以《推手》为例解读中美家庭价值观

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从电影《推手》看中美家庭观念的冲突与和合

在西方，孩子到了十八岁以后就应该搬出父母的家而独立生活。成年之后和父母同住或啃老被认为是一件非常丢人的事情。但是子女独立也并不等于对父母不管不问，会在周末或节假日去看望父母。美国父母看重子女的独立精神，也看重自己的老年独立生活。因此，尽管儿女们经济条件
在此文化观念的导向下，孩子外出立业成功，父母
光临而居，就为电影的主人公邀请夫妻移居美观共同生活提供了中国文化理据。电影《推手》中，
寞。在美国，儿子娶了个洋媳妇，不理解中国公公
很好，老人们也不愿与他们同住。在西方文化中，
人们比较推崇自立精神，不喜欢依赖自己的亲人。
西方文化的价值取向具有个人主义色彩。脚
二、个人与集体观念的冲突与和合
中国人重视家庭观念，带有浓厚的集体主义
一
、
引言
色彩。儒家文化倡导 “ 三纲五常” ，三纲，即君为
臣纲、父为子纲、夫为妻纲。因此，在传统的中国
不同文化的交流会在磨合过程呈现出 “ 始于冲突、中于磨合、终于和合 ” 。电影《推手》呈现出的是不同文化中的人会在磨合中，要么最终达到和合状态，或者同一个体自身在多元文化中存在

