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 Chine

domestic movie Hua Mulan originate from the Chine traditional

ballad Ode of Mulan. Thus, studies on the differences of Mulan and Hua Mulan are

comparable in this n. 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.

Bad on qualitative study, the paper prents the image

differences between American Mulan and Chine 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 lf-centered western-style girl. However, the domestic film Hua Mulan

brings a rerved, filial, loyal and conventional oriental woman to

Chine viewers.

In order to explore the root of the image differences, the

paper adopts Hofstede’s value dimensions and Chine traditional

Confucian ethics. First, in terms of social relationships, the Disney Mulan

takes lf-realization as the pursuit of life and interprets the individualistic heroism to

the maximum extent; the Chine 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 Chine Hua Mulan sticks to conventions and is

always eking for the harmony of the family and society. Third,

in terms of social status, the Disney Mulan’s journey to glory is

I

filled with the spirit of freedom and equality; the Chine 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 prents the typical

American male traits such as asrtiveness and aggressiveness, the Chine 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 houhold.

Undoubtedly, it was Disney animation that made Mulan well known by the

world. The domestic movie has deepened the cultural connotation

of Chine traditional legends. Valuable experience can be obtained from the

tremendous success through the collision and integration of Chine 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 respon theory; Idioms’ translation; Images ’Transformation

II

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 Chine 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 Cau 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。

i

1 Introduction

Under the context of globalization, the Chine legend of

Mulan’s cross-dressing to replace her father for military rvice was

adapted by Disney Group into the animation film Mulan, and relead in

1998. A big shot was created after its first relea, 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 gross. 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 Chine

domestic movie Hua Mulan directed by Ma Chucheng was made

public, it received avorable respon 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 Chine domestic film Hua Mulan has been a

continuing hot topic.

By comparative analysis between the two versions of the

heroine, most Chine 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 Chine

traditional aesthetic standards. Moreover, Mulan’s demeanor is more

like a reprentative of individualism caud by the American

dominant culture. The Disney Mulan embodies her pursuit of

lf-realization, but not loyalty and filial piety advocated by Chine

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 focus on recovery of Chine precious legend stories of the

heroine to the maximum extent, and promotion of Chine traditional virtues.

The factor of the market profit can partly explain the image

differences between Disney Mulan and Chine Hua Mulan, but would

never be the main cau. Therefore, the image differences will be

further explored from the perspective of cultural values.

Cultural values illustrate the divergent perception and behaviors

1

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 Chine Hua Mulan. This

thesis aims to demonstrate the image differences bad on Hofsted’s

cultural dimensions and Chine 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 rearch 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 caus

or reasons, as well as the misreading of positive significance.

Through the rearch, we find that the differences in China and the United States,

"Mulan" image but embodies the fusion of Chine and Western culture has made

great achievements, in the promotion of the Chine traditional culture from

generation to generation, to establish the global awareness of the dismination of

ideas, to establish a diversified values, to establish our own brand of national culture,

and make full u of media r esources, making Chine culture to the world.

Specifically speaking:

1 from the Chine and American "Mulan" image differences to e cultural

misreading, help to better understand and grasp the differences between Chine and

Western cultural values.

2 is conducive to help Chine 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 Chine and American "Mulan" image differences

between the Western cultural values differences, contribute to the smooth progress of

cross-cultural communication activities, so that the Chine 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 propod 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

2

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 minar was over two

thousand.

In 1974, the cross cultural education training and Rearch 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 rearch, 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 ssion of intercultural communication, and

t up a national cross - cultural communication rearch organization - China cross -

cultural communication rearch. 1997 in Beijing and held the cond minar.

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 Chine and Western animation "Mulan".

In 2009, Liu Jian from the cross cultural perspective to e Disney "Magnolia"

rearch. In 2010, Cheng portrays Zhao Wei version of the film "Mulan" in Chine

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

3

ption, explicit or implicit, distinctive of an individual or characteristic of a grou

p, of the desirable which influences the lection 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 reprents 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, condary an

d tertiary. Primary values indicate what derves sacrifice of one’s life. Seconda

ry values are tho people care a lot but with less inten 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 cour 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 propod 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. Bad on and popularized by this book, the term intercult

ural communication has been increasingly arousing rearchers’ interest. Nowadays

, it is an field of study which covers social psychology, sociology, sociolinguistics, pr

axiology, cultural anthropology, and, of cour, communication. Samovar and Porter

(1976) connect the relationship between a message nder 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 al values carried by ea

ch individual are reflected in intercultural communication.

