从《推手》看中美家庭观念的差异全文
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
《2024年从跨文化交际的角度分析电影《推手》中的文化冲突》范文
《从跨文化交际的角度分析电影《推手》中的文化冲突》篇一一、引言电影《推手》以其细腻的描绘和深刻的主题，成功地展现了不同文化背景下的冲突与融合。
这部电影以跨文化家庭为背景，通过主人公黄师傅在美国的生活经历，展示了不同文化之间的冲突与融合。
本文将从跨文化交际的角度出发，对电影中的文化冲突进行分析。
二、电影背景与主要情节《推手》以黄师傅一家在美国的生活为主线，通过描述家庭成员间的互动以及与当地社会的交往，展现了中美文化之间的差异和冲突。
电影中，黄师傅作为中国传统文化的代表，与美国社会的价值观、生活方式等方面产生了诸多矛盾。
三、跨文化交际中的文化冲突分析1. 价值观的冲突电影中，黄师傅坚持中国传统的价值观，如尊重长辈、重视家庭等。
然而，在美国社会中，个人主义和独立精神被高度重视。
这种价值观的差异导致了黄师傅与美国社会的矛盾和冲突。
例如，黄师傅在公园练习太极拳时被误解为挑衅，以及他在超市购物时因坚持排队而被嘲笑等情节，都反映了两种价值观的冲突。
2. 沟通方式的冲突中国和美国的沟通方式存在较大差异。
中国人注重集体主义和面子，喜欢委婉、含蓄的表达方式；而美国人则更注重个人主义和直接性。
在电影中，黄师傅一家与美国邻居的交往过程中，由于沟通方式的差异，产生了许多误解和矛盾。
例如，黄师傅的妻子在面对邻居的挑衅时，选择了忍让和回避，而这种方式在美国社会可能被视为软弱和无能。
3. 社会习俗的冲突电影中还展示了不同社会习俗之间的冲突。
例如，黄师傅在参加美国朋友的聚会时，因不了解美国社会的社交礼仪而感到困惑。
此外，在饮食、节日等方面也存在较大差异。
这些差异导致了黄师傅在适应美国社会过程中的困难和挫折。
四、解决文化冲突的策略面对文化冲突，电影《推手》提供了一些解决策略。
首先，理解和尊重不同文化是关键。
只有了解对方的文化背景和价值观，才能避免误解和矛盾。
其次，学会沟通和交流也是解决文化冲突的重要手段。
通过有效的沟通，可以减少误解和矛盾，增进相互理解和信任。
推手简析
事业成功与 生活质量 习惯爱好、 背景差异 自我意识与空间 公共性差异 交流与语言 差异
对待文化差异方式态度
主 动 沟 通
相 互 尊 重
总结
谢谢倾 听！！！
四）人物心理方面文化差异
朱老为儿媳妇治病，却没想到弄巧成 拙，将儿媳妇弄出了胃出血。而陈太太 治病却十分感动，这两处的鲜明对比。
当然，中国的气功在影片中或 许有点夸张的表现，但这是用 在中国人的身上，所以我们觉 得很自然，但用在西方人身上 恐怕就有些奇怪了。这就是文 化上的差异。
（五）其他方面差异
朱老和儿子始终是钟爱传统的中国 餐具， 而美国人则是盘子盛食物，用刀 叉即切即吃，喝汤则有专门的汤匙。
（三）、中西方教育的差异
在影片中，小杰米不得不接受 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式 教育。 而朱老则提倡中国儒学文化，于是他给孙 子用水墨画的方法画了一只金鱼。 而且朱老的观念中，生儿子是为传宗接 代的看法仍然存在，而这一观点显然引起 了玛莎的强烈不满。
老人的儿子在影片中是一个中西结 合的角色，在影片的中他还是一个比较 偏向传统的中国人。妻子和父亲争吵时， 他更多的站在父亲这一边的。
（一）中西方对待老人问题上的差异
但是，老人的儿子却没能坚持到最后，最终还 是想将老父亲请出家门“共患难容易，共安乐 难，从前那些苦日子我们都能相亲相爱，美国 这么好的物质条件却容不下我在你家！” 于是，在和陈太太的郊游事件 后，朱老终于决定以离开来反 对儿子的西方观念，这不免让 人觉得可惜，但这也正是中西 文化最难调和的一处！
电影《推手》简析
—— 中美文化差异
小组成员 曾涛 于晓婷 普克女
目录
（一）中西方对待老人的差异 （二）中西饮食文化的差异 （三）中西方教育的差异 （四）人物心理方面文化差异 （五）其他方面差异
从《推手》看中美家庭观差异
从《推手》看中美家庭观差异学院：计算机学院班级：网络工程10-2学号：08103619从《推手》看中美家庭观差异摘要：以中国为代表的东方文化不可避免的以美国为代表的西方文化发生碰撞，交流与融合。
伴随着中国的改革开放，西方社会的文化越来越多的走进我们的视野，在这种情况下，跨国域、跨民族、跨文化的经济和社会交往与日俱增，李安导演的电影《推手》中，生动形象地描写了家庭的解构和重组，并在表现传统文化和现代文化的差异与隔膜中探讨了各种伦理道德关系，从这部电影入手，进一步分析出中美家庭观的差异，使我们更好的进行跨文化交流。
关键词：差异家庭观孝顺自由独立一、背景随着经济全球化的日益加深，“文化”全球化也蔓延在全球的各个国家。
因而以中国为代表的东方文化不可避免的以美国为代表的西方文化发生碰撞，交流与融合。
伴随着中国的改革开放，西方社会的文化越来越多的走进我们的视野，在这种情况下，跨国域、跨民族、跨文化的经济和社会交往与日俱增，但是我们所面对的是来自陌生的文化和国家，思维方式、生活习惯和行为方式与我们迥然不同，在与之交往的过程中不可避免的会出现文化冲突的现象。
跨文化交际学的创始人霍尔曾说过“文化存在于两个层次中，公开的文化和隐藏的文化。
前者可见并能描述，后者不可见，甚至连受过专门训练的观察者都难以察知”。
由李安编导的《推手》这部影片，注重在中西文化冲撞中开掘人性，生动形象地描写了家庭的解构和重组，并在表现传统文化和现代文化的差异与隔膜中探讨了各种伦理道德关系，具有独特的文化内涵和人文气韵。