从《推手》看中美家庭观念的差异全文

ContentI. Introduction (2)1.1 Research Background (2)1.2 Aims & Objectives (2)1.3 The Scope of this Paper (2)II. The intercultural adaptation theory (3)2.1 The process of adaptation (3)2.2 Intercultural personhood (4)III. Conflicts between Chinese and Western Culture Reflected in Pushing Hands (6)3.1 Plot of Pushing Hands—The independent space in Chinese and Westernfamily (6)3.2 Attitudes towards children (7)3.3 Chinese and Western family’s attitude toward their elders (8)3.4 The emotional expression of Chinese and Western Countries (9)IV. Conclusion (10)V. References (11)I.Introduction1.1Research BackgroundNowadays, the development of mass media provides a lot of opportunities for people to experience different cultures. Among mass media, movie industry makes themost powerful impact on human beings. Film-makers use film as a kind of art form to express their interpretations of life. Therefore, movies not only entertain us, but also influence our views on ourselves, others and the whole world. Movies, as an essential form of mass media, have played an important role in intercultural communication.1.2Aims & ObjectivesResearch on intercultural communication helps us to know how cultures permeate through our daily life, lead our behaviors, form our think patterns and influence our communications with people who have diverse culture backgrounds. Movies are the effective carriers to bring different cultures to audiences. A lot of Chinese directors stand out conspicuously in the world with their unique angle of views and techniques of expression to show Chinese traditional cultures to foreign audiences. Among them, Ang Lee is the most successful intercultural films’ director. With the background of growing up in Tai Wan and being educated in America, Ang Lee has his own cognitions of culture differences and integration. Many years of living experience in America offers him chances to go through the process of intercultural adaptation and to form the intercultural personhood.From his films, the audience could see not only the conflicts and integrations of eastern and western cultures bu t also Ang Lee’s understandings of the humanity. In his early films, eastern and western cultural conflicts are the main topics to discuss. And in his later films, he integrates eastern and western cultures and even is beyond eastern and western culture boundaries to explore and discuss humanity. With long time intercultural life experience, Ang Lee has formed intercultural personhood.1.3The Scope of this PaperThe first part introduces Ang Lee’s biography.Ang Lee’s intercultural backgroundaffords the possibility for him to form intercultural personhood.The second part is the theoretical background. It presents managing conflict and negotiating face theory, the intercultural adaptation theory and theory of intercultural personhood.The third part is a very important one. Crouching Tiger and Hidden Dragon has gained a big success. Eastern and western culture are integrated perfectly in this film, which shows that Ang Lee is in duality process because he can switch between eastern and western culture. The intercultural adaptation theory is adopted here to explain his mind’s flexibility.II.The intercultural adaptation theoryThe Intercultural adaptation process occurs when individuals travel from one culture to another, both in long and short term encounters. Along with this movement,there seems to be a process of adjustment and familiarization with the new situation.The sojourners seek out specific cultural knowledge, adopt a different style of communication, reserve judgment on unfamiliar cultural practices or withdraw from intercultural interactions (Witter, 1993). Intercultural adaptation is a complex and dynamic process which is an inevitable part of intercultural interactions.2.1 The process of adaptationIf a sojourner wants to stay in the new culture environment and lead a happy life, he/she has to go through the intercultural adaptation. Mansell pointed out that sojourners experience to one degree or another four emotional and affective states in the process of intercultural adaptation: alienation, marginality, acculturation, and duality.Alienation causes a strong desire in sojourners to retain identification with the own culture. The rejection of the host culture leads us to limit our social circle to acquaintances or work contacts and to seek out our own nationals for social enjoyment. Unable to employ the necessary skills for adjustment, we feel out of sync with the host culture and want desperately to return home.The feeling of marginality is like a sandwich, surrounding by two different cultures.Sojourners do not know which side they belong to. They would feel confused about their culture identities. During this period, sojourners can only build up superficial connections with host nationals and can enjoy neither his native culture nor the new host culture.Acculturation occurs when sojourners establish a strong need to adopt the way of living of the host culture. Our identification with the host culture means that the primary culture loses its importance. In this situation we are able to make intimate friends with the host nationals and are able gradually to replace some elements our original culture with elements of the host culture. Y et, moving too quickly to adopt the new culture may pose frustrations and obstacles to our intercultural adaptation.Duality symbolizes that even though sojourners are living in the foreign countries, they have cultivated the ability of simultaneously switching between native culture and host culture. During this period, sojourners are able to gain the achievement of being independent and subjective above primary culture and host culture. Open-mindedness and flexibility are necessary for maintaining this ability and establishing the continuity.2.2 Intercultural personhoodWhen sojourners go into duality period, their flexibility can help them engage in building a remarkable new personhood---intercultural personhood. Cultural identity in its pure form has become more a nostalgic concept than a reality. Intercultural personhood is a way of life in which an individual develops an identity and a definition of self that integrates, rather than separates, humanity. Intercultural personhood projects a kind of human development that is open to growth---a growth beyond the perimeters of one’s own cultura l upbringing (Kim, Y.1996:434). Intercultural personhood is an integration of eastern and western perspectives. With the intercultural personhood,the sojourners are able to conciliate contradictory elements and transform them into complementary, interacting parts of a single whole. The emerging intercultural personhood, then, is a special kind of mindset thatpromises greater fitness in our increasingly intercultural world (Kim, 2001).The current discussion of intercultural personhood owes much to the writings of several prominent thinkers of the 20th century who have explored ideologies with national and cultural interests and that embrace all humanity. One such work is Northrop’s The meeting of East and West (1996), in which an “international culture ideal” was presented as a way to provide intellectual and emotional foundations for what he envisioned as “partial world sovereignty.” Inspiration has also been drawn from the work of Tompson (1973), which explored the idea of “planetary culture,” or how Eastern mysticism was integrated with Western science and rationalism. The primary sources for the current analysis of Eastern and Western cultural traditions also include Nakamura’s Way of Thought of Eastern People (1964), Campbell’s The Power pf Myth(1988), Gulick’s The Eastern and the West (1963), Oliver’s Communication and Culture in Ancient India and China (1971), Capra’s The Tao of Physics (1975), and Hall’s Beyond culture (1976) and The Dance of Life (1983).The emergence of intercultural personhood is a direct function of dramatically increasing intercultural communication municating across cultural identity boundaries is often challenging because it provokes questions about people’s presumed cultural premises and habits, as well as people’s inevitable intergroup posturing and the us-and-them psychological orientation (Kim, 1995). Yet it is precisely such challenges that offer us openings for new cultural learning, self-awareness, and personal growth (Kim, 1988, 1995). The greater the severity of intercultural challenges, the greater the potential for reinvention of an inner self that goes beyond the boundaries of our original cultural conditioning. In this process, our identity is transformed gradually and imperceptibly from an ascribed or assigned identity to an achieved or adopted identity—an emergent intercultural personhood at a higher level of integration.Such an identity transformation takes place in a progression of stages. In each stage,new concepts, attitudes, and behavio rs are incorporated into an individual’s psychological makeup. As previously unknown life patterns are etched into our nervous systems, they become part of our new psyches.The evolution of our identity from cultural to intercultural is far from smooth or easy. Moments of intense stress can reverse the process at any time because individuals may indeed regress toward reidentifying with their origins, having found the alienation and malaise involved in maintaining a new identity too much of a strain. Such strain may take various forms of an identity crisis and cultural marginality. Yet the stress experience also challenges individuals to accommodate new cultural elements and become more capable of making deliberate and appropriate choices about action as situations demand.III. Conflicts between Chinese and W estern Culture Reflected in Pushing Hands In the muti-language background, Ang Lee always tries to meet the requirement of eastern and western audiences. Crouching Tiger and Hidden Dragon, using western narrative mode to tell a Chinese story, shows the audience the Chinese spirit and western’s thinking patterns (Xu, 2001). The film is a roaring success, no matter in the perspective of commercial value or the cultural value. This film is the first Chinese film which is played in the main American theater. Through this film, Chinese Wuxia culture is firstly delivered to western audiences and firstly accepted by western mainstream culture. From his films’ success, we know Ang Lee clearly knows his cultural identity and the humanity. His films attract not only Chinese audiences but also western audiences. From this time forth, Ang Lee has formed intercultural personhood which helps him to touch those sensitive topics.3.1 Plot of Pushing Hands—The independent space in Chinese and Western familyLi Mubai is an accomplished Wudangs’ martial artists. Long ago, his master was murdered by Jade Fox. Mu Bai and Yu Shulien who have developed feelings for each other, but have never acknowledged or acted on them. Mu Bai, intending to lead a new path in life, asks Shu Lien who is on her way to Bei Jing to transport his sword, also referred to as the Green Destiny, as a gift for their friend Sir Te. At Sir Te's estate, Shu Lien meets Jen, the daughter of Governor Yu. Jen, destined for an arranged marriage and yearning for adventure, seems envious of Shu Lien's warrior lifestyle.One evening, a masked thief sneaks into Sir Te's estate and steals the sword. Mu Bai and Shu Lien, with the assistance of Sir Te's servant Master Bo, trace the theft to Governor Yu's compound and learn that Jade Fox has been posing as Jen's governess for many years. A guilt-ridden Jen returns the Green Destiny to Sir Te's estate but is intercepted by Mu Bai. Mu Bai easily defeats her and offers her to become his pupil. Jen angrily rebukes his offer and flees.That night, a desert bandit named Lo breaks into Jen's bedroom and asks her to leave with him. A flashback reveals that in the past, when Governor Yu and his family were traveling in the western deserts, Lo and his bandits had raided Jen's caravan and after a protracted desert chase, kidnapped her. However, Lo and Jen soon fell passionately in love. Jen refuses to leave with him and goes through the arranged wedding. Lo interrupts Jen's wedding procession, begging her to come away with him.3.2 Attitudes towards childrenThe story of this film happens in 18th century. At that time, younger generations marriages are arranged by their parents. There is old saying in China to describe this situation ,“arrange a match by parents’ order and on the matchmaker’s word.” Marriage is not simply meaning love. Parents, especially father, have the final word to choose future husband or wife for their children, which is always the case in collectivist society like China. One crucial factor of choosing the marriage is that the two families have the equal social status. So there is a scene that Shulien visits Jen: Yu: “Thank you for seeing me. I hear your wedding day is near. Y ou must be overwhe lmed by the preparations.”Jen: “I’m hardly doing a thing. The less I think of it the better. My parents are arranging everything. The Gous are a very powerful family. My marrying will be good for my father’s career.”Yu: “Y ou are fortunate to marry into such a noble family.”Jen: “Am I? I wish I were like the heroes in the books I read. Like you and Li Mubai. I guess I’m happy to be marrying. But to be free to live my own life, to choosewhom I love... That is true happiness.”Yu: “Do you think so? Let me tell you a story.”Jen: “About you and Li Mubai?”Yu: “Y es. Did you know I was once engaged to be married?”Jen: “No, really?”Yu: “His name was Meng Sizhao. He was a brother to Li Mubai by oath.One day, while in battle, he was killed by the sword of Li Mubai's enemy. After, Li Mubai and I went through a lot together. Our feelings for each other grew stronger. But how could we dishonor Meng's memory? So the freedoms you talk about, I too desire it. But I have never tasted it.”Jen: “Too bad for Meng, but it's not your fault, or Li Mubai's.”Yu: “I am not an aristocrat, as you are... but I must still respect a woman's duties.”From these conversations, we know that although Shulien and Li Mubai deeply fall in love with each other they could not or d are not get together for Li Mubai’s brotherhood and Shulien’s woman duty for the engagement. In their mind, Meng was killed for saving Li Mubai. As his brother, it would be a loss of face for both himself and Meng to marry Shulien. Now, Jen is forced to marriage a guy who she has never seen before. All these heroes are not free, but they are all eager to get freedom and have the “love” right. Chinese withholding love arouse because of the collectivistic culture.Traditional Chinese people care so much a bout others’ feelings and foresight. Therefore,they would take responsibility for others and live for others but not for themselves.Parents’ consent, social stratification and obligation become burdens to prevent people pursuing their freedom and the basic human right---love.3.3 Chinese and Western family’s attitude toward their eldersThe integration of eastern and western culture is shown not only in the film story but in the technique of expression. Ang lee uses western narrative model, especially H ollywood’s narrative skill to tell the audience a Chinese Wuxia story. Most of Ang Lee’s film is using the typical three-act narrative mode, which includes three scenes.The first scene: the main heroes come into the big screen and finish the premise part of the story; the second scene: the heroes encounter crisis and struggle with it; the third scene: crisis has been solved. This three-act narrative mode dominates the mainstream Hollywood films’ structure (Ding, 2001). Each scene could show its imposing dramatic power. Using this narrative model could establish tight structure so that it could attract audiences’ attention.In Crouching Tiger and Hidden Dragon, three-act narrative model has been used proficiently. The first scene is introducing the following contents: Li Mubai and Yu Shulien have strong feelings for each other; Li sends his sword Green Destiny to Sir Te so as to give up the life in Jiang Hu; Li’s master is poisoned by Fox; Jen’s parents arrange a marriage for her but she desires for Jiang Hu free life. The second scene is showing that because of the torrid love between Jen and Lo, Jen flees away from her wedding and steels the Green Destiny to adventure Jiang Hu; Li Mubai and Yu Shulientry to help and redirect Jen. The third scene is that Li kills Fox but is poisoned by Fox and died for saving Jen’s life; Jen ends up jumping to the river because of deeply remorseful.The three-act narrative model can be easily accepted by western audiences and Chinese Wuxia is always a mysterious topic for western audiences. Therefore, the three-act narrative model plus Chinese Wuxia make Crouching Tiger and Hidden Dragon a big success in the whole world.3.4 The emotional expression of Chinese and Western CountriesCrouching Tiger and Hidden Dragon is a big winner in Academy Award. This film has produced favorable comments from western audiences. Although Ang Lee uses western narrative mode to tell this story, his aim is to let the western audiences to accept and appreciate traditional Chinese culture. Therefore, Lee’s cultural orientation is his native culture---Chinese culture.Ang Lee integrates eastern and western culture to let western people can understand and follow this Chinese Wuxia story. From this film, western audiences are able to go into eastern circumstance.Chinese natural landscape, huge desert area,view of life of Taoism and typical Chinese reserved love style are described in this film. Those essential elements in traditional Chinese culture are depicted vividly. Besides that, fight setting similar to China opera and the explanation of Xia are the attractive labels to meet the curiosity of the audience with different culture background. In this way, Ang Lee effectively promotes Chinese culture and carries on a successful intercultural communication.IV.ConclusionWe live in a time of cultural integration. As the tightly knit communication wed has brought all cultures closer than ever before, rigid adherence to the culture of our youth is no longer feasible. Culture identity in its pure form has become more a nostalgic concept than a reality. In this circumstance, Y oung Yun Kim proposed a new concept of intercultural personhood---a way of life in which an individual develops an identity and a definition of self that integrates, rather than separates, humanity.Intercultural personhood projects a kind of human development that is open to growth, a growth beyond the perimeters of one’s own cultural upbringing.he emergence of intercultural personhood is a direct function of dramatically increasing intercultural communication activities, which is from personal experiences of diverse people and events through direct encounters to observations via various communication media such as books, television programs and movies. Among them, movies play an important role in intercultural communication. With the development of film industry, people receive different culture customs from films everyday. Therefore, in this dissertation, Ang Lee’s films are chosen as research subjects. From the m, I hope to find the formation of Ang Lee’s intercultural personhood.Ang Lee, as a successful intercultural director, has long-time personal experienceof being immersed in eastern and western cultures. His films always arouse audiences to think about culture differences, culture integration and humanity. In this dissertation, it selects Ang Lee’s five representative film works, Pushing Hand, Wedding Banquet, Crouching Tiger and Hidden Dragon, Brokeback Mountain and Lust, Caution, to catch a glimpse of th e formation of Ang Lee’s interculturalpersonhood.In Pushing Hand and Wedding Banquet, Ang Lee emphasizes on showing the eastern and western culture conflicts. At that time, he was finding a way to solve this problem. Crouching Tiger and Hidden Dragon is a transition film. In that film, eastern and western cultures are perfectly integrated. From this point, Ang Lee has the flexibility to switch from eastern to western cultural perspectives. In his later two films,he focuses on exploring humanity, which is beyond culture boundaries. Thus, I can conclude that he has formed intercultural personhood, which is taking root in upbringing culture and absorbing the positive parts of western culture so as to promote the positive development of humanity.With the development of globalization, the world citizens all need to cultivate intercultural personhood. With this personality, people’s life experiences could extend beyond their native cultural world. And with this personality there would be fewer conflicts between native culture and new host culture. It is new culture identity for them,which could integrate diverse cultural elements into a single personality. With intercultural personhood, they would add the new views of nature, of evolution and of progress. In order to form intercultural personhood, people should keep keen relevance to the everyday realities, should have the courage to embrace new concepts and ideology and should have enough life experience of interfacing with other cultures.To sum up, forming intercultural personhood is important for every world citizen.With this personality, people can accept and follow other cultures as well as promote his or her native culture.V.References1. Biagi, Shirly. Media/Impact: An Introduction to Mass Media Belmont [M]. CA:Wadsworth,1999.2. Chen, G.M.& Starosta, W.J. Foundations of Intercultural Communication[M]. Boston, MA:Allyn and Bacon, 1998.3. Claire, Kramash. Language and Culture [M]. Shanghai Foreign Language Education Press,2000.4. Dodd, C.H. Dynamics of Intercultural Communication [M]. Shanghai: Shanghai Foreign Language Education Press, 2006.5. Dou, W.C. Fundamentals of Intercultural Communication [M]. Beijing: University of International Business and Economics Press, 2007.6. Furham, A. & Bocher, S. Culture Shock [M]. London, England: Methuen, 1986.7. David, S. N. & Bryan W. V an Norden. The Ways of Confucianism: Investigations in Chinese Philosophy [M]. Open Court, 1996.8. Gudykunst, W.B. & Kim, Y.Y. Communicating With Strangers: An Approach to Intercultural Communication [M]. New Y ork: McGraw-Hill, Inc. 1997.9. Gudykunst, W.B. & Ting-Toomy, S. Culture and Interpersonal Communication [M]. Newbury Park, CA: Sage, 1988.10. Gudykunst, W.B. Cross-cultural and Intercultural Communication [M]. Shanghai: Shanghai Foreign Language Education Press, 2007.。

