name. Meanwhile, Guanyin is no longer the concept of Chinese traditional culture and given a particular appearance. She transforms into the U.S. version of the modern woman and falls in love with Tang Seng with a modern attitude, which is an anti-scared image in Chinese culture. At last, American’s religion has also created an unavoidable impact of the film. Replacing Buddhism and Taoism, the characteristics of Christianity appears in the film. The monsters in the classical masterpiece have been replaced by the Christian devils. Lines also convey the Christian doctrine. Whether the plot of the film or small lines have revealed the taste of the Western religions.

2.2. The Sino-American Culture Infiltration Reflected in Mulan

2.2.1.

Original Reservation

In 1998, Walt Disney introduced the animated film Mulan in the theme of the Chinese Hua Mulan. Under Disney’s building, the film not only recognizes and retains Chinese traditional culture but also implants American values into Chinese culture, in order to cater to Chinese and American audience, even the aesthetic taste of the global audience. Through bold innovation, Disney animation company makes Mulan into a new image which collect the East and the West, Chinese traditional culture and American modern culture as a whole. Disney makes Mulan more shiny by means of blending Chinese and Western culture and gives her a new time connotation. Disney takes Chinese folk stories as material of the animated film, recognizing Chinese traditional culture. Starting from its own viewpoint, Disney benefits from Chinese traditional culture and retains Mulan’s image in the Chinese ancient legend and the theme ideas of the legend. Firstly, retaining Mulan’s characters recognized by the Chinese people. I When the country faces a crisis and her old and infirm father is called on to fight against the enemy, Mulan resolutely puts on her father’s armor to assume the responsibility for the family and country as a man. On the training ground, she is hard-working; on the battlefield, she not only is bravery, resourceful and

self-confident, but also tries her best to save her friends and soldiers with her combat skills. Thus, she achieves the desire of upholding her family honor and serving the country. Secondly, retaining Mulan’s enduring thoughts about zhongxiao. When her father is unable to fight for future battles, Mulan resolutely dresses like a man to fight the enemy; when she is detected and expelled from the barrack, Mulan still puts national crisis as her responsibility but ignores her safety. The above highlights Mulan’s loyalty to the country. Thirdly, ancestral culture. Lineage as a social group or social organization, has long-term presence in China’s ancient society. In Mulan, Disney agrees with the ancestral culture of the Chinese traditional culture, such as the family temple, pedestal and so on. 2.2.2.

American Innovation

Robert. Spieler in the preface of American Literary History he edited said , “Each generation should at least write a history of American literature, as each generation should be based on the past to define their own views.” At the time, Mulan bears modern women’s outlook on life and values, so that she can be much closer to modern people. Mulan’s new image is described as follows:

Firstly, independence---the female image of a new era. In Mulan, Mulan is no longer a model of virtuous wives and mothers of women in Chinese traditional thoughts, but a female image who have a brave choice of self-life of a road out of the boudoir and equal shares with men. She pursuits individual liberation, encourages the princess to seek identity and has a sense of responsibility. Secondly, joining the army in place of her father and making contributions--- the American spirit of self-struggle. Americans advocate through personal struggle to gain success. She wins success and hometown glory through her own struggle in the male world. The image not only inherits the idea of dedicating herself to the country in Chinese traditional culture, but also is given the American spirit of self-struggle. Thirdly, as excellent as her male colleagues---awareness of equal rights for men and women. Mulan’s words, that is, “Who says that women are inferior to men” issues a cry and challenge of equal rights. That really is a female declaration. Lastly, freedom of romance--- the freedom to pursue ideals in life. Completely different from the image shaped in Chinese marriage,

Mulan not only actively purses her own true love, but also inspires three princesses to break the stereotypes to find their love.

