A Study On The Cross-cultural Communication Of Chinese Films In Central Asia

Chinese cultural "goingout" is not only the internal demand of the great rejuvenation of the Chinese nation and the promotion of the national soft power,but also the trend of dialogue and communication among different civilizations in the context of globalization.Film has both the dual attributes of culture and economy,and is the most popular mass media with cross cultural transmission and radiation.It plays an important role in spreading Chinese culture and shaping China's image and becoming an important part of Chinese culture's going global strategy.At the same time,with the peaceful rise of China,the importance of the surrounding environment to China is increasingly prominent.It is important and urgent to show China to the surrounding countries,to improve the affinity and identity of Chinese culture and to create a good external environment for the development of China.Central Asian Countries,located in the junction of the Eurasia Continent,which has important geopolitical significance to China.The five Central Asian countries are important neighbors of China,and also the respondents and participants of Belt and Road Initiative.The key to sound relations between states lies in the affinity between their people.However,due to historical reasons,people of Central Asian countries have little knowledge of China,and thus in urgent need of cultural exchanges to communicate with China in order to bridge differences and realize cultural recognition.Besides,due to practical reasons,the dissemination effect of Chinese culture in Central Asia is not good enough to be improved.Investigating Chinese films' communication in Central Asian countries is not only a review of Chinese films under the Belt and Road Initiative,but also a practice of the concept of "cultural first" and a conscious reflection of China's cultural soft power in the context of globalization.Moreover,it is an active exploration of a harmonious relationship between different cultures to communicate and coexist.Taking this as the logical starting point,the thesis is based on the perspective of cross-cultural communication.From the four dimensions of the communication process,communication context,cultural expressiveness and cultural communication power,this paper makes a thorough investigation on the era of Chinese films in Central Asia.After studying the background,significance,research methods,related concepts,research status and related theories,the paper firstly conducts a literature review on the communication history of Chinese films in Central Asian countries and distinct forms,phenomena and features in different times during 1949 to 2016 are combed carefully,with a view of providing some experience and serving as a reference for future communication of Chinese films in Central Asian countries.On this foundation objective analysis on the overall communication environment in Central Asia is conducted from two aspects:challenges in multiple contexts,and historical and current opportunities.On the one hand,the basis of historical memory and humanistic exchanges,demands for economic development and the impetus of the Belt and Road Initiative have laid a solid foundation for communication of Chinese films in Central Asia,but on the other hand,factors including the imbalance of communication pattern in the context of globalization,big cultural difference between China and Central Asia,low recognition on Chinese culture,and confrontation and gaming of multiple cultural powers in Central Asian cultural field add to the difficulties and uncertainties of Chinese film's communication in Central AsiaSecondly the paper examines the internal factors of the production and communication of Chinese films in Central Asia.In the field of cross-cultural communication,the completion of Chinese films is a process of self interpretation.Therefore,it is worth thinking about how to mirror the image,value concept and life style of China from diachronic and synchronic angles,and it is necessary and meaningful to examine it.This part classify the Chinese films spread through film festivals,culture day events,cinemas and Internet during 2005 to 2016 according to historical theme,modern theme,contemporary theme and martial arts theme,and then investigates them from four aspects:cultural image,cultural entity,cultural value and cultural spirit in order to specifically review the cultural expressive force of Chinese films.Then,from the perspective of cultural soft power,the two chapters adopt the Diamond Model Theory and conducts a detailed analysis on the communication power of Chinese films in Central Asia by comparing the communication situations of Chinese films in Central Asia with that of other countries' films,in the hope of seeking out the realistic difficulties encountered and problems existed in the communication of Chinese films in Central Asia.Lastly,in view of the current situation of the transmission of Chinese films in Central Asia,the paper believes that it is necessary to promote the spreading effect of Chinese film in Central Asia and enhance its influence in Central Asia by promoting the communication level,the production and marketing level and the policy level.In conclusion,film is an effective tool for cultural exchanges and communication.The international influence of films is also a manifestation of national cultural soft power.The continuous improvement of China's overall national strength and increasing exchanges between China and Central Asia have created a favorable external environment for the spread of Chinese films in Central Asia.Chinese films will make due contribution,to promote the international spread of Chinese culture and enhancing the cultural influence of China,to the friendly exchanges between China and Central Asia countries,and the harmonious coexistence between different cultures.