从中美《花木兰》形象差异看文化误读及积极意义

Abstract
In the context of information transmitted in high speed, the mass media has become the main route for cultural communication and the film and television works, the important means. It is worth noting that both the Disney animation Mulan and the Chinese domestic movie Hua Mulan originate from the Chinese traditional ballad Ode of Mulan. Thus, studies on the differences of Mulan and Hua Mulan are comparable in this sense. Numerous studies have been conducted from the perspective of history, feminism and communication, but not from cultural values. Therefore, it is particularly urgent to analyze the differences in depth from the perspective of cultural values.
Based on qualitative study, the paper presents the image differences between American Mulan and Chinese Hua Mulan from the aspects of physical appearance, personality traits, moral norms and love concepts. In the Disney animation, Mulan is shaped as a vivacious, bold and self-centered western-style girl. However, the domestic film Hua Mulan brings a reserved, filial, loyal and conventional oriental woman to Chinese viewers.
In order to explore the root of the image differences, the paper adopts Hofstede’s value dimensions and Chinese traditional Confucian ethics. First, in terms of social relationships, the Disney Mulan takes self-realization as the pursuit of life and interprets the individualistic heroism to the maximum extent; the Chinese Hua Mulan has become the perfect incarnation of loyalty and filial piety. Second, concerning the attitude towards life, the Disney Mulan has shown the courage to break the shackles of tradition and challenge all difficulties, while the Chinese Hua Mulan sticks to conventions and is always seeking for the harmony of the family and society. Third, in terms of social status, the Disney Mulan’s journey to glory is
filled with the spirit of freedom and equality; the Chinese Hua Mulan strictly abides by the feudal order and has fulfilled her duties to her father and the country. Finally, in terms of gender roles, the Disney Mulan presents the typical American male traits such as assertiveness and aggressiveness, the Chinese Hua Mulan strictly complies with the three obedience and four virtues. After return as a girl again, Hua Mulan continues to live a simple and conventional life taking care of the household.
Undoubtedly, it was Disney animation that made Mulan well known by the world. The domestic movie has deepened the cultural connotation of Chinese traditional legends. Valuable experience can be obtained from the tremendous success through the collision and integration of Chinese and Western cultures. Under the trend of cultural globalization, we should develop multicultural values to promote our national cultural brand to the world.
Key words：Reader response theory; Idioms’ translation; Images ’Transformation
摘要
在当今信息传播高速发展的时代背景下，大众媒介已成为各国文化传播的主要途径，影视作品则成为文化传播的重要载体。