Lustig and Koester (1999) gives more comprehensive interpretation of intercultur

4

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 ud 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, bad 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 witnesd 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 omniprent 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 bad on extensive rearc

h. While the patterns are numerous, taxonomies developed by Kluckhohn and S

trodbeck, Hall, Hofstede and Ting-Toomey em 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 onelf and the group to which

one belongs. Hofstede (1980) describes that members in cultures emphasize per

sonal interests, personal rights, lf-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 parate. 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 the 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.

5

3.3.2 Chine traditional Confucian ethics

Confucius (551-479 BC) is one of the greatest thinkers and philosophers in Chi

ne 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

Chine 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 Chine traditional harmonious culture. The view

concentrates on the progress of the society but also includes lf-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 posss lf worth and social worth. People’s lf worth can only be reco

gnized by one’s devotion to the society. cooperation with other members for the

wellbeing of the mass helps to obtain the unity of one’s lf values and socia

l values. people are required to exceed themlves 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 esnce; 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

6

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

d 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 bad on the Mulan

legend. Sticking to the the basic plot of mulan story ries, the theme of the bi

ographies does not break the framework of the Chine 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 bad on the traditional Chine ethical relati

onship which is even raid 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 rearch 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 reprentation

and the internal cultural connotation prented 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 cond x” in oppression or discrimination wo

rldwide. The foreign scholar Loui 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 Chine 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

ntative of the female group, Hua Mulan still keepssilent in the social discour envir

onment. Traits belonging to females have not been addresd. On the contrary, the sou

7

nd voiced by the cross-dressing Mulan reflects masculinity rather than femininit

y. The achievements, all in all, should be credited to the disguid General Mu

lan or “male” Mulan. The repression of females by the social gender order in Chine

feudal society is both explained by domestic movie Hua Mulan and the Disney cartoo

n Mulan. However, the motivation of eking for lf-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 lf-realization. However, in the domestic movie, Hua Mulan is still depicted

as a Chine 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 rvice, being rewarded by the emperor and returning home with

rejection of imperial honors. In the subquent 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 relead 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 analys 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

earches 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 prent fie

rce competition environment. However, few scholars have explored the deep struc

tural differences of Chine and American cultures reflected in the two movies.

Therefore, the prent paper is to analyze the image differences between Hua

Mulan and Mulan, bad on the theory of Hofstede’s cultural value dimensions

and Chine traditional Confucian ethics. Moreover, it attempts to inspire peopl

e’s cultural nsitivity in movie appreciation, as well as the awareness of cultur

al values, and to protect the effectiveness of cross-cultural communication.

8

4 Image Misunderstanding between Disney Mulan and Chienes

Hua Mulan

4.1 Physical appearance

Section 3.1 prents 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 herlf as a reprentative 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 Chine 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 relea 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 Chine 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

Mulan image in the animation is considered a good compromi, 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 Chine

famous actress Zhao Wei. She is dignified, tender and delicate with thick brows and b

ig eyes. Many Chine film lovers insist that the image shaped by Zhao Wei just conf

orms to the Chine traditional aesthetic standards. Her disheveled hair, cracked

lips and coar 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 rvice 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

9

“I open the door to my east chamber, I sit on my couch in the west room, I take of

f my wartime gown and put on my old-time clothes. Facing the window she fixes her

cloudlike hair.

Hanging up a mirror she dabs on yellow flower powder”. Meanwhile, Hua Mu

lan returns as a weaver again in line with the context in which the men plow and the w

omen wove. The appearance differences between Disney Mulan and Chine Hua Mu

lan reflect people’s divergent aesthetic appreciation values in different cultures. I

t is understandable that nearly everyone favors pursuing anything good in the

world. And the quality of beauty is always expected to be connected with the i

deal persons. In Disney Mulan, a western-style lovely girl is prented to the world.

While in the movie Hua Mulan, the beauty of the heroine’s spirit is highlighted, not st

aying on her physical

appearance.

4.2 Personality traits

Section 3.2 describes another image difference in terms of personality character

s. In Disney Mulan, Mulan mainly acts an adventurous disposition of being ext

roverted and vivacious. In contrast, Hua Mulan carries an introverted and rerv

ed character throughout the whole movie, with conflicting emotions.

4.2.1 Being extroverted and vivacious

Personality traits of toughness, bravery and kindness can all be traced to the

Disney Mulan and Chine Hua Mulan. The heroine bravely joins the army to

replace her father and leaves home to go to the wars. During the twelve years

of her military rvice, she is strong enough, fearless of all dangers and difficulties.

