"China Image" In The Context Of Globalization

The field of popular culture, "Impact of China and the U.S. film" is a hot spot in academic study in recent years. Domestic scholars tend to point China (Chinese) image formation and development from the hegemony of Hollywood. Starting from a global view of the interaction between the two sides (Chinese and American) of the film industry, to academia in Mainland China, this is a piece of fertile ground to be.Conventional academia thinks that the right-to-speak of "China image" is in the strong hands of the West media---Hollywood as the representative. We cannot help but reflect on this conclusion is correct? Chinese filmmakers have made their right speaking for themselves? If so, how the Chinese filmmaker shape the China image and what "self-shaping image of Chinese" do they send to the world?Chinese speech for themselves sounds through the media of film images, the sound is being absorbed, or distorted, or shelter by Hollywood? This is the second topic in this article. Traditional academic view is that the Hollywood imagination and the words of China is more from their own perception of the East based on their cultural systems. However, by examining the interaction between the impact of U.S. films, it can be found that, once the " self-shaping image of Chinese" speaks internationally somehow they obtain power to participate, repair, remodel "Hollywood Chinese image"! Together with the East tradition inherent inside the Western culture, they become an important resource for Holly speech of China.In this paper, the linear development of history is the warp; the interaction of China and U.S. film is the weft. Warp and weft cross-dimensionally, rather than one-sided, sketch the Cultural Exchange lineages using film as a carrier and "China image" from both China and U.S as the core.Of course, the communication between Chinese and foreign culture is never easy, but the Chinese film workers "self-shaping image of Chinese " in the global dissemination and promotion are also facing many challenges.In the wave of globalization, how to save their own "national character", at the same time adapt to the development of "globalization", this important topic is also an important and inevitable problem to the world of flim. How can Chinese film makers highlight "national character" in the films but not fall into the "Orientalism" stereotype? How to deal with "universal value", refused or re-examine? "Similar but different" may provide to the interaction of Chinese and Western films, by extension, the exchange of heterogeneous civilizations, a model beyond "Orientalism" of the "global".