迪斯尼动画《木兰》和国产影片《花木兰》均取材于中国传统叙事民谣《木兰辞》。

因此，关于两部影片的差异研究具有可比性。

国内外关于花木兰题材的研究很多，大部分从历史传说角度、女性主义视角或传播学角度出发，很少有学者从文化价值观的角度来进行研究。

因此，深入剖析两部影片所反映的中美文化价值观差异显得尤为重要。

本研究采用定性研究的方法，从人物外形、性格特征、道德意识、爱情理念等方面展现中国花木兰和美国木兰的形象差异。

迪斯尼动画将女主人公塑造成一个率真活泼，有勇有谋，敢于寻求自我，追求幸福的美国大女孩形象。

而国产电影塑造的仍是传统意义上的隐忍克己、孝父忠君、保家卫国、敢于牺牲的花木兰形象。

基于两部影片对木兰形象的不同刻画，本研究以霍夫斯泰德的价值维度和中国传统儒家伦理道德规范为理论依据来分析两部影片所塑造的花木兰形象差异根源。

首先，就社会关系而言，迪斯尼木兰以自我实现作为人生追求，将个人英雄主义演绎至极；中国花木兰注重群体意识，成为忠孝品德的完美化身。

其次，就生活态度而言，迪斯尼木兰展现出敢于突破传统束缚，挑战权威，活泼大胆，勇于冒险的性格特征；中国花木兰恪守传统，始终追求家和整个社会范围的和谐。

再次，就社会地位而言，迪斯尼木兰的荣耀之路充满了追求自由、平等的精神；中国花木兰严格遵守封建秩序并以孝父忠君为行为准则。

最后，就性别角色而言，迪斯尼木兰展现了果断、刚毅等典型的男性特质；中国花木兰恪守礼制和传统道德规范，回归女儿身后仍继续“木兰当户织”的生活。

毋庸置疑，迪斯尼动画将木兰带向了世界，让更多的国家了解中国的传奇民间故事和传统特色文化。

国产影片使木兰回归，加深了中国的宝贵民间传奇故事题材的文化内涵。

中西文化融合取得的巨大成功也给我们提供了宝贵的经验。

我国在致力于中国传统文化世代相传的推广过程中，要确立全球意识的传播观念，树立多元文化价值观，建立我们自己的民族文化品牌，并充分利用传媒资源，使中国文化走向世界。

关键词：花木兰；形象；文化；价值观;误读
Contents Abstract (I)
摘要 (III)
1 Introduction (1)
2 Literature review (2)
2.1Previous Hua Mulan of Conflict Talk Abroad (2)
2.2Previous Hua Mulan of Conflict Talk at Home (3)
3 Culture (3)
3.1Cultural values (3)
3.2Interculturalcommunication
(4)
3.3 Theoretical frameworks (5)
3.3.2 Chinese traditional Confucian ethics (6)
3.4Studies of the Mulan image (6)
3.4.1From the perspective of history (6)
3.4.2 From the perspective of feminism (7)
4 Image Misunderstanding between Disney Mulan and Chienes Hua Mulan (9)
4.1 Physical appearance (9)
5 Cause of the Image Misunderstanding from the perspective of cultural values and Its Positive Roles (14)
5.1.3 American value — low power distance (16)
5.4 Positive Roles (20)
6 Conclusion (21)
References (23)
Acknowledgments..................................................................................... 错误!未定义书签。