When it comes to love, Disney Mulan and Chine Hua Mulan convey the same

facade of toughness. Mulan strives for her desirable beloved half with strong will, b

ut Hua Mulan choos to give up her love determinedly for the sake of the country.

In spite of the similarities, the distinctions of personality characteristics betwee

n Mulan and Hua Mulan are still underlined explicitly. The Disney version of

Mulan looks vivacious, lovely, bold, straightforward and even a little bit rebelli

ous. The characters are reprented in full display in the animation. At the b

eginning of the animation, when she heard a cock crow, Mulan jumped out of bed an

d tead her little dog, “Little brother. Ah! There you are. Who’s the smarte

st doggy in the world? Come on, smart boy. Can you help me with my chores today

” Then she dashed to the ancestral temple where her father was praying, and broke t

he cups in haste, luckily, with a spare. She even made a mess eing the matchmaker

on her first date, with a naughty pet cricket. Vigor and vitality are entirely reflected in

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the scenes with humorous effect. Meanwhile, she is bold enough to stand out, try

ing to stop her father from taking conscription order, in prence of the imperi

al envoy. In short, Mulan behaves as an extroverted and vivacious daughter.

4.2.2 Being introverted and rerved

An awesome film is not merely required to display a good storyline, but al

so detailed descriptions, including a profound shaping of a character. Usually, a chara

cter’s personality is inparable from her surroundings or background environme

nt, marked with the distinctive characteristics of the times. Hua Mulan, in the domesti

c movie, has thoroughly interpreted the typical characters of an ancient conventional

Chine girl. At the beginning of the movie, Hua Mulan still acts to be conrvative a

biding by traditions. In the traditional n, women are admonished to speak less and

listen more. In male-dominated ancient China, females had to be more cautious

about their words and deeds. When Hua Hu, Mulan’s father, was called to tak

e the scroll of an armed forces houhold, she tried to persuade her father not

to take the order, but in a low voice, not in the imperial envoy’s prence. Being q

uiet is still the code of conduct for low-status women in the feudal society. Meanwhile

, Hua Mulan is a pure and staunch girl with a strong n of moral integrity, ready to

die to prerve one’s chastity. In the movie, there is a scene that a precious jade of a r

oyal relative was lost, and each soldier was commanded to take off clothes for body

arch. In an emergency, Hua Mulan risked her life to take the guilt which should n

ot be carried by her. She would rather die to maintain her chastity and defend he

r dignity. being endurable is another personality trait of Hua Mulan. In the domestic

movie, there are two scenes that can best reveal Hua Mulan’s endurance and tolerance

.

When she first washed the bloody identity board printed with each soldier’s na

me and photo, Hua Mulan was so scared but still pretended to be calm, and murmure

d that she did not fear. The expression on her face was depicted profound and delicate

. The cond time she washed the identity board was after hearing General Went

ai, her lover’s ‘death’. At that time, she suffered in silence and bear inconsolable pain

s. It was a truly striking and thrilling scene that brings tremendous impact on viewers’

emotions. Meanwhile, her endurance trait still reveals her goodness. After victori

es for many times, Hua Mulan bewailed the abnce of the martyrs, Thus, Hua m

ulan is endurable and tolerant to bear all the sufferings with good nature.

4.3 Moral norms

In this ction, moral consciousness will be referred to as part of the heroine’s

image features. Section 3.3.1 will state the moral consciousness orientation of Mulan

as being lf-centered. Section 3.3.2 will prent the concept of loyalty and filial piety

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of Hua Mulan, as being State and family-oriented.

4.3.1 Being lf-realization centered

In the Disney animation Mulan, the core theme of Mulan’s cross-dressing in th

e original cultural connotation has been subtly changed. The theme of sacrifice for loy

alty and filial piety is converted to lf-realization in the context of globalizatio

n. The whole film narrates a story of Mulan’s breaking the restrictions of tradit

ional consciousness, pursuing personality freedom, fighting against the external press

ure and finally achieving lf-realization.

The years of hardship in her military rvice have witnesd the process of ekin

g her lf identity. The core theme expos in Mulan’s regrets as her female id

entity is revealed, “Maybe I did not go for my father. Maybe what I really wanted wa

s to prove I could do things right. So when I looked in the mirror, I would e

some worthwhile”. Ultimately, her ability is marked by the triumph of rescuing her b

eloved General Li, and salvation of the emperor. Individualistic heroism is repres

ented explicitly through the two great victories which are mostly attributed to

Mulan. Self achievement is completely acknowledged by the society as Mulan is re

warded with the imperial medal and the sword of the enemy leader. Eventually, Mula

n brings family glory to uphold the family as she commits, “Father, I brought you the

sword of Shan-Yu, and the crest of the emperor. They are gifts, to honor the Fa family

”

4.3.2 Being state and family oriented

For centuries, among divergent Hua Mulan ries in China, there has been a

common core theme: loyalty and filial piety. All stories about Hua Mulan commend h

er noble moral consciousness of being loyal and filial. She joins the army for

her father and defend the country for peace, willing to make sacrifice. In this point, H

ua Mulan is the embodiment of the Confucian ideal, on behalf of the common

psychology and shared affection of the mass in that era. And this might be t

he reason why the story can be widely recognized and circulated in the patriarchal a

nd hierarchical society with Confucian ethics.