电影《推手》

电影《推手》作者：祁钰童来源：《今日财富》2020年第21期电影《推手》以中国老人朱老与美国儿媳玛莎之间的矛盾为焦点，深刻地反映了中美文化的差异，体现了跨文化交际的重要性。

朱老代表的是中华民族传统的儒家思想，而玛莎代表的则是美国的民主主义思想。

他们两人因文化冲突就如同推手一般，相互闪避又相互制衡。

本文将从跨文化交际的角度来分析两种代表性文化的碰撞与融合。

一、引言随着中国国际影响力的日益增强，中国逐渐走向了国际舞台的中心。

尤其是近年来经济全球化的快速发展，各国之间的沟通往来就越发重要。

但想要与其他国家进行密切的交流，精通其国的语言是完全不够的，更要了解他们的文化。

人的交往行为、交往方式、思维方式都受文化的影响。

文化深深烙印在人的行为举止中。

因此，跨文化交际的重要性不言而喻。

电影《推手》就体现了中美文化之间的冲突。

儒家思想为核心的中国传统文化向来是讲究长幼尊卑。

《礼记·乐记》中记载道“所以官序贵贱各得其宜也，所以示后世有尊卑长幼之序也。

”在这种文化熏陶下，朱老自然不能理解儿子儿媳与孙子之间的相处模式，就像电影中那句“你们在美国对孩子挺客气的，不把孩子当孩子。

”朱晓生解释道“这就叫民主，民主就是没大没小。

”美国是一个提倡民主的国家，即《独立宣言》的中心思想“人生而平等。

”在这种文化氛围中长大的瑪莎也一样不会懂朱老的行为举止。

而朱晓生从小在中国长大又在美国工作生活，他同时吸纳了两种文化。

他因为孝顺把父亲接来美国生活，但也理解妻子玛莎对父亲的偏见。

他像是调和剂一般，夹在父亲和妻子间进退两难。

电影中通过很多对比镜头来刻画朱老和玛莎在生活中的格格不入。

比如俩人一同在餐桌吃饭，朱老用筷子大口吃肉，而玛莎拿叉子细嚼慢咽的吃蔬菜沙拉;还有两人在厨房烹饪的镜头，朱老大火炒菜，玛莎把食物放进烤箱;最经典的是晚上一家人吃饭的时候，朱老和玛莎一句中文一句英文的与朱晓生交流，两人都互不相让，朱晓生左右为难。

李安导演通过这些镜头直观地向观众展示了中美饮食文化的差异。

推手

《推手》从题材上讲是一部家庭题材的喜剧，它围绕着一个移民美国家庭发生的故事，表现了东西方之间在文化和生活之间的差异。

它以一个太极拳老人为主线，揭示出儿媳与公公之间的矛盾。

围绕一个移民美国家庭发生的一系列故事，表现了传统的中国文化与美国的风土人情之间的冲突。

在《推手》这部影片里，中西方的文化差异主要体现在以下几个方面：1、中西方对待老人问题的差异在对待老人这个问题上，就牵扯到中国的传统美德——孝道。

老人的问题是世界性的问题，而中国传统文化和西方现代文明在这个问题上的的分歧却是很大的。

《推手》选择这样一个中国老人在美国的故事，本身就包含着自然地冲突矛盾，而其中涉及的伦理、感情则是属于全人类的。

当然影片中不仅仅是对老人问题上阐述差异的，在饮食上，更是将中西饮食文化，做了生动、鲜明而又风趣幽默的比较。

2、中西饮食文化的差异在影片的开始我们可以看见一个很有趣的场景。

公公抱着一只大碗，里面是米饭和各种各样的配菜，还有肉类，用筷子大口大口地吃，而儿媳妇只是吃着一盘蔬菜沙拉和一片烤饼干。

从中我们可以看出中西方饮食文化的差异。

在中国，人们喜欢五谷杂粮，喜欢将蔬菜和肉类搭配，并用各种手法烹制成色、香、味俱全的美味佳肴。

但是在西方，人们基于对营养的重视，西方人多生吃蔬菜。

因而对于朱老来说，沙拉就如一盘兔饲料，使他们难以接受。

所以，朱老才会在和儿子儿媳一起吃饭时，让儿子劝儿媳妇吃东西要讲究搭配，但是西式化的儿子只是回答他一句：“他怕胖！”中国人在西方人的眼里总是封建的落后的，在看待如何教育孩子方面更是各有不同。

