The Meaning And Practice Of The Process Of Cultural Transfer: A Study Of Chinese Culture And Chinese Image In Japanese Cartoon After World War

The Japanese animation industry is mature and highly commercial, it has produced many outstanding works which is influence at home and abroad with the Japanese unique animation language. Facing globalization, Japanese animation has produced with international vision, it widely makes transculturation about other culture so that the animation works are rich and varied. Japanese culture and Chinese culture are intimately involved, so there are many transculturatial works of Chinese culture in the Japanese cartoons, some are based in the Chinese culture, especially the ancient culture, some create the distinctive Chinese images, this is a commercial marketing method of the process of Japanese animation production. The transculturation, however, is not only a commodity production process, but also a process of symbolic signifying practices, the process closely interacts with the development of each country, the exchanges between Japan and China, the international situation, the symbolic animation picture endowed with significant represents the complex ideas and feelings of Japanese society about understanding China.From1958to2014,70cartoons were studied by using the method of semiotics, as well as narrative analysis method and content analysis method. I found that Japanese animation can disruptively make a transculturation about Chinese traditional culture, so that we have to look it as Japanese own culture. Japanese usually respects Chinese traditional culture, but not an undemocratic and poor nation, so the Japanese animation created no Chinese image in the late1960s and1970s. The Chinese images have appeared in the1980s, which look like the real people in Asia, differ from the other roles of occidentalize style in the Japanese animation, that’s because of the Japanese identity framework of "orientalize each other". As the communication between China and Japan being bad, the protagonists and good guys in Chinese images have reduced, the supporting roles and bad guys have increased, and the political elements referencing to the reality have increased too.