要更好的进行跨文化交流，就需要深入的了解两者之间的差异。
此处我们对中美家庭观的差异进行深入的分析二、《推手》简介移民美国的北京太极拳师朱师傅在儿子优裕的家庭生活，却有寂寞之感。
原因是美国的儿媳妇玛莎接受不了这个异国的公公。
加上语言的不通，两代人的鸿沟产生了。
老人在华人学校结识台湾去的陈太太，很有好感。
老人有一次出外散步迷路，儿子下班回家见父亲不在，出门寻找，几次失望而回，与妻子产生冲突。
《2024年从跨文化交际的角度分析电影《推手》中的文化冲突》范文
《从跨文化交际的角度分析电影《推手》中的文化冲突》篇一一、引言电影《推手》以一种微妙而深入的方式，探讨了跨文化交际中的文化冲突。
该片以其独特的视角和深刻的内容，引发了人们对于不同文化背景下的生活、摩擦以及如何调和差异的深刻思考。
本文将从跨文化交际的角度出发，分析电影《推手》中的文化冲突。
二、电影背景与概述《推手》是一部以华人在异国他乡生活为背景的电影，讲述了中国父亲与美国儿子之间的矛盾冲突，以及他们与周围环境之间的文化摩擦。
电影中，中国父亲在异国他乡的孤独、挣扎以及与美国社会的文化差异，构成了电影的主要情节。
三、跨文化交际中的文化冲突分析1. 语言与沟通障碍电影中，中国父亲与美国人的语言障碍成为了他们之间沟通的难题。
由于语言不通，双方往往无法准确理解对方的意图和情感，导致误解和冲突的发生。
这种语言障碍反映了跨文化交际中，语言差异对交流的影响。
2. 文化价值观的冲突电影中，中国父亲与美国人在价值观上存在明显的差异。
中国父亲强调家庭观念、尊重长辈、孝顺等传统价值观，而美国人则更加注重个人主义、自由和平等。
这些不同的价值观导致了双方在处理问题时产生分歧和冲突。
3. 生活方式与社会环境的差异电影中，中国父亲在美国社会中面临的文化差异还包括生活方式和社会环境的差异。
例如，中国人重视集体生活，而美国人更倾向于独立生活；中国人注重礼仪和面子，而美国社会则更加注重个人表达和自由。
这些差异导致了中国父亲在异国他乡的孤独感和文化不适应。
四、解决跨文化交际中文化冲突的策略1. 增强跨文化意识为了减少跨文化交际中的误解和冲突，人们需要增强对不同文化的认识和理解。
只有了解对方的文化背景和价值观，才能更好地进行沟通和交流。
2. 尊重彼此差异在跨文化交际中，尊重彼此的差异是解决文化冲突的关键。
人们应该学会包容不同的价值观和生活方式，以开放的心态去接纳对方的文化。
3. 学习并运用沟通技巧掌握一定的沟通技巧有助于减少语言和文化障碍带来的问题。
《2024年中西文化差异中的文化身份建构——解析电影《推手》和《喜宴》》范文
《中西文化差异中的文化身份建构——解析电影《推手》和《喜宴》》篇一一、引言文化身份的建构是全球化背景下文化交流与融合的必然产物。
在跨文化语境中，电影作为一种艺术媒介，通过展现不同文化的冲突与融合，揭示了文化身份的多元性。
本文将选取中国电影《推手》和美国电影《喜宴》为研究对象，通过深入分析两部电影的情节、人物、叙事等元素，探讨中西文化差异中的文化身份建构。
二、电影《推手》中的文化身份建构《推手》是中国导演执导的一部电影，以一位中国老人在美国的生活经历为背景，展现了中西文化的冲突与融合。
（一）情节与人物设定电影中，主人公是一位退休的太极拳教练，移居美国后，因语言、生活习惯、文化观念等方面的差异，与当地社会产生了冲突。
这种冲突在情节中得到了充分体现，老人在西方文化的背景下孤独无援，但他也在艰难的处境中寻求自身的认同与尊严。
（二）中西文化的冲突与融合在文化层面上，《推手》通过不同人物的设定、行为、交流等方面展示了中西文化的冲突。
然而，影片最终展现了文化间的相互尊重和融合的可能性，这正体现了文化身份建构的多元性。
三、电影《喜宴》中的文化身份建构《喜宴》是一部反映美国华裔家庭故事的电影，它通过婚礼这一特定情境展现了中西文化的碰撞与交融。
（一）家庭观念与婚恋观的碰撞电影中家庭成员的婚恋观念代表了中西文化的差异。
传统家庭观念与现代西方婚恋观念的碰撞，反映了不同文化背景下人们对家庭和婚姻的不同理解。
（二）多元文化身份的认同与表达在《喜宴》中，主角们在异国他乡的文化背景下寻求身份认同，他们在面对多元文化时展现出开放和包容的态度。
这正体现了在跨文化语境下文化身份建构的复杂性和多元性。
四、两部电影的文化身份建构对比分析（一）不同背景下的文化冲突与融合两部电影虽然背景不同，但都展现了中西文化的冲突与融合。
在《推手》中，中国老人面对的是陌生的西方社会；而在《喜宴》中，华裔家庭则是在美国社会中寻求自身的认同和表达。
这些不同的背景和情境反映了不同文化背景下的文化身份建构的差异和共性。
从电影推手看中西文化差异
Analyze the difference culture between the western and Chinese from the Push2013级英语6班黄晴AbstractPush tell a story which around an immigrant of American families, it performance the difference about culture and life between the east and the west. It take an old man who is a the Great ultimate master as the main line, reveals the contradiction between the daughter-in-law and father-in-law. Talk a series of stories about a family