3、中西方教育的差异在这部影片中，中西方教育的差异体现在对小杰米的教育上。

在影片中，小杰米是最无辜的一个，他不得不生活在中西文化的夹缝之中，不得不接受两种不同的教育，学习两种不同的语言文化。

在杰米的教育上，玛莎是完全开放式的美国教育。

于是，当小杰米画出了一幅充满暴力色彩的画面时，玛莎会亲吻他并鼓励他。

而在爷爷看来，那些美国动画太过血腥暴力，会教坏孩子，他更希望在孙子身上看到中国儒学的文化底蕴，于是他给孙子画画时用的是中国画——水墨画。

#《推手》看中美家庭观念的差异全文

ContentI. Introduction11.1 Research Background11.2 Aims & Objectives21.3 The Scope of this Paper2II. The intercultural adaptation theory32.1 The process of adaptation32.2Intercultural personhood4III. Conflicts between Chinese and Western Culture Reflected in Pushing Hands53.1 Plot of Pushing Hands—The independent space in Chinese and Westernfamily63.2 Attitudes towards children73.3 Chinese and Western family’s attitude toward their elders83.4 The emotional expression of Chinese and Western Countries9IV. Conclusion9V. References11I.Introduction1.1Research BackgroundNowadays, the development of mass media provides a lot of opportunities forpeople to experience different cultures. Among mass media, movie industry makes themost powerful impact on human beings. Film-makers use film as a kind of art form to express their interpretations of life. Therefore, movies not only entertain us, but alsoinfluence our views on ourselves, others and the whole world. Movies, as an essentialform of mass media, have played an important role in intercultural communication. 1.2Aims & ObjectivesResearch on intercultural communication helps us to know how cultures permeatethrough our daily life, lead our behaviors, form our think patterns and influence ourcommunications with people who have diverse culture backgrounds. Movies are theeffective carriers to bring different cultures to audiences. A lot of Chinese directorsstand out conspicuously in the world with their unique angle of views and techniques ofexpression to show Chinese traditional cultures to foreign audiences. Among them, AngLee is the most successful intercultural films’ director. With the background of growingup in Tai Wan and being educated in America, Ang Lee has his own cognitions ofculture differences and integration. Many years of living experience in America offershim chances to go through the process of intercultural adaptation and to form theintercultural personhood.From his films, the audience could see not only the conflicts and integrations ofeastern and western cultures but also Ang Lee’s understandings of the humanity. In hisearly films, eastern and western cultural conflicts are the main topics to discuss. And inhis later films, he integrates eastern and western cultures and even is beyond eastern andwestern culture boundaries to explore and discuss humanity. With long timeintercultural life experience, Ang Lee has formed intercultural personhood.1.3The Scope of this PaperThe first part introduces Ang Lee’s biography.Ang Lee’s intercultural background affords the possibility for him to form interculturalpersonhood.The second part is the theoretical background. It presents managing conflict andnegotiating face theory, the intercultural adaptation theory and theory of interculturalpersonhood.The third part is a very important one. Crouching Tiger and Hidden Dragonhas gained a big success. Eastern and western culture are integrated perfectly in thisfilm, which shows that Ang Lee is in duality process because he can switch betweeneastern and western culture. The intercultural adaptation theory is adopted here toexplain his mind’s flexibility.II.The intercultural adaptation theoryThe Intercultural adaptation process occurs when individuals travel from oneculture to another, both in long and short term encounters. Along with this movement,there seems to be a process of adjustment and familiarization with the new situation.The sojourners seek out specific cultural knowledge, adopt a different style ofcommunication, reserve judgment on unfamiliar cultural practices or withdraw fromintercultural interactions (Witter, 1993>. Intercultural adaptation is a complex anddynamic process which is an inevitable part of intercultural interactions.2.1 The process of adaptationIf a sojourner wants to stay in the new culture environment and lead a happy life, he/she has to go through the intercultural adaptation. Mansell pointed out thatsojourners experience to one degree or another four emotional and affective states in theprocess of intercultural adaptation: alienation, marginality, acculturation, and duality.Alienation causes a strong desire in sojourners to retain identification with theown culture. The rejection of the host culture leads us to limit our social circle toacquaintances or work contacts and to seek out our own nationals for social enjoyment.Unable to employ the necessary skills for adjustment, we feel out of sync with the hostculture and want desperately to return home.The feeling of marginality is like a sandwich, surrounding by two different cultures.Sojourners do not know which side they belong to. They would feel confused abouttheir culture identities. During this period, sojourners can only build up superficialconnections with host nationals and can enjoy neither his native culture nor the newhost culture.Acculturation occurs when sojourners establish a strong need to adopt the way of living of the host culture. Our identification with the host culture means that the primaryculture loses its importance. In this situation we are able to make intimate friends withthe host nationals and are able gradually to replace some elements our original culturewith elements of the host culture. Yet, moving too quickly to adopt the new culture maypose frustrations and obstacles to our intercultural adaptation.Duality symbolizes that even though sojourners are living in the foreign countries,they have cultivated the ability of simultaneously switching between native culture and host culture. During this period, sojourners are able to gain the achievement of beingindependent and subjective above primary culture and host culture. Open-mindednessand flexibility are necessary for maintaining this ability and establishing the continuity.2.2Intercultural personhoodWhen sojourners go into duality period, their flexibility can help them engage in building a remarkable new personhood---intercultural personhood. Cultural identity in its pure form has become more a nostalgic concept than a reality. Interculturalpersonhood is a way of life in which an individual develops an identity and a definitionof self that integrates, rather than separates, humanity. Intercultural personhood projectsa kind of human development that is open to growth---a growth beyond the perimetersof one’s own cultural upbringing (Kim, Y.1996:434>. Intercultural personhood is anintegration of eastern and western perspectives. With the intercultural personhood,thesojourners are able to conciliate contradictory elements and transform them intocomplementary, interacting parts of a single whole. The emerging interculturalpersonhood, then, is a special kind of mindset that promises greater fitness in ourincreasingly intercultural world (Kim, 2001>.The current discussion of intercultural personhood owes much to the writings of several prominent thinkers of the 20th century who have explored ideologies withnational and cultural interests and that embrace all humanity. One such work isNorthrop’s The meeting of East and West (1996>, in which an “international cultureideal” was presented as a way to provide intellectual and emotional foundations forwh at he envisioned as “partial world sovereignty.” Inspiration has also been drawn fromthe work of Tompson (1973>, which explored the idea of “planetary culture,” or howEastern mysticism was integrated with Western science and rationalism. The primarysources for the current analysis of Eastern and Western cultural traditions also includeNakamura’s Way of Thought of Eastern People (1964>, Campbell’s The Power pf Myth(1988>, Gulick’s The Eastern and the West (1963>,Oliver’s Communication and Culturein Ancient India and China (1971>, Capra’s The Tao of Physics (1975>, and Hall’sBeyond culture (1976> and The Dance of Life (1983>.The emergence of intercultural personhood is a direct function of dramaticallyincreasing intercultural communication municating across culturalidentity boundaries is often challenging because it provokes questions about people’spresumed cultural premises and habits, as well as people’s inevitable intergroupposturing and the us-and-them psychological orientation (Kim, 1995>. Yet it is preciselysuch challenges that offer us openings for new cultural learning, self-awareness, andpersonal growth (Kim, 1988, 1995>. The greater the severity of intercultural challenges,the greater the potential for reinvention of an inner self that goes beyond the boundariesof our original cultural conditioning. In this process, our identity is transformedgradually and imperceptibly from an ascribed or assigned identity to an achieved oradopted identity—an emergent intercultural personhood at a higher level of integration.Such an identity transformation takes place in a progression of stages. In each stage,new concepts, attitudes, and behaviors are incorporated into an individual’spsychological makeup. As previously unknown life patterns are etched into our nervoussystems, they become part of our new psyches.The evolution of our identity from cultural to intercultural is far from smooth oreasy. Moments of intense stress can reverse the process at any time because individualsmay indeed regress toward reidentifying with their origins, having found the alienationand malaise involved in maintaining a new identity too much of a strain. Such strainmay take various forms of an identity crisis and cultural marginality. Yet the stressexperience also challenges individuals to accommodate new cultural elements andbecome more capable of making deliberate and appropriate choices about action assituations demand.III. Conflicts between Chinese and Western Culture Reflected in Pushing Hands In the muti-language background, Ang Lee always tries to meet the requirement ofeastern and western audiences. Crouching Tiger and Hidden Dragon, using westernnarrative mode to tell a Chinese story, shows the audience the Chinese spirit andwestern’s thinking patterns (Xu, 2001>. T he film is a roaring success, no matter in theperspective of commercial value or the cultural value. This film is the first Chinese filmwhich is played in the main American theater. Through this film, Chinese Wuxia cultureis firstly delivered to western audiences and firstly accepted by western mainstreamculture. From his films’ success, we know Ang Lee clearly knows his cultural identityand the humanity. His films attract not only Chinese audiences but also westernaudiences. From this time forth, Ang Lee has formed intercultural personhood whichhelps him to touch those sensitive topics.3.1 Plot of Pushing Hands—The independent space in Chinese and Western familyLi Mubai is an accomplished Wudangs’ martial artists. Long ago, his master wasmurdered by Jade Fox. Mu Bai and Yu Shulien who have developed feelings for eachother, but have never acknowledged or acted on them. Mu Bai, intending to lead a newpath in life, asks Shu Lien who is on her way to Bei Jing to transport his sword, alsoreferred to as the Green Destiny, as a gift for their friend Sir Te. At Sir Te's estate, ShuLien meets Jen, the daughter of Governor Yu. Jen, destined for an arranged marriageand yearning for adventure, seems envious of Shu Lien's warrior lifestyle. One evening, a masked thief sneaks into Sir Te's estate and steals the sword. MuBai and Shu Lien, with the assistance of Sir Te's servant Master Bo, trace the theft to Governor Yu's compound and learn that Jade Fox has been posing as Jen's governess formany years. A guilt-ridden Jen returns the Green Destiny to Sir Te's estate but is intercepted by Mu Bai. Mu Bai easily defeats her and offers her to become his pupil. Jenangrily rebukes his offer and flees.That night, a desert bandit named Lo breaks into Jen's bedroom and asks her toleave with him. A flashback reveals that in the past, when Governor Yu and his family were traveling in the western deserts, Lo and his bandits had raided Jen's caravan and after a protracted desert chase, kidnapped her. However, Lo and Jen soon fellpassionately in love. Jen refuses to leave with him and goes through the arrangedwedding. Lo interrupts Jen's wedding procession, begging her to come away with him.3.2 Attitudes towards childrenThe story of this film happens in 18th century. At that time, younger generationsmarriages are arranged by their parents. There is old saying in China to describe thissituation ,“arrange a match by parents’ order and on the matchmaker’s word.” Marriageis not simply meaning love. Parents, especially father, have the fi nal word to choosefuture husband or wife for their children, which is always the case in collectivist societylike China. One crucial factor of choosing the marriage is that the two families have theequal social status. So there is a scene that Shulien visits Jen: Yu: “Thank you for seeing me. I hear your wedding day is near. You must beoverwhelmed by the preparations.”Jen: “I’m hardly doing a thing. The less I think of it the better. My parents arearranging everything. The Gous are a very powerful family. Mymarrying will be good for my father’s career.”Yu: “You are fortunate to marry into such a noble family.”Jen: “Am I? I wish I were like the heroes in the books I read. Like you and Li Mubai. I guess I’m happy to be marrying. But to be free to live my ow nlife, to choose whom I love... That is true happiness.”Yu: “Do you think so? Let me tell you a story.”Jen: “About you and Li Mubai?”Yu: “Yes. Did you know I was once engaged to be married?”Jen: “No, really?”Yu: “His name was Meng Sizhao. He was a bro ther to Li Mubai by oath.Oneday, while in battle, he was killed by the sword of Li Mubai's enemy.After, Li Mubai and I went through a lot together. Our feelings for eachother grew stronger. But how could we dishonor Meng's memory? So thefreedoms you talk about, I too desire it. But I have never tasted it.”Jen: “Too bad for Meng, but it's not your fault, or Li Mubai's.”Yu: “I am not an aristocrat, as you are... but I must still respect a woman'sduties.”From these conversations, we know that although Shulien and Li Mubai deeply fallin love with each other they could not or dare not get together for LiMubai’sbrotherhood and Shulien’s woman duty for the engagement. In their mind, Meng waskilled for saving Li Mubai. As his brother, it would be a loss of face for both himselfand Meng to marry Shulien. Now, Jen is forced to marriage a guy who she has neverseen before. All these heroes are not free, but they are all eager to get freedom and havethe “love” right. Chinese withholding love arouse because of the collectivistic culture.Traditional Chinese people care so much about others’ feelings and foresight. Therefore,they would take responsibility for others and live for others but not for themselves.Parents’ consent, social stratification and obligation become burdens to prevent peoplepursuing their freedom and the basic human right---love.3.3 Chinese and Western family’s attitude toward their eldersThe integration of eastern and western culture is shown not only in the film storybut in the technique of expression. Ang lee uses western narrative model, especially H ollywood’s narrative skill to tell the audience a Chinese Wuxia story. Most of AngLee’s film is using the typical three-act narrative mode, which includes three scenes.The first scene: the main heroes come into the big screen and finish the premise part ofthe story。