1 Introduction
Under the context of globalization, the Chinese legend of Mulan’s cross-dressing to replace her father for military service was adapted by Disney Group into the animation film Mulan, and released in 1998. A big shot was created after its first release, with ticket price of about 120 million dollars in the whole American domestic market.
Later, it succeeded at passing the 300 million dollars in world-wide grosses. However, after being launched in China, the performance of the animation film was less than desirable as only 20,000 RMB yuan during a week was achieved. While the Chinese domestic movie Hua Mulan directed by Ma Chucheng was made public, it received avorable response of 32 million RMB yuan in the first three days. Along with the hot showing of the movie, comparison between the Disney animation Mulan and Chinese domestic film Hua Mulan has been a continuing hot topic.
By comparative analysis between the two versions of the heroine, most Chinese viewers are dissatisfied with the image shaped by the Disney Mulan. The physical appearance of oval face, unbalanced figure and cheery mouth does not conform to the Chinese traditional aesthetic standards. Moreover, Mulan’s demeanor is more like a representative of individualism caused by the American dominant culture. The Disney Mulan embodies her pursuit of self-realization, but not loyalty and filial piety advocated by Chinese traditional morality. It is worth noting, however, that the Disney animation Mulan is orientated by the market profits and box office, to meet the needs of the global market. Therefore, some elements of the original theme have been converted mainly to cater for the children market in American and European countries with humorous and flexible effects. In contrast, the domestic movie Hua Mulan focuses on recovery of Chinese precious legend stories of the heroine to the maximum extent, and promotion of Chinese traditional virtues. The factor of the market profit can partly explain the image differences between Disney Mulan and Chinese Hua Mulan, but would never be the main cause. Therefore, the image differences will be further explored from the perspective of cultural values.
Cultural values illustrate the divergent perception and behaviors
among people within different cultures. A thorough overview of the Sino-American cultural values can facilitate people’s understanding of the image differences between Disney Mulan and Chinese Hua Mulan. This thesis aims to demonstrate the image differences based on Hofsted’s cultural dimensions and Chinese traditional Confucian ethics, and helps to advocate multicultural coexistence and prosperity.
The Disney animation "Mulan" and domestic film "Mulan, as the object of study by qualitative research method, from the aspects of character shape, character signs, moral consciousness, love philosophy exploring cultural misreading of cultural exchanges between China and the United States, lead to the misinterpretation causes or reasons, as well as the misreading of positive significance.
Through the research, we find that the differences in China and the United States, "Mulan" image but embodies the fusion of Chinese and Western culture has made great achievements, in the promotion of the Chinese traditional culture from generation to generation, to establish the global awareness of the dissemination of ideas, to establish a diversified values, to establish our own brand of national culture, and make full use of media r esources, making Chinese culture to the world. Specifically speaking:
1 from the Chinese and American "Mulan" image differences to see cultural misreading, help to better understand and grasp the differences between Chinese and Western cultural values.
2 is conducive to help Chinese and western people to better cultural exchanges, to meet the more friendly and cultural exchanges between China and foreign countries.
3 through the study of Chinese and American "Mulan" image differences between the Western cultural values differences, contribute to the smooth progress of cross-cultural communication activities, so that the Chinese culture to the world. Coexistence and prosperity of multi culture.
2 Literature review
2.1Previous Hua Mulan of Conflict Talk Abroad
Hofstede's cultural dimensions theory (Hofstede's cultural dimensions theory) is a Dutch psychologist Geert - Hofstede proposed to measure a framework of cultural differences in different countries. He believes that culture is in an environment in which people have a common mental process, a group of people can be distinguished
from other people. Through the study, he concluded that the differences between different cultures are six basic dimensions of cultural values. Multicultural pattern. Thus intercultural communication has attracted wide attention from the American scholars and people from all walks of life.
In 1972, the first International Conference on intercultural communication was held in Tokyo, and the number of people attending the seminar was over two thousand.
In 1974, the cross cultural education training and Research Institute in the United States officially announced the establishment of.
2.2Previous Hua Mulan of Conflict Talk at Home
Eminent linguist Hu Wenzhong professor at Beijing Foreign Studies University in the early 1980s began to engage in intercultural communication research, a prolific author has edited and published the "cross-cultural communication Conspectus" and "cross culture and language communication" and so on many books.
1995 in Harbin, China held the first session of intercultural communication, and set up a national cross - cultural communication research organization - China cross - cultural communication research. 1997 in Beijing and held the second seminar.