Throughout the whole movie, Hua Mulan has realized the moral rules of bei

ng both loyal and filial, propagandized by Confucianism. As Zhang (2005) poin

ts out, in the original story, the relationship between father and daughter is implicate

and simple. And Hua Mulan rves in the army completely out of filial piety and patri

otism.

4.4 Love concept

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Attitude towards love is another indictor of Mulan’s image. In Section 3.4, tw

o different types of love concept are to be discusd. The differences will firml

y demonstrate the image connotation carried by the heroines, respectively.

4.4.1 Love above everything

Among previous Disney animations in which women play the first leading role, the

pursuit of love forms the primary theme. But the factor of love is weakened a

nd the trend of lf-realization is highlighted in Disney Mulan. The conversion

aims to emphasize Mulan’s spirit of breaking through the bondage of the traditi

onal consciousness, and undaunted courage to ek for personality freedom. Ho

wever, the concept of love is still the inparable part of one’s own philosophy, and c

an reflect the unique national character and culture of a state. In contrast to traditional

concept of personal emotions, Mulan bears a strong desire of longing for love and dar

es to show her concern for her beloved one. Descriptions of her sacrifice to pursue l

ove at all costs have shaped Mulan into an active pursuer, instead of a passive r

eceiver waiting for love.

4.4.2 Love under national interests

During the war times, every member of the society is burdened with histori

cal missions. The individuals are connected with the fate of the nation; wars are starte

d for peace; and love can not go without responsibilities. In the movie Hua Mulan, an

overall interpretation of missions is prented, in terms of the country, responsi

bility and sacrifice.

When she heard that Wentai is under attack in the front, Hua Mulan is desperate to

rescue him, even in defiance of the military instruction of being on standby. T

he act reveals Hua Mulan’s spirit of daring to pay for love. She clarifies her worries a

nd fear, as she cries, “I screwed this up. It’s my entire fault. I should not leave to go lo

oking for you. But I was so scared. I’m afraid you might not be back. So many brother

s have died, and I just can not lo you.”

Out of water, he cut his wrist to feed Hua Mulan with his blood. He

stays and waits until Mulan wakes up. They love each other lonely and silently, but no

t alone. However, even the greatest love can not escape from being a victim o

f national interests. “I always want her to get tough enough, not being bothere

d by private emotions. The enemy has not been driven away. How can we talk about

family? Put state affairs first!” It’s the hero’s love principles, but also the heroine’s d

estiny. To stop wars forever, the policy of marriage alliance is adopted by the emperor

. And Hua Mulan abandons her love all for peace. She refus Wentai’s request o

f leaving away together after returning home. Therefore, when there is no conflict bet

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ween love and state interests, Hua Mulan would pay for love wholeheartedly witho

ut rervation. However, once the country needs, the love relationship would be sa

crificed for state interests. This love concept is consistent with Chine traditional nati

onalism.

Therefore, when there is no conflict between love and state interests, Hua Mula

n would pay for love wholeheartedly without rervation. However, once the cu

ntry needs, the love relationship would be sacrificed for state interests. This love conc

ept is consistent with Chine traditional nationalism.

5 Cau of the Image Misunderstanding from the perspective of

cultural values and Its Positive Roles

The four value dimensions identified by Hofstede are measured to distinguis

h prominent features of a certain culture. The Chine traditional cultural values

dominated by Confucianism have significant impact on Chine people’s behaviors.

n this chapter, image differences between the Disney Mulan and Chine Hua Mulan

are to be discusd from the perspective of cultural values.

5.1 Social relationship and Power distance

In ction 4.1, the image differences will be explained from the aspect of soci

al relationship. Section 4.1.1 states the awareness of high individualism valued

by American people. Section 4.1.2 clarifies the concept of unity of groups and individ

uals rooted in Chine society. In this ction, the image differences will be expl

ained from the viewpoint of power distance. While American culture is filled with t

he value of low power distance, the awareness of hierarchical system is still rooted in

conventional Chine people.