从_推手_看中美家庭价值观的差异_石红莉

2.宗教的原因宗教是人类意识形成的重要的组
子，家长对孩子百般疼爱，不让孩子有任何表现自我的成部分。《圣经》中的很多故事是关于由妻子和儿女组
机会，这实际上是剥夺了孩子独立生活的权利。现在的成的家庭。“诺亚方舟”故事里，诺亚父子争吵后，儿女
中国家庭独生子女多，家长对孩子细声细气，唯恐吓到远走他乡，重新组织家庭，再也没有返回原地，说明西
你了”，玛莎看到这一幕很是气愤。在美国，这种情况是
3.思想政治意识的原因中国的家庭价值观念在
不允许的，虽然，美国的性开放程度要比中国大，但是很大程度上受封建主义思想的影响，中国强调家族观
那是相对于成年人的。例如近期的涅乐队的专辑封念，而这种观念的形成主要是族长意志的体现。其中
面出现了裸体小男孩，这张封面因违反网站规定被删 “父为子纲”就明确规定了儿子要完全从属于父亲，儿
孩子，所以，社会上的伪娘越来越多，也就不足为奇了。方人对上辈人的感情比较淡薄。
并且，现在的啃老一族队伍也越来越壮大。
中国的家庭价值观念受儒家孝道影响很深，宗族
美国人很重视别人的隐私，包括孩子。所以，当老意识比较强烈。比如中国的传统节日“清明”就是人们
朱抱着刚洗完澡的孙子看裤裆说“朱家传宗接代全靠还乡祭祖的日子。
1.历史的原因美国是个新兴的移民国家，很多
编辑：魏思思 E-mail:sisi123_0@
/ 名作欣赏 MASTERPIECES REVIEW/ 艺术广角 176
REVIEW
／艺术广角
从《推手》看中美家庭价值观的差异
⊙石红莉［河北软件职业技术学院，河北保定 071000］ ⊙张猛［保定外国语学校，河北保定 071000］
摘要：《推手》是一部反映中美家庭价值观差异的电影。从影片中可以看到中国公公和美国媳妇由于文化差异而引起的家庭生活各方面的互不适应。本文着重从家庭价值观着手来分析差异的原因和融合的趋势。关键词：《推手》中美文化家庭价值观差异

推手中的中西文化冲突的文字对话

推手中的中西文化冲突的文字对话一、中西家庭观念的对比西方崇尚个人主义，主张个人独立和自由，要求家庭服从个人；中国社会更加注重家庭，自古以来强调家庭利益和它的生存发展大于个人。

所以中国传统文化就是大家庭观，与之对立的是美国的核心式家庭观。

在电影中就主要讲述了朱老先生和美国儿媳玛莎之间的矛盾冲突。

主人公朱晓生将父亲接到美国，希望一家人能共享天伦之乐，从这里可以看出他深受中国集体主义文化的影响。

朱老先生来自北京，是地地道道的中国人，代表着中国传统文化。

而他的美国儿媳则是美国主流文化的代表人物。

中国传统文化的大家庭讲究家人团聚，其乐融融；而美国的核心式家庭只包括父母和未成年的孩子而不包括祖父母。

在电影中，老朱和他的美国妻子在同一房间。

他安静地练习太极拳，练习书法，听京剧和烹饪中餐。

在这样的空间里，他按照自己的意愿行事，享受了三代人带来的幸福，但他根本没有考虑玛莎的感受。

因为在中国，个人生活和家庭生活息息相关。

玛莎是一位自由作家，在她看来，朱老的突然“闯入”占用了她的工作空间、生活空间和思考空间，让她根本没有精力专注于自己的工作，甚至是感到无所适从。

因为在玛莎看来，即使在家庭生活中，个人意愿也应得到尊重，他们也应该享受自己的私人空间。

作为自由作家，她需要一个自由和放松的环境，但是由于她的岳父已经加入了三代人的行列，她的生活受到了干扰，写作活动受到了影响。

因此她对父亲的到来极力反对，并且一直劝说晓生让朱老搬出去住老年公寓，这就让深受中国传统文化熏陶的晓生倍感苦恼。

二、中西饮食文化差异在电影中，当他们坐在一张桌子上吃饭时，食物的种类却不一样。

朱老端着一只大碗，里面有米饭和热菜，而玛莎则是吃的饼干和一盘蔬菜沙拉。

他们都各自吃得津津有味，但是又对对方吃的食物感到疑惑。

在吃早餐时，朱老从冰箱里拿出了昨晚剩下的土豆鸡块和米饭，将他们拌了一下后就放进微波炉里加热，过了一会，他才开始慢慢地、认真地享受他的早餐。

玛莎从冰箱里拿出一小块蛋糕，用食指抹了一点放进嘴里，我们可以看到蛋糕上还有无数的手指印。

从李安的“家庭三部曲”看东西方家庭观念之六大差异

从李安的“家庭三部曲”看东西方家庭观念之六大差异摘要李安的“家庭三部曲” (又称父亲三部曲)《推手》、《喜宴》、《饮食男女》)都是以家庭为主题，是反映中西方文化冲突和交融的代表作。