In 1999, Hu Wenzhong wrote "an introduction to intercultural communication", which is mainly about cross cultural communication.
In 2006, Ren Jing on the Disney film "Mulan" cross cultural studies. 2006, Gao Li's analysis of "Magnolia" and the American film "MULAN" in the cultural differences between China and the United states.
On 2007, Li Xiaoqing Chinese and Western animation "Mulan".
In 2009, Liu Jian from the cross cultural perspective to see Disney "Magnolia" research. In 2010, Cheng portrays Zhao Wei version of the film "Mulan" in Chinese characters by recasting the daughter of soul - on.
3 Culture
3.1Cultural values
People from different cultural groups bear divergent attitudes towards culture. A nd the judgment about a certain kind of culture could be fair or unfair, positive or neg ative, overstated or understated and worthy or worthless. The criteria for percep tion and evaluation constitute cultural values.
Cultural values, according to Kluckhohn (1961), are regarded as “a conce
ption, explicit or implicit, distinctive of an individual or characteristic of a grou p, of the desirable which influences the selection from available modes, means, and ends of action” Albert (1968) emphasizes the significance and influence of valu es as he points out, “a value system represents what is expected or hoped for, required or forbidden. It is not a report of actual conduct but is the system of criteria by which conduct is judged and sanctions applied.” Nanda and Warms (1998) attempt to provid e insights into the functions of cultural values. Values are viewed as shared ideas about the properties and characteristic of an entity that lay foundation for cultural patterns and lead society coping with the physical and social environment. Samovar, Porter and Mc Daniel (2009) categorize cultural values as primary, secondary an d tertiary. Primary values indicate what deserves sacrifice of one’s life. Seconda ry values are those people care a lot but with less intense feeling compared withthe for mer. The tertiary values are least profound but still carried out with care, such as polit eness to the elders. Hu (2009) underlines cultural values are influential to lead t he orientation of people’s thoughts and actions, which root in the deepest part of culture and are gradually acquired by people in the course of socialization. Once formed, cultural values are relatively stable and difficult to change. In short, w e may define cultural values as shared concepts of a group which form the basis of c ultural patterns. The values dominate people’s beliefs, attitudes, perceptions and actions. It is taken for granted that a deep understanding of cultural values wou ld help us to appreciate the behavior of others.
3.2Interculturalcommunication
Since the very beginning of civilization when the earliest tribes , human beings have started to perceive what make them differently, and how different they a re. As people from one culture encounter and contact with others from another culture, intercultural communication occurs. The term intercultural communicatio n is proposed by anthropologist Edward T. Hall in his classical works The Silent La nguage (1959). It is simply defined as interpersonal communication between me mbers of different cultures. Based on and popularized by this book, the term intercult ural communication has been increasingly arousing researchers’ interest. Nowadays , it is an field of study which covers social psychology, sociology, sociolinguistics, pr axiology, cultural anthropology, and, of course, communication. Samovar and Porter (1976) connect the relationship between a message sender and a receiver. They noted that intercultural communication occurs when a member of one culture produces a me ssage for consumption by a member of another culture.Cultural values carried by ea ch individual are reflected in intercultural communication.
Lustig and Koester (1999) gives more comprehensive interpretation of intercultur
al communication, as “a symbolic, interpretive, transactional, contextual process i n which the degree of difference between people is large and important enough to crea te dissimilar interpretations about what are regarded as competent behaviors that shou ld be used to create shared meanings”To sum up, intercultural communication, also ca lled cross-culture communication, occurs when people from different cultures interact with each other through the process of communication, including verbal behavior and nonverbal behavior. Nowadays, the frequent contact in national and international affairs, based on transportation and technology, has led to an urgent need
for positive communication. People are unable to live without contacts and communi cation since cross-culture communication is witnessed everywhere. To guarantee the effectiveness of intercultural communication, the dynamic and inclusive natu re of culture should be valued.
3.3 Theoretical frameworks
3.3.1 Hofstede’s value dimensions
Cultural differences are omnipresent in the era of globalization and cultural d iversity. The differences will influence the effectiveness of intercultural commu nication. In order to facilitate smooth communication between different cultures, scholars are dedicated to exploring cultural patterns based on extensive researc h. While the patterns are numerous, taxonomies developed by Kluckhohn and S trodbeck, Hall, Hofstede and Ting-Toomey seem to be at the core of any study . Furthermore, Hofstede’s value dimensions are valued as the standard theory of management and organizational behavior in intercultural environment (Westwood, 1992). Individualism vs. Collectivism. The individual-collectivism continuum re fers to the relationship one perceives between oneself and the group to which one belongs. Hofstede (1980) describes that members in cultures emphasize per sonal