东方主义视角下基于编解码理论对《木兰》和《功夫熊猫》中文化霸权的分析

发布时间：2018-06-15 10:12

本文选题：东方主义 + 迪斯尼动画　；参考：《华东理工大学》2014年硕士论文

【摘要】：本文以萨义德的东方主义和霍尔的编解码为理论框架,选取《木兰》和《功夫熊猫》这两部蕴含大量中国元素和美国元素的好莱坞迪斯尼动画电影作为研究对象,对其中的文化霸权做了研究。萨义德认为东方主义本质上解释了西方与东方之间的霸权关系(前者控制后者)。凭借强大政治经济实力,美国到处向他国传播、渗透其核心价值观和意识形态,甚至标榜“美国例外论”。象征美国文化的好莱坞电影自然成为传播、弘扬美国文化精神的强大媒介,而其中的非西方形象通常受到扭曲和贬损。这种扭曲不仅致使东方文化他者化、边缘化,更是衬托出美国文化的优越,因而导致东西形象渐行渐远。借由东方主义视角,本文从人物刻画、场景道具、传统文化价值等方面,选取27个电影场景,对《木兰》和《功夫熊猫》中的中国元素和美国元素作了分析,旨在说明由于中国实力的上升,美国动画电影霸权方式呈现出由显到隐的变化,东方主义色彩有所淡化,但依旧没有改变其霸权本质。分析发现美国电影《木兰》几乎完全颠覆中国传统木兰形象,中国传统文化核心价值观也被取而代之为美国的核心价值体系。中国的妇女以及象征中国精神的龙等形象更是被歪曲、丑化,带有浓厚的东方主义色彩,文化霸权倾向可见一斑。在《木兰》十年之后拍摄的《功夫熊猫》相对《木兰》来看东方主义明显淡化,影片中的中国元素呈现显露了对中国文化的逐渐理解,拉近了其与中国观众的距离,但影片依然遵循着实现美国梦的叙事模式,深层渗透的实为个人英雄主义、平等自由等美国核心价值观,中国元素的呈现仅仅停留在电影表层。电影中铸就神龙大侠的并非传统的中国功夫,而是美国核心文化中的追求自我实现的信心和决心,因而《功夫熊猫》仍然带有明显的文化霸权意味。此外,论文作者借用霍尔的编解码理论分析了电影背后的霸权策略,即利用中国元素的首次编码赢得中国观众的认同感,再借二次编码渗入其主导符码(美国价值观),实现最终的文化霸权。
[Abstract]:This paper takes the orientalism of said and the encoder and decoder of Hall as the theoretical framework, and chooses Mulan and Kung Fu Panda, two Hollywood Disney animated films which contain a great deal of Chinese and American elements, as the research object. The cultural hegemony is studied. Saeed argues that Orientalism essentially explains the hegemonic relationship between the West and the East (the former controls the latter. By virtue of its strong political and economic power, the United States spreads to other countries, permeates its core values and ideology, and even touts "American exceptionalism". Hollywood films, which symbolize American culture, naturally become a powerful medium for spreading and promoting American cultural spirit, and the non-Western images are often distorted and derogatory. This kind of distortion not only makes the oriental culture become otherness and marginalize, but also sets off the superiority of American culture, thus leading to the gradual departure of the image of the East and the West. From the perspective of Orientalism, this paper analyzes the Chinese and American elements in Mulan and Kung Fu Panda from the aspects of characterization, props and traditional cultural values. The purpose of this paper is to show that because of the rise of China's power, American animation film hegemony has changed from obvious to implicit, and Orientalism has been desalinated, but it still has not changed its hegemonic essence. It is found that the American film Mulan almost completely subverts the image of Chinese traditional Mulan and the core values of Chinese traditional culture have been replaced as the core value system of the United States. The images of Chinese women and dragon, which symbolize the Chinese spirit, are distorted and ugly, with strong orientalism and cultural hegemony. The Kung Fu Panda, shot ten years after Mulan, shows a marked dilution of Orientalism. The Chinese elements in the film show a gradual understanding of Chinese culture and bring it closer to the Chinese audience. However, the film still follows the narrative mode of realizing the American dream, and deeply permeates the American core values such as individual heroism, equality and freedom, etc. The presentation of Chinese elements only stays on the surface of the film. It is not the traditional Chinese kung fu but the confidence and determination to pursue self-realization in the core culture of the United States, so Kung Fu Panda still has a clear sense of cultural hegemony. In addition, the author uses Hall's codec theory to analyze the hegemonic strategy behind the film, which is to use the first coding of Chinese elements to win the identity of Chinese audience. Then the second code infiltrates its dominant code (American values) to achieve the ultimate cultural hegemony.
【学位授予单位】：华东理工大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：G05

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