2.3. The Sino-American Culture Infiltration Reflected in Kung Fu Panda

Hollywood animated film Kung Fu Panda, a martial arts comedy, was a hit at home and abroad when it was released. Kung Fu Panda tells such a story that long time ago in the valley of Peace, clumsy panda Po has a dream to become a generation of heroes. Later, by chance, Po is able to learn to learn from the raccoon whom he calls Shifu and defeats the evil ferocious leopard. Finally, Po becomes a kung fu master after the ultimate test. Such a simple story, such a group of familiar animals, coupled with numerous Hollywood stars’ humor and perfect dubbing as well as the DreamWorks’ exquisite and life-like animation level bring an audiovisual feast to the global audience. Of course, what really makes the audience at home and abroad clap should be “the perfect integration of Chinese traditional cultural elements and Hollywood-style humor as well as sensational tactics”.

Some media comments this film lasting for more than two and a half years that Kung Fu Panda is the most Chinese-style film the DreamWorks ever makes. Rich Chinese elements go through the film from beginning to end: in terms of construction, Po’s house, the contest venue of picking the Dragon Warriors, the Jade Palace where the Dragon Scroll lies; in terms of clothing, the Han Chinese clothing and hats; in terms of diet, noodles, tofu, and steamed buns; in terms of folk-custom, firecrackers, the sedan chair, porcelain, temple fairs, calligraphy, musical instruments and stilts; in terms of sports, martial arts; in terms of medicine, the acupuncture; in terms of religion, Taoism, Tai Chi, Zen Buddhist meditation, Master Oogway’s Buddhist fatalism concept and so on. These scenes and pictures show the full image of the Hollywood visual effects, and also give the viewers a strong feeling of Chinese traditional culture.

Although Kung Fu Panda is an animated comedy, the film timely reveals a fraction of Chinese Zen, which adds a little depth to the film. When Po is depressed under the peach tree, the Master Oogway appears. When he heards that Po wants to go home to cook noodles, he says some meaningful words: “Quit, don’t quit, noodles, don’t

noodles, you are too concerned with what was and what will be, there is a saying, yesterday is history, tomorrow is mystery, but today is a gift, that is why it is called present”[放弃？不放弃？面条？不要面条？你太在意过去的事情和还没发生的事情了。有句谚语说得好，昨天是历史，明天是未知，但是今天是礼物，所以叫做present(礼物/今天)]. Then he turns away and throws a peach to Po. These words not only allow Po to gain some philosophy, also make the audience feel that today is valuable.

Kung Fu Panda is a little simple, but not thin. From the plot to the moods, the role modeling to the design, the film without exception highlights the essence of Chinese martial arts films. The most important is that Chinese elements lie everywhere within the entire film. From the conception to the background dialogue, the audience have to lament Hollywood’s cleat-sightedness to make full use of Chinese elements.

3. Analysis of the Causes of the Phenomenon

As the saying goes, every why has a wherefore. There are two reasons for this phenomenon.

3.1. Cultural Globalization

As we all know, the most prominent feature of today world is globalization. Firstly, globalization refers to economic globalization. With the improvement of social productivity and the rapid development of transport and scientific communication technology, international division of labor has reached an unprecedented new phase where economic factors are flowing on an unprecedented scale and speed and the communication and dependence level between different countries are continuously strengthened. As a process and reality, economic globalization exists and develops with an irreversible trend. Globalization is not only just a purely economic phenomenon, which widely infiltrates the political, economic, cultural, ideological and other fields. Like it or not, different social systems, values, cultural traditions and countries on different development stages have been involuntarily incorporated into the process of globalization. However, cultural globalization means the process where relying on science and technology, network technology, mass media, cultural goods and other carriers national culture goes beyond the geographical limitations and

national boundaries, and breaks through the limitations of time and space; through various forms of exchange, integration, mutual infiltration and complement the national culture goes beyond narrow cultural prejudices to gain cultural identity within the world, share cultural resources and enrich itself.