interests, personal rights, self-expression, independence and competitiveness, with low loyalty to the organization of which they are a part. Members in col lectivism culture value shared interests, interdependence, cooperation, with high loya lty to the organization. In collectivism-oriented societies, the fact can never be n eglected that individualism and collectivism are not separate. The two orientations b oth exist in every culture. As Brislin (1993) notes, “Although no culture ignores in dividualistic or collective goals, cultures differ significantly on which of these f actors they consider more critical.”This pair of contrasting values forms part of the basic variables that determine human behavior. The importance is highlighted by Ting-Toomey (1999), as “Individualistic and collective value tendencies are ma nifested in everyday family, school, and workplace interactions.” Uncertainty Avo idance.
3.3.2 Chinese traditional Confucian ethics
Confucius (551-479 BC) is one of the greatest thinkers and philosophers in Chi nese history. Confucianism established by Confucius and his followers has developed into an integrated ethical system or a system of norms. The influence of the p hilosophy is clearly clarified as Waston notes, “If we were to describe in one word the Chinese way of life for the last two thousand years, the word would be ‘Confucian.’”Among Confucius philosophy, some core ethical norms are to be clarified. They are u nity of groups and individuals, doctrine of the mean. three principles and five virtues, three obedience and four virtues. Unity of groups and individuals. The collective-oriented life view is rooted in Chinese traditional harmonious culture. The view concentrates on the progress of the society but also includes self-cultivation of each individual. Personal development should be achieved for the sake of establ ishing an ideal world which belongs to all people. Confucianists consider that an individual possesses self worth and social worth. People’s self worth can only be reco gnized by one’s devotion to the society. cooperation with other members for the wellbeing of the masses helps to obtain the unity of one’s self values and socia l values. people are required to exceed themselves for the realization of justice and truth. They should bear in mind the belief that takes priority over interests. Do ctrine of the mean. Doctrine of the mean is also called golden mean, which cl arifies a way of life. It provides a moderate method to resolve all problems in the society, differences in nature and contradictions in interpersonal communica tion. Systematic logic exists in the doctrine of the mean. Shang Zhong, moderat ion without deviation, is the logical start of the doctrine; Shi Zhong, flexible tr end, is the essence; Zhong Zheng, ritual or courtesy, is the standard of conduct ; Zhong He, the state of harmony, is the ideal goal of achieving harmony betw een man and nature.
3.4Studies of the Mulan image
3.4.1From the perspective of history
Hua Mulan, being both confidence and brave as a heroine, has been irreplaceable in C hina. people’s hearts all time. People have an Mulan dwelling deep within, whi ch stimulates the creation of literatures, drama and film works commemorating her st ory. The poem Ode of Mulan is the earliest written record of the heroine Hua Mualn. Even though no one is sure whether Mulan existed in history, the deed
s of Mulan are scattered in many historical documents. some domestic scholarsh ave been trying to study the Mulan culture from the perspective of legend as a starting point. In this part, some related dynamic changes of Mulan image are to be discus sed according to the related literature works and historical records.
The domestic writers Liu (1990) and Ma (2000) wrote a biography hat pe riod. The Yuan scholar Hou Youzao (1334) endows Mulan based on the Mulan legend. Sticking to the the basic plot of mulan story series, the theme of the bi ographies does not break the framework of the Chinese traditional core values. The d omestic scholar Dai (2000) regards loyalty and filial piety as the core values of Mulan story. People’s behavior is based on the traditional Chinese ethical relati onship which is even raised to the level of family or higher level of country. The individualized theme is improved, which makes the dignity of thebehavior get int o full play. Zhang (2006) mainly conducts the research according to the relevan t records on chorography, historic sites and literature works of Henan, Hebei, A nhui and Hubei provinces to testify the reliability of Mulan image. Some domestic s cholars (Wang, 2010; Hua, 2010, etc.) stated that the unintentional misreading of cult ure compared with the original one has attributed to the cultural differences between China and the United States. After analyzing the external image representation and the internal cultural connotation presented by the domestic movie Hua Mula n and the Disney cartoon Mulan, the former is more faithful to the Mulan lege nd while the latter is considered bearing the imprints of American culture. Therefore, controversy often lies in the two films in which one could reflect the Mulan l egend to the maximum extent with higher reliability and authenticity. But it wil l be difficult to mine the deep meaning of Mulan culture if people only focus on the credibility of the legend, not to mention enriching and developing the Mulan culture. So limitations exist in this field.
3.4.2 From the perspective of feminism