影片通过发生在“家庭”中的日常生活场景展现了中西文化的冲突与碰撞,李安从中国文化出发，引用“和而不同”的思想，以妥协与认同的策略来解决中国传统文化和西方现代文化之间的矛盾，使中西文化都能从文化差异中懂得另一种文化的智慧，弥补自己的不足，解决自身的困难。

本文拟就李安的“家庭三部曲”家庭六大观念差异作一研讨。

关键词：”家庭三部曲”；中西文化；家庭；六大差异目录一、“家庭三部曲”(《推手》、《喜宴》、《饮食男女》) (3)（一）《推手》 (4)（二）《喜宴》 (4)（三）《饮食男女》 (5)二、“家庭三部曲”中东西方文化的差异 (5)(一)生活习惯上的差异 (6)(二)语言文化的差异 (6)(三)中西教育的差异 (7)(四)中西道德观念上的差异 (7)(五)婚姻观念上的差异 (8)(六)传统与现代之间的差异 (8)引言：李安的“家庭三部曲”(《推手》、《喜宴》、《饮食男女》)都是以家庭为主题，是反映中西方文化冲突和交融的代表作。

影片通过发生在“家庭”中的日常生活场景展现了中西文化的冲突与碰撞。

李安是出生在台湾根却在大陆的一代台湾人。

台湾是中国传统文化保存最好，又是近代以来跟西方文化最密切的地区之一，必然成为中西文化激荡的前沿。

李安自幼生长在书香门第，父亲是一所中学的校长，治家甚有古风、教子极为严格，甚至很长一段时间逢年过节在家里还要行跪拜礼。

李安就是在这样有浓厚中国氛围的家庭中成长起来，家庭带给他的不仅仅是中国文化的浸染，父权家庭的中国典型模式也为他日后的作品提供了生活基础甚至是原始素材。

李安从中国文化出发，引用“和而不同”的思想，以妥协与认同的策略来解决中国传统文化和西方现代文化之间的矛盾，使中西文化都能从文化差异中懂得另一种文化的智慧，弥补自己的不足，解决自身的困难。

台港电影赏析

《推手》影评0904330104 陆梦蕾《推手》是台湾导演李安拍摄的一部家庭题材的喜剧。

它是李安父亲三部曲的第一篇，围绕着一个移民美国家庭发生的故事，表现了东西方之间在文化和生活之间的差异。

它以一个太极拳老人为主线，揭示出儿媳与公公之间的矛盾。

围绕一个移民美国家庭发生的一系列故事，表现了传统的中国文化与美国的风土人情之间的冲突。

中西文化的背景是不同的，美国是青年人的天堂，老年人是坟墓，富裕的物质能够保障老年人的生活，然而，儿女的温情却不像中国人，美国人很难接受上一代人与自己同住。

在美国的法律中，儿女是自系亲属，生儿育女的父母却不列为自系亲属。

这对传统的孝子贤孙报亲恩的中国老人来说，简直是可怕的。

《推手》就讲述了一个初到美国想与儿子安度晚年的老人在美国的辛酸历程。

展现了中西方文化的冲突，父辈与我们这一代人生观价值观的不同。

语言文化、饮食文化以及教育孩子的方式上，中国和美国也存在很大的差异。

这部影片诉说了在美国的一所大房子住着一个因退休而来美国一个月的太极大师朱老，他的儿子朱晓生，以及他的儿媳玛莎，孙子杰米一起生活的故事，朱老在美国的生活很寂寞，国为东方文化和西方文化有差异的关系，所以他和玛莎难以和谐相处，最后朱老离家出走，在这个普通家庭里，朱老经历了许多事，通过这些事让朱老明白了许多道理，懂得了自己怎么在美国生活，怎样适应新的环境。

玛莎与朱老的相处非常的生疏，两个不同年龄，不同成长背影，不同文化的两个人，在交流又相当困难的情况下，同住一屋檐下，凑出了及不谐调的油、盐、财、米交响乐！玛莎是一名自由撰稿人，她需要一个极其安静的生存环境，而朱老喜欢太极，又看不贯朱老在家比手划足的，家庭矛盾由此拉开。

在这些矛盾中，玛莎找不到一点创着激情。

李安在片中用了一组镜头，画面中，近镜是朱老在打“太极”远镜玛莎在“写作，以及近镜玛莎在“写作”远镜是朱老在打“太极”，用这样的的手法告诉观众，她们的文化背景的不协调。

在饮方面，导演又用了全家一起用餐的镜头，反应他们的生存背景的不同，中国人喜欢“油腻”的食品，而美国人在饮食中喜欢“清淡”，朱老对玛莎不吃肉，很不理解，朱老给孙子杰米夹肉，玛莎表再出很担心的表情，很怕那肉吃进了杰米的肚子里，这使朱老感到很受委屈。

从电影《推手》看中西方集体主义与个人主义文化价值观

２０１５年２月第４卷第１期
蚪碑擎，宄学稚
ＪｏｕｒｎａｌｏｆＢｅｎｇｂｕＵｎｉｖｅｒｓｉｔｙ
Ｆｅｂ．２０１５Ｖｏ１．４．Ｎｏ体主义与个人主义文化价值观
ＳｔｕｄｙｏｆＣｏｌｌｅｃｔｉｖｉｓｍａｎｄＩｎｄｉｖｉｄｕａｌｉｓｍｉｎＰｕｓｈｉｎｇＨａｎｄｓ
ＳＵＮＪｉｎｇ — ｙｕ，ＤＡＩＴｉｎｇ — ｔｉｎｇ（ＤｅｐａｒｔｍｅｎｔｏｆＦｏｒｅｉｇｎＬａｎｇｕａｇｅｓ，ＨａｒｂｉｎＥｎｇｉｎｅｅｒｉｎｇＵｎｉｖｅｒｓｉｔｙ，Ｈａｒｂｉｎ，１５０００１，Ｈｅｉｌｏｎｇｊｉａｎｇ）
Ａｂｓｔｒａｃｔ：ＩｔｍａｉｎｌｙｓｔｕｄｉｅｄｔｈｅｃｕｈｕｒａｌｏｒｉｇｉｎｓｏｆｄｉｆｆｅｒｅｎｃｅｓｂｅｔｗｅｅｎＣｏｌｌｅｃｔｉｖｉｓｍａｎｄＩｎｄｉｖｉｄｕａｌｉｓｍｅｘ。ｉｓｔｉｎｇｉｎｔｈｅｍｏｖｉｅＰｕｓｈｉｎｇＨａｎｄｓｆｒｏｍｔｈｅｐｅｒｓｐｅｃｔｉｖｅｏｆｇｅｏｇｒａｐｈｙ，ｈｉｓｔｏｒｙａｎｄｒｅｌｉｇｉｏｎｉｎｔｈｉｓｐａｐｅｒ．Ｉｔ

中美传统家庭语篇对比分析——以电影《推手》为语料

系统。
统家庭对于女教育观念及其教育模式的差异。
基于语篇系统这一概念，我们可以把家庭看作是具有自身文
化特征的独立的语篇系统。文旨在运用Ｓｏｌ本ｃｌｎ提ｍ的语篇分析ｏ法，电影《手》以推为语料，上述四个方面对中美家庭语篇进行系从
语篇系统中的社会化使每个成员与其语篇取得认同。步得逐到其他成员的认可，成为某语篇的成员。中美传统家庭对其内并
部成员采用了不同的教育方式。从电影《手》以看出，推可中美传
缩小了自己的个人空间
１言前
一
而晓生，为在美国奋斗的华人，然适应并接受了美国文作虽
般来说．语篇有三个层面上的涵义。狭义的语篇指如何使
化，中国传统文化仍深深占据着他的灵魂。受中国传统家庭伦但理的熏陶，生有较强的家庭观念，孝道，赡养父母、奉父晓重把侍母看做是自己应尽的责任。２．美传统家庭语篇的社会化对比分析２中
群体共享的语言系统．为群体成员对所必须具备的知识的获取作方法，以及与其群体成员的独特的人际关系和相互交往方式等
等。语篇系统由四部分组成：识形态，会化，篇形式和面子意社语