immigrated to the United States, shows the conflict between the Chinese traditional culture and the local conditions and customs of America.Introducelee's Push is a very difficult movie, the difficulty of it is condensed the cultural differences into a scene in a so small, in China's big sound thin sound, elephant invisible. The shape character of image is bright, old man Mr Zhu alwaysSerious but not majesty, old age and alone, in the son's new house slightly redundant (concentrated reflection on cannot municate with daughter-in-law who born and grow in United States). So he decided leave from the home, but left is also can not deal this problem, finally resulting inthe contradiction between son and daughter-in-law. The position of the son seem to be embarrassed, its could have harmonious relationship, but things not always happened like people think, cultural differences can let relatives are patible between the father and the daughter-in-law. American daughter-in-law in the film bee very pathetic, no matter how her like for the Chinese culture, married as a wife, need to be the primary caregivers for husbands and children, but because the interference e from the father who doesn't understand the English but wants reflect of authority everywhere, her only hobby – writing is being bothered, even the only son is forcibly occupy and filling with Chinese culture.The backgrounds between Chinese and western cultural are different. United States is a paradise for young people, but the grave of the elderly, the rich material can guarantee the old people’s life, however, children's tender feeling is not like the Chinese, Americans find it hard to accept a generation live with themselves. In American law, the children are listed as the department relatives, but children's parents are not listed as the department of relatives. This is the traditional pro-al-en worthy progeny of the Chinese people, it is really too terrible.Push use a family as the main line, describing Chinese traditional culture survival situation in modern society. In this film, we will experience as much as possible of the collision and conflict between the eastern and western cultures. At the beginning of the film, it tell a old man who firstwent to the United States and wants to abetted in the United States with his son. It showed the conflict of Chinese and western culture, the different values between parents and