Women are treated as “the second sex” in oppression or discrimination wo rldwide. The foreign scholar Louise Edwards (2010) has traced multiple versions of Mulanstory and made a comparative analysis of the image shaped by each vers ion. From Hermeneutics perspective, loyalty and filial piety remained the basic motif throughout. Nevertheless, he highly commends Mulan’s success by overstepping the traditional gender order under the ancient Chinese feudal system. The domestic scholar, Zhang (2010) notes that Hua Mulan’s success shows the affirmation of t he society to female status. But the fact could never be ignored that Hua Mulan is ma squeraded as a male into the society and speaks for female identity. As a repre sentative of the female group, Hua Mulan still keepssilent in the social discourse envir onment. Traits belonging to females have not been addressed. On the contrary, the sou
nd voiced by the cross-dressing Mulan reflects masculinity rather than femininit y. The achievements, all in all, should be credited to the disguised General Mu lan or “male” Mulan. The repression of females by the social gender order in Chinese feudal society is both explained by domestic movie Hua Mulan and the Disney cartoo n Mulan. However, the motivation of seeking for self-identity is further emphasized in the Disny cartoon. Moreover, success achieved through female wisdom with fe male identity is first highlighted in the latter version. The Mulan image is given a ne w era’s features, leading a trend of pursuing freedom, humanity, individuality a nd self-realization. However, in the domestic movie, Hua Mulan is still depicted as a Chinese traditional woman with qualities of filial piety, modesty, tolerance and sacrifice.
3.4.3 From the perspective of communication
Dating back to the traditional storyline, there are four basic plots in the earliest documented Ode of Mulan, joining the military to replace her father, renderin g meritorious service, being rewarded by the emperor and returning home with rejection of imperial honors. In the subsequent development, many new plots ha ve been added into the original storyline. In recent years, some scholars have integrat ed Mulan stories into some basic motif, from the communication perspective. Th ey focus on the type, plots and the narrative deconstruction of the text by theo ries of narratology and hermeneutics. Since the hit domestic movie Hua Mulan was released in 2009, the contrast analysis with the text of Disney cartoon Mulan h as been increasing. studies on the theme of Mulan stories are countless at home and abroad. The comparative analyses of the movies Hua Mulan and Mulan mainly s tay on the differences of the plots, as well as the image shaping. In recent year s, as women’s status have been significantly improved, an growing number of r esearches have been done on the image connotation of the heroine from the pe rspective of feminism; With the economic and cultural globalization, domestic scholars increasingly advocate a salutary lesson of Western media positioning. T he globalization of national culture urgently needs to be promoted in the present fie rce competition environment. However, few scholars have explored the deep struc tural differences of Chinese and American cultures reflected in the two movies. Therefore, the present paper is to analyze the image differences between Hua Mulan and Mulan, based on the theory of Hofstede’s cultural value dimensions and Chinese traditional Confucian ethics. Moreover, it attempts to inspire peopl e’s cultural sensitivity in movie appreciation, as well as the awareness of cultur al values, and to protect the effectiveness of cross-cultural communication.
4 Image Misunderstanding between Disney Mulan and Chienes
Hua Mulan
4.1 Physical appearance
Section 3.1 presents two different types of Mulan image on appearance. In the Disney animation, Mulan looks more like a modern Western-style beauty. While in th e domestic movie, Hua Mulan shows herself as a representative of the conventi onal oriental ladies.
4.1.1 A modern western-style beauty
In Ode of Mulan, the appearance of the heroine is never mentioned within a to tal of 332 Chinese characters. it just provides people with artistic imagination a nd creation about Mulan’s image. In the Disney animation, Mulan is portrayed as a girl with an oval face, phoenix eyes, a cherry mouth, a dark skin and a sle nder figure. And she always shrugs her shoulders when she speaks. In the ope ning scene, Mulan first comes out with condole belt vest and knee-length short s. This image quickly becomes very popular after the release of the animation. Al most overnight, nearly all Mc Donald’s happy meals’ toys are replaced by dolls with t he lovely image of Mulan in America. However, the image fails to receive the appro val and acceptance of Chinese audiences. Some viewers comment that Disney M ulan is lovely enough, but does not look good enough as well. The bold dressing and appearance makes Mulan more like a modern Western-style beauty living in ancient C hina.The Mulan image in the animation is considered a good compromise, com pared with the characters of the other Disney cartoons.
4.1.2 A conventional oriental woman
In the domestic movie Hua Mulan, the role of the heroine is played by the Chinese famous actress Zhao Wei. She is dignified, tender and delicate with thick brows and b ig eyes. Many Chinese film lovers insist that the image shaped by Zhao Wei just conf orms to the Chinese traditional aesthetic standards. Her disheveled hair, cracked lips and coarse voice further demonstrate her bright and brave image as a sold ier. Most of the scenes are about her cross-dressing adventures clad in armor a nd traditional plain-colored robes only appear shortly in the very beginning and at the end. After Hua Mulan completes her military service and returns home, she puts on her old robes and strokes her wrinkled face with a rough hand. And then she sta rts to recall her strenuous journey profoundly tested by the past twelve years. The vivi d performance restores the original scene in Ode of Mulan which is depicted as。