浅析电影《推手》中集体主义与个人主义带来的中美家庭观念的差异

浅析电影《推手》中集体主义与个人主义带来的中美家庭观念的差异发布时间：2021-06-17T12:04:33.570Z 来源：《基层建设》2021年第7期作者：汤胜男[导读] 摘要：电影《推手》是著名导演李安的处女座。

四川大学文学与新闻学院摘要：电影《推手》是著名导演李安的处女座。

影片看似只是讲述了一位退休老人到美国与儿子儿媳一起生活后发生的一系列“鸡毛蒜皮”的家庭琐事，实际反映了由中美文化差异、价值观差异引发的种种跨文化交际的冲突。

本文以《推手》为例，分析影片中所展现的由集体主义与个人主义带来的中美在家庭观念上的一些不同。

了解这些差异和造成差异的原因，并掌握相关的应对方式，能让我们以更宽容、包容的心态对待异国文化，从而跨越交际的屏障。

关键词：《推手》；集体主义；个人主义；跨文化交际一、集体主义与个人主义个人主义，就是指人与人之间的关系淡薄、松散，人们只关心自己及其核心家庭。

与之相反，在集体主义的社会中，人们将集体利益置于自己个人利益至上，集体提供给他们提供保护，他们也反过来忠诚于这个集体。

中国社会是典型的集体主义社会，而美国奉行的则是个人主义。

因此，当代表着集体主义的朱老与象征着个人主义的玛莎在同一个屋檐下朝夕相处时，势必会产生种种碰撞。

二、电影《推手》中展现的集体主义与个人主义带来的中美交际冲突（一）家庭构成受集体主义的影响，在我国的文化传统中，人们认为儿孙满堂、人丁兴旺是一个家庭、家族繁盛的前提与象征。

因此，“主干家庭”（由夫妻、夫妻的父母、或者直系长辈以及未成年子女组成）模式在中国非常常见，有些家庭甚至是由“核心家庭”（由夫妻及其未成年子女组成）或“主干家庭”加上其他旁系亲属组成的“扩大家庭”模式。

但在西方国家，儿女成年后不管结婚与否，一般都会独自生活，父母年老后也很少会与已成家的子女一起生活。

因此，“核心家庭”模式在西方是主要模式，“主干家庭”的数量很少，更遑论“扩大家庭”。

朱晓生、玛莎和儿子杰米原本是一个和谐的三口之家，但当朱老从中国来到美国闯入他们的生活后，矛盾开始丛生。

推手影评

影评《推手》影片《推手》堪称现代家庭的经典之作。

它反映了中美历史文化差异，糅合了许多现代元素，能生动再现现代人在家庭伦理。

家庭生活上的做法和观念，是部纪实主义作品对我们有很大的启发教育意义。

这部影片主要以已经70多岁，喜欢练习太极拳的朱老先生被在美国当工程师的儿子朱晓生从中国内地接到美国安度晚年，而后以他与美国媳妇玛莎之间的矛盾与冲突展开来。

人人都说美国好，我看不见得。

朱老先生到美国后生活很不习惯，儿子晓生工作很忙，呆在家的时间很短，而老人与儿媳玛莎又因言语不通缺乏交流，加之生活方式不同不能相互适应对方，老人每天寡言少语，常练太极推手，听京剧唱歌，练练书法来消遣剩余时光，排解心中的压抑之情。

翁媳两人的生活观念不同，在家写作的玛莎感觉受到了干扰，便换上运动装去跑步。

由于两人交流困难，老人并未察觉到儿媳的不满。

老人又打开电视机看，电视中老两口在巴叽吧叽地吃饭，接连换了两张碟子也觉得没什么意思，玛莎走过来调低音量，让老人带着耳机听，老人索性关掉了电视去打坐静休。

这时玛莎的朋友琳达穿着西装翩翩风度的走来与玛莎交谈，麻纱向朋友倾诉了对老人的不满与委屈。

晚上，老人下厨炒菜，小孙子杰米放学回来向爷爷打招呼问好。

老人私下与晓生诉说在美国的不适应。

杰米洗澡时调皮的跑出来，玛莎正要把儿子带回去洗澡，爷爷一把抱起，气氛弄得很尴尬。

吃饭时，杰米很快放下碗去看电视卡通，老朱与儿媳争着与晓生说话，晓生感到为难，闹得大家都不愉快。

老人在洗碗时见晓生进来便把碗交给他，自己出去抽根烟。

望着空中明月，老人感到一丝孤单寂寞涌上心头。

在孙子学中文的时段，老人显得十分高兴，亲自教孙子，并给他讲老北京时的倒句；‘东西接南北走，出门看见人咬狗。

’晚上老人在梦境中还重复着白天是教孙子学汉语时的情形，晓生半夜起发现妻子还未睡，正在电脑下写书，他知道妻子心情不好，便给妻子拿来些点心充饥。

妻子向他抱怨他父亲在的这些日子里，没能写出什么书。

晓生讲出自己的苦衷希望妻子理解他。

从电影《推手》看中西文化对家庭观念的不同理解

从电影《推手》看中西文化对家庭观念的不同理解文化的定义多种多样,但都承认人们是作为社会的一员而获得的。

交流使人们沟通,而文化使他们分开。

几千年来,家庭是中国社会组织的中心,中国家庭长期以来如同组织严密的社会单位,家庭成员均从中利用各自的资源来满足心理、社交与物质上的需要。

传统上,当父辈老迈,便由年轻一代赡养。

年轻一代有义务尊重,顺从,提升父母与祖先的公共声望,生育男性继承人传宗接代,与父母一起生活,不论他们是健康还是抱恙都细心照顾。

但是当中西文化发生碰撞的时候,中国人这种传统家庭观念与西方人的观念之间的矛盾便会凸现出来。

《推手》这部电影是李安的处女作,它借由中国传统文化在新一代年轻人身上的传承与后天的西方生活习惯的碰撞,来揭示文化冲突带来的亲情问题。

老朱的儿子晓生在美国打拼多年,为的是建立一个完整的家,同时也是怕父亲年老退休后孤独,便决定把老人接来过几年好日子。

来美后,老朱赋闲在家,无事可干,每天只好打太极、听京剧、练书法,无意中打搅了作家儿媳玛莎的清净。

老朱与儿媳间的冲突越来越多,无论是生活习惯还是教育下一代孙子,都存在很大的观念上的差异。

经历一系列事后,儿子晓生开始怀疑自己当初决定的正确性,他甚至想到要把老朱送往老人公寓。

晓生维护自己新建的这个家的安宁的同时,也背叛了父亲和传统伦理的孝道。

后来老朱执意独立生活,寓居唐人街公寓,中国式的家庭理想在美利坚的环境下不得不做出最后的妥协。

中国父亲与美国媳妇在语言、生活方式上的矛盾反映了众多移民美国的中国家庭所共同面临的文化隔阂问题,下面从不同侧面就电影中主人公对家庭这一概念的东西方不同理解进行一一解读。

家庭空间。

“家”在中国人的概念里是寻求安定与庇护的地方。

在中国人的家庭伦理观念里,四代同堂是人生幸福之一,这意味着共享空间和一起活动。

于是老朱在与美国媳妇共处一室的时候,安然地打太极、练书法、听京剧、煮中国式的饭菜。

他在这样的空间里悠然自得地按照自己的意愿行事,享受三代同堂带给他的幸福,却完全没有考虑到玛莎的感受。

以《推手》为例解读中美家庭价值观

影视观察陆溪核，贾晓云：以《推手》为例解读中美家庭价值观以《推手》为例解读中美家庭价值观陆溪核，贾晓云(上海理工大学外语学院，上海200093)【摘要】电影《推手》是一个反映跨文化交际的典型范例，体现了中美家庭价值观的差异，通过展现不同文化背景下的观念异同，揭示了中美核心文化价值观的冲突与融合。

本文着重从电影《推手》中所展现的家庭价值观入手，分析了差异背后的诱因以及其发展趋势，并对个体主义和集体主义进行了一些简要探讨，旨在帮助人们了解两国不同的价值观，为跨文化交际提供助力。

【关键词】跨文化交际；文化价值观；家庭理念中图分类号：J905 文献标志码：A文章编号：1007-0125(2017)16-0087-02由李安导演的影片《推手》，讲述了发生在美国移民家庭中的一系列故事。