the new generation.In the film Push, the cultural differences between Chinese and western mainly embodied in the following aspects:1.the differences way treat the old people between the western and the ChineseOn this issue of the treatment of the old man, it need to be involved in China's traditional virtue of filial piety. The old man's problem is a worldwide problem, and the Chinese traditional culture and modern western civilization view are very differences on the issue. Push choose such a story that Chinese old man live in the United States, itself contains naturally conflicts, but it involving ethics, emotion is belongs to all mankind.Of course in the film is not just a issue in the difference of the treatment to the old man, on a diet, even Chinese and western food culture, made a vivid, bright and witty humor pare.2. the difference between China and the west diet cultureAt the beginning of the film we can see a very interesting scene. Grandfather holding a bowl, there is rice and all kinds of dishes, and meat, exhaled to eat with chopsticks, and daughter-in-law just eating a plate ofvegetable salad and a piece of baking. We can find that diet culture difference between Chinese and western. In China, people like to grain and vegetables and meat collocation, and used a variety of cooked in color, aroma and taste delicacies. But in the west, people based on the nutritional value, westerners more raw vegetables. Salad just like the rabbit feed Thus for grandfather Zhu, , makes he hard to accept. So grandfather Zhu let the son daughter-in-law to eat want to pay attention to collocation in the son and daughter-in-law together at the dinner table, but western lifestyle son just answer "she is afraid to bee fat!"In the eyes of the westerners Chinese people always feudal backward in view of how to education child.3.the differences education between the Chinese and westernIn this film, the difference of Chinese and western education embodied in the education of small Jamey. In the film, the small Jamey is one of the most innocent, he had to live in the cracks between Chinese and western culture, have to accept two different types of education, two kinds of different language and culture learning. Education on Jamey, Martha is pletely open education in the United States. Thus, when smallJamey draw a picture full of violent color, Martha would kiss him and encourage him. But in