5.1.1 American value — high individualism

The term individualism coined by Alexis de Tocueville (1830), a French historian

and politician, refers to a political and social philosophy within which individu

al freedom is stresd. Hofstede (1980) advanced the individualism-collectivism

continuum tendency into her value dimensions theoretical framework. In

individualism-oriented cultures, members highly value individual rights and pers

onal interests with a penchant for independence and competitiveness. Bad on

his analysis of extensive statistical data, America is ranked the top out of 53 countrie

and regions in this dimension.

Individualism is considered as the core value of American society. Americans

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emphasize lf reliance, lf asrtiveness, lf interests, lf worth and lf respect. In

terms of family values, lf interests of each family member are stresd and guarante

ed, but not at the expen of the interests of others. Therefore, the family relat

ionship is established on mutual respect for individual freedom and rights. The

Disney Mulan’s casual dress and vivacious personality traits indicate the Americ

an people’s spirit of pursuing freedom and individuality. Conversations between

Mulan and her father embody equality advocated by American society. Family

relationships are horizontal within which each member has equal access to lf

expression. Moreover, the heroine could choo the life she wants to live and the bel

oved one she admires. In short, Mulan as an individual can control her own destiny, ra

ther than being dominated by any other individual or organization. The reward indica

tes that individual achievement is officially recognized and encouraged by Amer

ican society with high tendency of individualism.

5.1.2 Chine value

unity of groups and individuals Chine ethical traditions emphasize group co

nsciousness. The labor-intensive agrarian lifestyle contributes to the formation of col

lectivism. The collectivism-oriented culture distinctively distinguishes itlf from We

stern lf-centered individualism. In

the n of collectivism, each member of the society strictly complies with m

oral lf-discipline as a social being. But it does not negate the personality of each ind

ividual. On the contrary, nurturing the spiritual value of an individual is identifi

ed as a remarkable feature. In the social tting, collectivists uphold lfless de

dication and emotional belonging to the society. The development of a group should

be promoted on the premi of respecting individual rights. The historical roots

can be traced as Confucius admonishes “If one wants to establish himlf, he s

hould help others to establish themlves first.” The unity of groups and individ

uals constitutes the ultimate goal of achieving harmony, unity, solidarity and fraterni

ty of the whole society.

Bad on the ideology of centralization of power, the collective interests have been

placed prior to individual interests all along. Culture plays an irreplaceable role

in human edification. Therefore, numerous Chine literature and folk legend a

im to inculcate the doctrine of supremacy of the collective. Confucianism receiv

es official approval through the edification process. In the Confucian view, an individ

ual embodies lf worth and social values. And an individual’s lf worth stand

s out with one’s contribution to the society. People are suppod to bear high

degree of n of social responsibility and historical mission. The unity of one’s

lf worth and social worth can only be achieved by devotion to the well-being of others

and the group. Collectivism is considered as the main route and standard to deve

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lop the ideal personality of an individual.

In the domestic movie Hua Mulan, the group consciousness has been a distinctive

characteristic of the heroine’s image. On the one hand, Hua Mulan replaces her father

to join the army for her family, the smallest group unit. On the other hand, sh

e devotes herlf to the just cau of defending the national curity. The movi

e conveys the inspiring theme of filial piety and loyalty on which Hua Mulan’s identi

ty is bad. As a filial daughter, Hua Mulan places the needs of her family mem

bers above individual interests. As a loyal soldier, she puts the national interest

s first followed by family responsibilities and individual needs. The movie illust

rates her deep concern for the destiny of the nation to which she belongs. She conq

uered her inner fear to fight against the enemies and shield the country from invas

ion. As a reprentative of members within collectivistic culture, Hua Mulan tru

sts group decisions even at the expen of her life. The heroine perveres in

guarding the nation to the last moment after being betrayed by the superior Gene

ral.

5.1.3 American value — low power distance

According to Hofstede (1980), the continuum of high and low power distance

describes the extent to which people accept inequality in power distribution. Fo

ster (1992) further explains that in high power distance cultures, power holders

and tho affected by power are far apart while in societies within low power

distance, the relationship between superiors and subordinates are significantly cl

o. As inequality occurs in all aspects of lives, people’s different values on po

wer distance exert tremendous impact on their behaviors and reactions. In low

power distance cultures, people believe they are accessible to that power and th

e power distinctions should be minimized with fewer restrictions. The United Stat

es typically reprents countries with low power distance cultures as it ranks 38 i

n the lower middle level of this value dimension.