Just like economic globalization, cultural globalization is a trend of world development. Because of the development of communication technology, people communicate with each other so easily that cultural communication comes into being. In order to achieve their own economic interests, each culture needs identity, such as KFC and McDonald’s. After recognizing the fast-food culture, people will accept the U.S. fast food. Culture takes the lead of economy, while economy infuses new impetus into cultural development. Cultural globalization is the inevitable trend of economic expansion. Only identifying a culture can we benefit from it. Culture is an expression of a particular value of a particular area. In order to reduce misunderstanding between people of different regions and increase the exchange of information people need to increase cultural exchanges between different cultures. Such a trend causes global culture spread. Each country will spare no effort for their own interests to promote their culture. Of course, cultural transmission has been a worldwide trend. And in such a context, one occupies the favorable position, he will be able to grasp the initiative in the future business war. So Americans gather materials around the world which they apply to the film and gain a great success. Judging from this respect, the film is an important media of cultural exchange and integration.

3.2. Country’s Civilization Level

Edward .T. Hall, the founder of Cross-cultural Communication Studies, once said in his book Silent Language that, “Culture exists in two hierarchies: the public culture and the hidden culture. The former is visible and can be described, while the latter is so invisible that the specially trained observers find it difficult to detect the culture.” What mainly lies in the hidden culture hierarchy is concept the core of which is values. It dominates and influences a kind of culture in all aspects of individuals’ and groups’ life and communication, including the ways of thinking and the code of conduct.

The higher the state civilization level is, the higher the degree of openness is. Then the communication with other countries will be more. People are willing to accept and absorb new culture to enrich their knowledge system. Qing’s closed-door policy leads to the backwardness of the country, so the degree of civilization of a country directly determines the development of the country’s culture and its exchange and integration with other culture.

4. The Attitude Towards this Phenomenon

4.1. Absorb the Essence of Multiculture

Nowadays, different cultures gather together in the same social background. Although the conflict between cultures is inevitable, the integration is a fundamental trend. “With the deepening of economic globalization, cultural blend and collision are shown on the world stage, which occurs in the world of multi-cultural integration, which is the overall trend.” Cultural fusion, in genetal, is the contacts between different cultures to exchange, the process of innovation and mastery. Integration reflects the complementary and mutually beneficial relationship in the balance of the tendency to seek.

In this context, we must learn to learn from other’s strong points to affect our weakness and enrich our culture with health and open mind. Oppose national parochialism. Hence, we can adapt to foreign culture and make foreign culture localization in order to make the foreign culture integrate with local culture and achieve the goal of cultural transformation. 4.2. Maintaining National Culture

In the context of open cultural exchange and integration, we also need to protect the national culture, improving our national culture and keeping pace with the times. Fight against the cultural hegemony. However, protecting national culture does not mean resisting foreign culture, but taking the initiative to adapt and absorb foreign culture. We should treat national culture with clear and conscious vision, not concerning about how to resist foreign films, but how to carry forward the traditional culture and make a better butt joint of ancient culture and modern civilization. Thus, our national culture can move successfully towards the world and the future.

5. Conclusion

This paper is a study of the interaction and acculturation of the Sino-American Culture in films. In the first chapter, it has made an introduction to the interaction and acculturation of the Sino-American culture in films and some examples of this phenomenon. In the second chapter, it has made an analysis of cultural interaction and acculturation reflected in films. In the third chapter, it has made an analysis of the reasons for this phenomenon. Furthermore, it has given some suggestions how to response to cultural globalization.

When America excavates and embeds their culture and values into other country’s heritage, how will we cope with it? Facing the increasingly wide range of international cultural exchange, how will we pass down our national culture? China is a country owning thousands of years of cultural accumulation. Its deep traditional culture is a treasure, rich in stories and legends. In order to retain its cultural connotations, the culture should renewal itself and absorb modern values and aesthetics to meet the requirement of the times, at the same time absorbing the essence of multicultural culture, so that Chinese traditional region culture can really go to the world. Chinese filmmakers also should make up their deficiencies, continually excavate the national cultural characteristics, and update the performing arts to shoot good films which can be on a par with Hollywood films. References

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