grandfather’s opinion, the American animation is too bloody violence, will have bad effect on child, he would prefer to see China's Confucianculture have raflect on the grandson , so he gave the grandson draw is used to in the traditional Chinese painting, ink painting.Moreover, Zhu old ideas, born son is to pass opinion still exist, but this view is obviously caused strong dissatisfaction with Martha!Since ancient times, the Chinese people are bringing up sons to support parents in their old age, and Americans are advocating independence, their children after the age of 18 let them to live independently, and their old age life also rely on their own. There is a foreigners live a long times in China once told his personal experience of one thing: he and his wife for a long time before returning to the United States to visit their parents, when it was time to go, he in the room said goodbye, his parents walked and send him to the door, when he turned round to say goodbye he found the door closed. It is obvious that Martha was not satisfied for the father who live in their home for more than a month's, of course, she is not that kind of evil wife, but this is not satisfactory are built on top of the cultural difference and the cultural conflict, different hobbies, different languages, different education. Even a meal is different, Martha and Zhu old differences to Xiaosheng brought great pressure, and this pressure eventually along the father lost erupts, depressed emotion for a long time, finally found a gushing spring mouth, so stirring, however, after waking up, he also accepted the American way of culture: the old man has go to Blair. Wind has rolled up thousands of feethigh waves, drop heavily down around crystal tears. There is a kind of culture to be baptized, we all know one nation can’t have two queens.When Zhu Xiaosheng and Chen Yiqian try to fix old Zhu and old Mrs Chen in together plan was been found out, Lao Zhu choose leave from home. He didn't want to make his son in trouble, a lot of things in the world are easy to enjoy the happy together but difficult to suffering together. Bitter place movie like this, no so-called happiness that we Chinese think, only lonely old age miserable, when Xiao was appear in prison and cry to say the words, I know he already know he was wrong, but the damage had been caused, such as nails on the wall, although has been pulled