American people are firmly convinced that they are born equal in accordance

with the value clarified in the Declaration of Independence. In families, parents an

d children are equally respected in exchange of views. And parents should not ex

ceed their authority to interfere with children’s legitimate rights. In the workplace,

superiors and subordinates perceive each other as the same kind of members in the or

ganization. Decisions are often shared after subordinates being fully consulted. The

refore, the joint efforts made by administrators and workers contribute to a har

monious atmosphere. Staffs within this culture are motivated to learn and surpa

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ss themlves to make progress. They tend to be more competitive and efficient

with less concentration on authority.

The Disney Mulan bears the personalities of independence and asrtiveness,

unthreatened by status and power. Influenced by this value dimension, Mulan t

ries to make her voice heard by her family and the nation as well. She argues

with her father for taking the scroll of compulsory conscription at the dinner. S

he slams the teacup down on the table and blames her father that he should n

ot have to go. Meanwhile, Mulan is bold enough to hug the emperor after being re

warded. The interaction conveys that superiors are not deemed to be different in line

with how they perceive themlves. Therefore, privilege mentality and rigid reg

ulations are efficiently kept to a minimum in low power distance cultures.

5.1.4 Chine value — three principles and five virtues

The core of Chine traditional ideology lies in its ethical value system. The ethical

culture is reprented by Confucian ethics bad on the three principles and five virtue

s in Chine feudal society. As early as the late Spring and Autumn Period, Confucius

had already propod the dogma, “Let the ruler be a ruler; the minister, a minister; th

e father, a father; the son, a sonDerived from Confucius’s ideology, the concept

s of the three principles and the five virtues are official documented in the book Chu

n Qiu Fan Lu by Dong Zhongshu. Thus, wi man would not feel complexed i

n conducting correct moral behavior. Fidelity refers to the moral quality of being hon

est with good faith. The virtue stems from interpersonal communication in maki

ng friends. It states that people should match their words to the deeds and kee

p their promi without deception. For over 2000 years, it has been affecting the natio

nal character of Chine people.

In the domestic movie Hua Mulan, the heroine displays a conrvative image

of strictly sticking to traditions. The consciousness of hierarchy is rooted in her mind t

hat people are born unequal with rigid rules to abide by. Mulan gives priority

to the national interests disregarding her own curity. Personal interests could

be sacrificed for the country. In Chine society with high power distance cultu

re, people are constrained and cultivated to behave in accordance with their stat

us. People should develop the five virtues to adhere to the three principles. Ine

quality and privilege are acceptable in the rigid hierarchical value system.

5.2 Uncertainty avoidance

In this ction, the view of uncertainty avoidance is to be acted as another scale to

differ the extent to which American people and Chine people abide by. Section 4.2.

1 states the orientation of low power distance favored by American society. Section 4.

2.2 traces the traditional cultural value of Three Obedience and Four Virtues.

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5.2.1 American value

low uncertainty avoidance Uncertainty avoidance is the cond orientation in H

ofstede’s value dimensions theory. Hofstede (1980) defines uncertainty avoidance

as the extent to which people within a culture feel threatened by uncertain or

unpredictable situations. Low uncertainty-avoidance cultures try to lesn structures

and rules by providing challenges for their members. Members within this culture

are more easily to accept unstructured situations and take risks with initiative.

Fewer rules mean more flexibility in interpersonal interactions. In the workplace

, people expect less structured working conditions and tend to be more indepen

dent. They pursue personal achievements by their innovation and creativity.

In the Disney animation, the image shaping of Mulan is a major breakthrough. The dir

ectors dare to break the stereotypical framework on Chine traditional women

and flexibly redesigns the image of the animated version of Mulan. In the film,

Mulan cheats in the match-maker’s performance evaluation of prospective brides. Sh

e prepares notes on her arms under the cover of a paper fun for being unable t

o recite the final admonition. It would never happen in ancient China since tra

ditional women were instilled with strict ethical codes. Women’s virtues, speech

es, manners and acts constitute the main content of female education in Chines

e feudal society. The Westernized Mulan bears the spirit of breaking the constraints

of rules and regulations. She expects a less ten and more relaxed living surrou

ndings. To bring the family honor, she acts to be willing to take risks through

her mythologized journey with individualistic heroism. Besides, some fantastic

plots and exaggerated characters have been added to enrich the characteristics o

f Mulan’s image. The Mushu dragon and the little cricket are personalized to a

ccompany Mulan’s soldiering career. Patron aints of her family also exist from

the beginning to the end. The bold interpretation of Mulan story fully conveys th

e innovative approaches of American directors and writers under the low uncertaint

y-avoidance American culture. They are motivated by achievements to create sati

sfactory works with their wisdom and creativity.