通过描绘日常生活中出现的种种矛盾，对中美文化差异进行反复深人挖掘，最终彰显了通过互相调和与理解，不同文化之间化干戈为玉帛的中心思想。

推手，是一种双人太极拳的对练动作。

练习者在保持自身平衡的同时，试图让对方失去平衡。

在这样的一个过程中，双方不断进行调整，以达到一种绝对运动、相对静止的微妙状态。

恰如其名，电影《推手》讲述的也是一个有关冲突与和i皆的故事。

男主角朱晓生是一名土生土长的中国人，取得电脑博士学位后便在美国定居。

随后，晓生将父亲朱老先生接到美国颐养天年。

然而，事与愿违。

晓生的洋媳妇玛莎对此无法认同，并拒绝交流。

身为太极大师的朱老先生在美国社会中也显得格格不入，由此引发了一系列中美文化与价值观的冲突与碰撞。

双方从最初的冷战对抗，到矛盾爆发，再到最终妥协让步、互相理解，是不同文化交融过程的一个缩影。

本文将以此为基础，对其背后的历史与文化因素进行分析，为促进不同文化之间的理解与交流添砖加瓦。

— '中美家庭价值观对比(一）家庭理念的差异。

家庭是构成社会的基本单位。

现代社会学家将传统家庭分为三类：核心家庭（由夫妻两人及未婚子女构成）、主干家庭（由包括祖父母、父母和未婚子女在内的直系亲属构成）以及联合家庭（由核心家庭、主干家庭以及其他一些旁系亲属构成）。

从《推手》看中美家庭价值观的差异

从《推手》看中美家庭价值观的差异
中美家庭价值观的差异是由于两国在历史、文化、社会经济等方面的不同而形成的。

在《推手》中，美国作家芭芭拉·施瓦茨和中国作家徐汉宁通过两个家庭的故事，展现出这
种差异。

芭芭拉·施瓦茨描写的是一个美国家庭，主要人物是一对
夫妻，两个孩子，一个家庭助理。

他们把自己看作是一个家庭，他们相互关心、照顾，而且相互尊重，彼此互相支持，让每个人都有自由发展的权利。

家务事也是由夫妻和孩子们共同完成，父母随时给予孩子们精神支持，鼓励孩子们做自己想做的事，并让他们有机会自由发展自己的潜能。

徐汉宁描写的是一个中国家庭，主要人物是一对夫妻，两个孩子，一个家庭助理。

他们把自己看作是一个团队，他们有着明确的分工，父母做最重要的决策，每个人都必须服从父母的安排，家庭务工也是由父母最后决定。

父母认为，孩子们应该服从父母的安排，而不是自己选择自己想做的事，他们也不鼓励孩子们去发展自己的潜能。

从《推手》中可以看出，中国家庭和美国家庭在价值观上有很大的差异。

在中国，家庭是一个团队，父母的决策是最重要的，所有人都必须服从父母的安排，而在美国，家庭是一个团体，父母和孩子们都有自由发展的权利，并相互尊重、照顾，彼此互相支持，让每个人都有自由发展的权利。

从这两个家庭
中，我们也可以看出，中国家庭强调父母权和孩子服从，而美国家庭则强调自由和平等。

总的来说，《推手》展示了中美家庭在价值观上的差异，它们表明了两国家庭价值观的不同，也让我们从中认识到家庭教育的重要性。

可以说，家庭是一个团体，成员之间应该相互尊重和照顾，彼此支持，让每个人都有自由发展的权利，这样才能让家庭和谐、美满。

从《推手》中看中美家庭观念的差异[整理版]

从电影《推手》中看中美家庭观念的差异《推手》是李安的“家庭三部曲”之一，全片以美国的一个“中外混合家庭”为背景，记录了家庭生活中的各种琐事，以朱老先生为主线，通过讲述他与美国儿媳之间的矛盾来反映中美家庭观念的差异，引人深思。

李安试图讲述了众多移民美国的中美混合家庭所共同面临的由于中美家庭观念的差异而导致的问题。

影片主要讲述了一为年过七旬的朱老先生被留学美国的博士生儿子接到了美国安享晚年的故事：朱老先生是一位精通中国文化的师傅，他不仅是太极宗师，而且写得一手苍劲有力的书法，还懂得气穴疗法。

电影不动声色地展示公公和媳妇的冲突时，着重展示了中美家庭观念的差异投射在两人身上所产生的矛盾。

公公打太极、写毛笔字、吃排骨、穿中式服、乱丢烟头、唱戏剧、关心传宗接代，诸多的中国元素，都与儿媳玛莎产生着对立和差异，彼此语言又无法沟通，导致双方都无法忍受而引发家庭冲突，导致儿子经常左右为难，而不得已产生了想送走父亲的想法，公公在知道后，便擅自出走，在美国颠沛流离，却无法找到寄身之所，终于还是由儿子为其在外租下公寓，安度余年。

影片主要反映了在中美的社会制度结构中，家庭观念有很大的不同，这也是造成中美社会和文化差异的一个基本原因。

中国社会构造的根基在家庭，西方社会的根基在个人，中国人缺乏集团生活而重家庭生活，借家庭而组织社会，消融了个人和团体的对立，因而被称为“家庭本位” 的社会；西方人重集团生活而轻家庭生活，靠宗教来统慑个人，凝聚社会，从而确立了个人的独立地位和自由权利，因而被称为“个人本位”的社会。

在中国的传统观念中,家庭是以婚姻和血缘为纽带的基本社会单位,包括父母、子女以及生活在一起的其他亲属。

中国文化提倡尊老爱幼，子女孝顺父母，在中国,人们喜欢让老人来享受“儿孙绕膝”“几世同堂”的天伦之乐,所以,节假日的祝语一般是“合家欢乐”。

以此来看,中国人喜欢“扩大家庭”,并且现在很多人,尤其是男性和老人更愿意组成“主干家庭”,并以此来作为孝道的最高境界，这充分体现了中国人“家庭本位”的思想，人与人之间特别是家庭成员之间的联系十分紧密，大家都很习惯一大家人住在一个房子里，共同分享家里的一切事物，包括家的空间、家的乐趣，在中国的家庭里面是比较重视家庭中集体的生活空间而非个人的私人空间。

从霍夫斯泰德的文化维度理论看电影《推手》的中美跨文化交际冲突

摘要：李安执导的电影《推手》是跨文化交际典型范例，体现了中美跨文化交际的种种冲突，这些冲突可以用霍夫斯泰德的文化维度理论分析和解释。

从霍夫斯泰德的文化维度看，其中的价值观冲突主要可分为个人主义与集体主义、权力距离、不确定性规避、阳刚气质与阴柔气质、长期导向与短期导向五类。

关键词：《推手》霍夫斯泰德文化维度跨文化交际一、引言李安执导的电影《推手》是跨文化交际典型范例。

故事发生在美国，计算机博士朱晓生在美国娶妻生子，为尽孝道把父亲接到美国生活。

洋儿媳玛莎是自由作家，觉得公公的到来侵入了她的私人空间，干扰她写作。

以父亲为代表的中国文化和以洋媳妇为代表的美国文化引发了系列冲突，体现了中美价值观的不同。

我们从跨文化交际角度，以霍夫斯泰德的文化维度理论为标准探讨电影反映的中美价值观差异。

二、霍夫斯泰德的文化维度理论文化维度理论是跨文化理论中具有影响力的理论之一，是荷兰文化协作研究所所长吉尔特?霍夫斯泰德于20世纪60年代末对ibm跨国公司的40多个国家分公司员工进行文化价值观调查的基础上总结出来的。

文化维度理论从提出到拓展完善，总结了研究和对比分析国家民族文化的四个维度，即个人主义与集体主义、权利距离、不确定性规避、阳刚气质与阴柔气质、长期导向与短期导向。

1.个人主义与集体主义个体主义指的是“人与人之间松散联系的社会：人们只照顾自己及其核心家庭”[1]80。

集体主义是指“人们从出生起就融入到强大紧密的群体当中，这个群体为人们提供终身的保护以换取人们对于该集体的绝对忠诚”[1]81。

这一维度用个人主义指数衡量，指数数值越大，社会个人主义倾向越明显;反之，社会集体主义倾向越明显。

2.权利距离霍夫斯泰德将权利距离定义为“在一个国家的机构和组织中，弱势成员对于权利分配不平等的期待和接纳程度”[1]49。

任何社会都存在各种各样的不平等现象，但不同社会的弱势群体对权力不平等的分配状态接受的程度不同。

对不平等状态接受程度高的国家为高权利距离国家，这样的国家，下级直接与上级商讨问题的可能性很小;反之是低权利距离国家，这样的国家，下级容易与上级商讨问题甚至反驳上级的观点。

从《推手》看中美家庭价值观差异

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