out, but hole remains . The end of the film, we can get the war without gunsmoke between western culture results from Zhu Lao and old Mrs Chen homely style of dialogue. In the end director fix up the erhu and Guzheng music together. Under the background of the homesick mood plus two old man whispered words, the director will screen extends outward, the two lonely old man drowned in the midst of all mortal beings, there is a desolate melancholy.ConclusionPush reflected truth that overing firmness by gentleness, suggesting that the ending of the Push, ending like that though reluctantly, but alsocan yet be regarded as a kind of harmony between yin and Yang, is in the western culture reconcile.从电影《推手》看中西文化差异《推手》讲述一个故事,围绕着一个移民美国的家庭,它展现在和西方之间的文化和生活差异。
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
推手影评
关于《推手》电影的解析《推手》影片讲述了一位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，朱老先生是一位精通中国文化的师傅，她不仅是太极宗师，又写得一手苍劲有力的书法，还懂得气穴疗法。
然而与美国儿媳在同一个屋檐却因为语言障碍无法沟通，甚至经常由于各种生活习惯与文娱方式不同而引起假体冲突，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，父亲在知道后，便擅自离家出去，在美国颠沛流离，却无法找到寄身之所，最后终于还是由儿子为其在外租下公寓，暗度晚年。
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西文化的差异，引人深思。
首先文化是人类群体或社会所共享的全部产品，但值得注意的是文化作为人类进化过程中衍生出来或创造出来的，它明显具有封闭性及开放性。
开放性和封闭性是辩证统一的，过分注重开放性会导致思想混乱，而只强调封闭性却又易形成种族中心主义。
这种主义有一种倾向，即以自己的文化衡量其他文化，并认为自己的文化比其他文化优越，这种价值观固然对社会发展的稳定性起了一定的作用，但却易忽视与其他文化之间的交流，从而自己的文化难以继续发展，最后痛失发展良机。
其实人类文化是一个复杂的系统，一种文化只有在特定的历史环境及社会背景下才能被理解，带着有色眼镜去评价其他文化是片面落后的观点会妨碍人类间文化交流的，也是极为错误的。
片中儿媳对公公的中国传统文化不了解，武断的以本民族的蓝色文明评价了公公的黄色文明，比如认为公公太老土，侵占她的个人空间等等。
而公公也对媳妇充满了不解。
每天吃得少，跑步时还要打拳，搞个人创作，这不是中国的传统价值观中的女子形象。
其实这些价值观都是生活在不同土壤下的人民形成的，竭力反对或全盘否定明显是不理智的。
朱先生与儿媳妇也不是蛮横无理之人，只是“非我族类”影响太深了。
其次，个人社会化是每一个生活在社会中的正常人都必须经历的。
推手
《推手》读后感看完推手这部电影之后对我关于认识中美方文化的认知有着极大程度的影响，让我更深刻的感受到了中美方家庭的不同，下代教育方式的不同，还有人的认知方式也不相同，美国人们法制观念较强.在此前提下,他们崇尚个人自由，,中国文化则有所不同.家庭是中国人最重视的生活集体.父母对孩子倍加珍惜,恨不能一切都为孩子，因此美国家庭培养出来的孩子相对中国家庭的孩子较成熟与稳重，处理事情更加的系统与科学，总体来看是较独立，而中国家庭培养出来的孩子依赖性相对较强，在处理很多的事情都或多或少的要依赖他人。
在家庭成员的相互关系上，我国家长大多处于统治地位，而美国家长更注重与孩子平等相处，所以在这两种文化中两种家庭的孩子的个性截然不同，中国孩子的优秀典范经常是人人口中的乖乖孩子，但美国的孩子往往是越野长大之后反而能成才，对于中国的孩子而言以父母为榜样来生活的思想是从小就有的，对于美国的孩子来说呢，他们从小就受各种电视里英雄主义的熏陶，同时父母又要求他们独立，所以就培养了一种跟过去的我竞争的思想，关于为人处事方面，我国重义轻利,美国人重利轻义.我国法制观念较淡薄,而在美国,人们的法制观念较强。
法制观念的强弱创造了双方不同的社会文化环境，这种文化环境又熏陶了相互各自不同的人群思想，于是双方社会相比较中国社会比较随性，而美国社会就比较严谨。