5.2.2 Chine value — doctrine of the mean

To obtain curity in structured situations, people always comply with strict codes

to maintain stability. The concept of Mean (Zhong Yong) is initially propod

by Confucius about 2500 years the domestic movie Hua Mulan, the hero

ine’s character embodies her moral belief in the doctrine of the mean. As a co

nventional woman, Hua Mulan knows her own place in the family and the society.

She choos not to voice her refusal about her father’s recruitment becau she kno

ws females are not qualified to speak in the prence of males. Words and dee

ds are expected to be performed appropriately. Hua Mulan performs her twelve

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years’ military rvice for an exchange of her father’s comfortable late life. It is

partly out of deep love for her father but partly becau filial duties conforms to Chine

traditional moral code. The heroine eventually sacrifies hr love relationship for pe

ace in the country to display her supreme virtue of loyalty advocated by Confu

cianism. Therefore, the harmony of the family and society is ultimately achieve

d through abiding by traditions. Confucianism is the backbone of Chine cultur

e. History and traditions are highly valued by people within the mean culture.

People tend to adapt to the environment bad on accumulated experience rathe

r than change the circumstance. Being lack of spirit of adventure, people get fe

ttered by the old conventions to avoid uncertainty in life. The directors and writers of

Hua Mulan adhere to shape the heroine’s image in line with the ideal traditional virtus

. They still maintain the harmony of groups by the doctrine of the mean in the adaptio

n work.

5.3 Gender roles

In this ction, the image differences will be compared from the perspective of

gender role. Section 4.4.1 analys the masculinity oriented culture of Americ

which greatly influences the image of the Disney Mulan. Section 4.4.2 explains

the Chine traditional value of male superiority obrved by Hua Mulan.

5.3.1 American value — high masculinity

The continuum of masculinity-femininity constitutes Hofstede’s fourth value

dimension. Hofstede (1980) us the terms masculinity and femininity to explic

itly define the social roles of males and females. In societies with masculinity cultures

, men are expected to be asrtive, resolute and competitive, striving for achieve

ments while women are expected to be tender and virtuous focusing on the quality of

life; in cultures that value femininity, the quality traits of men and women are not so d

istinctive, which promote xual equality.

In the Disney animation film, Mulan is shaped like a man longing for success. She

bears the typical masculine traits of asrtiveness and aggressiveness. Disguid

as a man, she is tough and fearless to strive for success in battlefields. Self-realizatio

n takes precedence over other motives to bring honor to her family. In the ani

mation film, Mulan has never been defeated whenever confronted with the enemies.

From this point, she is sculptured into a omnipotent hero in terms of image crea

tion. As a ‘man’ in the army, she prents the best qualities of males to the extreme

. In return, the society also highly values men’s spirit of pursuing lf achievemen

ts. People’s industrious efforts always pay off through promotion or material reward

s as an encouragement. At the end of the film, Mulan is rewarded with imperial gifts f

or what she has done for the country. The target of glorifying the family is finally achi

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eved. In short, Mulan is shaped into a asrtive and competitive ‘man’ with all co

mmendable male traits influenced by high masculinity of American cultural values

.

5.3.2 Chine value — three obedience and four virtues

Since humans enter to a patriarchal society, the agrarian lifestyle of the ancient

China has come into being as the men plow and the women weave. The social divisi

ons of labor influencethe political status of men and women in society. In terms of ph

ysical features, males have distinct advantages over females. And the society fo

rms with males in a position. Due to the low status in society, women are in

culcated with the basic ethical norms of the three obedience and four virtues. T

he norms embody the ethical demands made on females and also reflect repress

ion on women in Chine traditional feudal have been lowered in a su

bordinate position all along, regardless of which stage they are at and what family role

s they play. Conquently, four virtues are developed to meet the concrete requ

irements of the three obedience. The four virtues refer to “morality, proper speech, mo

dest manner and diligent work.” The feudal ethics about females almost involve

all aspects of women’s life including how to behave and how to get along with others

. To conclude, the domestic movie Hua Mulan displays a conventional and rer

ved image of an oriental woman. Influenced by the norms of the three obedience and

four virtues, Hua Mulan confines herlf withi the scope prescribed by Chine

feudal ethics. In the family, she obeys her father as a filial daughter.

All in all, unlike the asrtive girl interpreted by the Disney Mulan, Hua M

ulan depicts a conventional filial daughter guided by the value of three obedience and

four virtues.

