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摘要西方人一直试图探索东方印象，并且将见闻和感想写录进不同的地方。在这其中，美国电影，特别是好莱坞电影中的中国人形象，是其中的代表。这个形象一直处于改变之中。这篇文章会分析20世纪90年代以来不同类型华人形象的特点以及产生这些不同类型华人形象的原因。同时，将研究一些有趣的细节和文化符号。这篇文章也将有助于理解当代电影及其文化。通过对美国影视作品中华人形象的研究，来了解影视作品对于国家形象塑造的作用，促进世界更好地认识中国。20891
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关键词 美国电影 变化
毕业论文外文摘要
Title On the Changing Image of Chinese in American Films since 1990s
Abstract
Westerners tend to explore a lot about Chinese and they describe Chinese in many forms. Among these descriptions, Chinese image in American films, especially in Hollywood films, is a representative.The image changes in different times. In this paper, different types since 1990s and the reasons of the phenomenon will be analyzed, meanwhile, the interesting details and cultural symbols will also be researched. The paper also help understand the recent films and underlying culture. By the research of the Chinese images in the American films and TV series, we want to find how films and television programs work in the shaping of national image and and how to make the whole world people know China better.
Keywords American films Chinese image
Table of Contents
1. Introduction1
2. Types of image2
2.1 Kung Fu Master -2
2.2 Mob and Devil-4
2.3 Helpful and Mysterious Friend5
2.4 Obscure nobody-7
3. Reasons For the Changing Image8
3.1 The Americans and Their Society 8
3.2 The Sino-US Relationship-9
3.3 Changes of China’s International Image and Strong Economy10
4. Conclusion-13
Acknowledgments14
Reference15
1 Introduction
The westerners have been exploring the Chinese image and describing it in many western literary works, such as the famous The Travels of Marco Polo,The Good Earth and so on. Nowadays, westerners still explore and describe China, but through a new form of literature—film. Film was born hundreds of years ago. Because it can update quickly and is popular, it soon plays an non-ignorable part in the process of the shaping of Chinese image in the western world. In America, Hollywood, as the representative of the American film industry and an important power in the global movie industry, has great influence in the whole world. Therefore , Hollywood films are chosen as subject for study in this paper.
Many Chinese and foreign scholars have their own views on the changing image of American films. These studies mainly concentrate in the 1980s and before, at that time the Chinese image in movies is relatively rare. Before the early 1930 s Chinese were mainly known as the "yellow peril", invaders and heathen chinks, e.g. Broken Blossoms and Fu Manchu series. Fu Manchu was the embodiment of an evil demon. He was cruel, cunning and good at miscellaneous and little-known torture. A gang of accomplices gathered around him.Fu Manchu was called the most evil character in the world. During 1930s and 1940s—Chinese were mainly known as obedient people, such as Charlie Chan in Charlie Chan series and Alan in The Good Earth. Charlie Chan was a detective and the symbol of justice and law with some wisdom. He could always helped American police catch the criminals.Charlie Chan's character was controversial. He was humble and looked tame and like a women,.In 1950s to 1970s,Chinese were seen as demon invasion, such as Dr No .They had a desire to conquer the world and destroy the whole world , like demon.After the 1980s ,Chinese images were persified (Zhang Yingjin,2006) . However, films in the 1990s and later don’t get too much attention of researchers and relative researches are fewer.Lei Qian classified the Chinese images in American films into 3 types. One type of Chinese images was declining Empire and demonization China. In the movie The Thief of Bagdad , the savage and brutal Mongolia king and his stupid maid is the typical representative of the declining image.Another type was the image suffering the racial and gender discrimination.In the movie The Bitter Tea of General Yen, the relationship between the general and the women was described as unpure temptation instead of love.The third type is the image with oriental elements and positive Chinese images, for example, Dunhuang Gobi appears repeatedly in The Children of Huang Shi. (Lei Qian,2010)