中国文化等级观念强烈.无论是在组织里,还是在家庭里.忽略等级,地位就是非礼.尽管传统理智中等级制度以被消除,但等级观念至今仍对中国文化产生影响，而在美国特别重视隐私权,他们一般不愿意干涉别人的隐私和私生活,也不愿被人干涉，两方文化对待家庭地位与隐私的态度截然不同，当双方文化交流时就肯定会出现很多的冲突与问题啊，就拿一个例子来说，在中国，中国家庭的父母总是随意的偷看他们孩子的日记或者其它东西，在他们看来孩子就是他们的附属品而已，国家也没有什么明文规定不许，但在美国就不同，美国孩子从小就被要求培养独立自主性，同样的也正因为此，美国孩子的隐私就从有意识开始就受法律的保护，父母无权对其进行非法翻阅，这样的育儿方式就造成美国男孩通常要比中国男孩胆大。
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 Ｓ ｏｌ 本 ｃｌ ｎ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。
《2024年从跨文化交际的角度分析电影《推手》中的文化冲突》范文
《从跨文化交际的角度分析电影《推手》中的文化冲突》篇一一、引言电影《推手》以其在东西方文化交流中展示的文化冲突而著称，深入揭示了中西文化的碰撞和融合。
本文将从跨文化交际的角度，详细分析该电影中的文化冲突及其产生的原因和影响。
通过对电影中文化差异、价值观冲突以及交际策略的分析，进一步理解跨文化交际的重要性。
二、电影《推手》概述《推手》是一部以中国移民家庭在美国生活为背景的电影，讲述了因文化差异而引发的家庭矛盾和冲突。
电影中，主人公是一位退休的太极拳大师，在美国与家人共同生活，却因文化背景、价值观和生活习惯的差异，与家人产生了严重的矛盾。
三、电影中的文化冲突分析1. 文化差异在电影中，东西方文化的差异主要体现在语言、习俗、价值观等方面。
例如，主人公在家庭中坚持传统的中国礼仪和价值观，而家人则更倾向于接受美国的文化和价值观。
这种文化差异导致了双方在沟通中的误解和矛盾。
2. 价值观冲突电影中，东西方价值观的冲突主要体现在家庭观念、个人主义与集体主义等方面。
在中国文化中，家庭观念十分重要，而西方文化更注重个人主义。
这种价值观的冲突导致了双方在处理家庭矛盾时的不同态度和行为。
3. 交际策略在跨文化交际中，交际策略的选择对减少文化冲突具有重要意义。
电影中，双方在沟通中往往因为缺乏理解和尊重对方的文化而采取消极的交际策略，如回避、沉默或直接反驳等。
这些策略进一步加剧了文化冲突。
四、跨文化交际角度下的文化冲突分析1. 缺乏文化意识和理解电影中，双方在面对文化差异时，往往缺乏足够的文化意识和理解。
这导致他们在沟通中容易产生误解和偏见，进而引发矛盾和冲突。
2. 缺乏有效的沟通技巧在跨文化交际中，有效的沟通技巧对于减少误解和冲突具有重要意义。
电影中，双方在沟通中缺乏有效的沟通技巧，如倾听、表达和反馈等。
这使得他们无法有效解决问题，进一步加剧了文化冲突。
五、解决跨文化交际中文化冲突的策略1. 提高文化意识和理解为了提高跨文化交际的效果，双方需要提高自己的文化意识和理解。
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。
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《推手》中看中美家庭观念的差异[整理版]](https://img.taocdn.com/s3/m/8a11da57bf1e650e52ea551810a6f524ccbfcb7a.png)
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。
《2024年从跨文化交际的角度分析电影《推手》中的文化冲突》范文
《从跨文化交际的角度分析电影《推手》中的文化冲突》篇一一、引言电影《推手》作为一部经典的中美文化冲突影片，不仅成功地刻画了多元文化交融背景下的人性纠葛，更是透过电影镜头深刻展示了跨文化交际中难以避免的文化冲突。
本文将从跨文化交际的角度出发，深入分析电影中展现的文化冲突及其背后原因，并探讨其对于现代跨文化交际的启示。
二、电影《推手》背景简介《推手》以一个中国家庭为背景，讲述了主人公老严在美国的生活经历。
在这部电影中，我们看到了不同文化背景下的家庭成员如何面对彼此的差异，以及由此产生的文化冲突。
三、跨文化交际中的文化冲突分析1. 语言沟通障碍电影中，老严与美国人的语言沟通障碍是文化冲突的直接体现。
老严的中文表达方式和习惯思维让美国人不解，而他们直截了当的沟通方式也让老严感到困惑。
这种语言沟通障碍导致了双方误解和矛盾的产生。
2. 价值观差异电影中，中国传统文化与美国文化的价值观差异是文化冲突的根本原因。
老严坚持家庭观念、尊重长辈、重视和谐等传统价值观，而美国则更注重个人主义、自由和独立。
这些价值观的差异导致了双方在处理问题时产生分歧。
3. 生活方式与习惯在生活方式与习惯方面，中美之间的差异也导致了文化冲突。
例如，老严坚持早起锻炼、喜欢安静的生活环境，而美国人则可能更加注重娱乐和社交活动。
这些生活习惯的差异使得双方难以理解彼此的需求和期望。
四、电影中的文化冲突表现及影响1. 家庭矛盾激化电影中，老严与美国儿媳之间的矛盾逐渐激化，双方都难以理解和接受对方的价值观和生活方式。
这种矛盾最终导致了家庭关系的破裂。
2. 社会影响电影通过展示跨文化交际中的文化冲突，引发了人们对多元文化的关注和思考。
它提醒我们，在多元文化的社会中，我们应该尊重和理解不同的文化背景和价值观，以促进和谐共处。
五、对现代跨文化交际的启示1. 增强跨文化意识现代人在跨文化交际中应增强跨文化意识，了解不同文化背景下的价值观、思维方式和生活习惯，以减少误解和冲突。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
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.。