5.4 Positive Roles

As the China history of the legendary female in the inter temporal cross regional

spread and evolution, showing strong vitality and long-term rearch value of the

image of Mulan. On this basis, the author choos the Sino US in different times and

different cultural background of the four reprentative texts, the original text

"Mulan", modern Chine film "Mulan", the Disney animated film Mulan and

overas Chine literature text, the woman warrior. By combing the four types of

intercultural texts constructed Mulan, bad on in different cultural background for

the image of Mulan re interpretation, in-depth exploration and mining of the Hua

Mulan cultural roots behind evolution in an attempt to under the background of

globalization, explore between eastern and Western cultural exchange and fusion.

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Yuefu folk songs of the ballad of Mulan and modern Chine film "Mulan" are bad

on the eastern horizon, create a beautiful image of brave and kind traditional Chine

women Mulan, but between the two and diachronic difference. At the same time, a

Disney movie "Mulan" and Chine American literature text, the woman warrior are

bad on the western horizon, image of Mulan for the new rewrite, or they will be

Mulan is shaping up to be a typical American girl or highlight the Mulan revolt is

complex. Will the four kinds of text and movie Mulan image comparison analysis

can be found, with the efforts of China's strong and writers, ethnic Chine and

Chine culture has in American society has been preliminary acceptance and

recognition, but the western world in the ideology and culture for the east side of the

ideology of power did not completely eliminate, prejudice still exists. Therefore,

between the East and the west, we need to strengthen the communication and

cooperation between cultures, and realize the mutual promotion of culture.

Specifically speaking:1 from the Chine and American "Mulan" image

differences to e cultural misreading, help to better understand and grasp the

differences between Chine and Western cultural values.2 is conducive to help

Chine 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

Chine and American "Mulan" image differences between the Western cultural

values differences, contribute to the smooth progress of cross-cultural communication

activities, so that the Chine culture to the world. Coexistence and prosperity of

multi culture.

6 Conclusion

From the comparative analysis of Disney Mulan and Chine Hua Mulan, h

uge differences are expod in shaping the image of the legendary woman Mul

an. First, in style of the form of the works, animated characters fail to describe

the emotional features with profound and detailed depiction, compared with liv

e action films. Secondly, the Walt Disney Company is mainly for the children marke

t, catering for the purpo of its globalization. Therefore, some exaggerated and humo

rous plots are added to create a merry atmosphere, such as the Mushu dragon an

d the little lucky cricket. Cartoon is regarded as the core of Disney culture filled wit

h fairytale dream. It conquers the audience through weaving dreams for people and ar

ousing their innate naivety and innocence, so as to form a permanent stable ller’s m

arket. Within this culture, works are engraved with strong n of American values.

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In domestic movie Hua Mulan, the whole movie is filled with dismal tone. The

more desolate the tone is, the greater the sacrifices are for the national interests. Besid

es the above means adopted by Disney Corporation in intercultural communicati

on, controversy can be further explained by the divergent cultural backgrounds,

cultural psychology and perspectives of appreciation. Meanwhile, it’s the first time t

hat Disney Corporation made a Chine girl as the leading character in the hist

ory. Therefore, Chine viewers t high expectations for the animation and wo

uld rather appreciate it with an inclination to nationalism. They have tried to reconstru

ct the contents and interpret the message it conveyed with their own identity an

d values involved. Eventually, lots of Chine viewers felt disappointed by the

image of Mulan in the animation.

However, the fact can never be ignored that the basic spirits carried by the heroine

have never been changed in Disney Mulan and Chine Hua Mulan as well. The basic

concept of loyalty and filial piety can all be traced in the plots of the two fil

ms. Nevertheless, with the involvement of Western cultural values and ethics, t

he oriental traditional Mulan is endowed with new image and different connotation.

Although she holds the awareness of being loyal and filial, the Disney Mulan c

oncentrates more on being her real lf. Personal achievements are targeted to prove

her ability and ek for her unique personality. Through the collision and fusion

of Chine and Western cultures, the connotation of Mulan’s story is getting increas

ingly meaningful. It does not only reflect the different cultural cognitive abilities, fem

ale gender awareness, but also the conflicts and combination of Chine and Western

cultures. In terms of the powerful and aggressive culture reprented by Disney anim

ations, we can not surrender with unlected absorption or protect our traditiona

l culture by total rejection. For the Disney animation Mulan, we’d better discard the

dross and lect the esnce to create more favorable film works. And intercultural co

mmunication will be promoted smoothly bad on the understanding of cultural

values reflected in the Disney Mulan and domestic movie Hua Mulan. This pap

er helps to better understand the collision and integration of Chine and Western c

ultures, and promote multicultural coexistence and prosperity.

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