The Application Of Language In The Course Of "Localization" In Foreign Drama

The early 20 th century has witnessed the far-reaching transformation and rapid development, which makes a huge influence on the Chinese art; thus, traditional Chinese art always fail to fascinate the demand of aesthetic needs. Thanks to the New Culture Movement and the May 4th Movement of 1919, a flood of foreign ideologies has come into China and impacted a lot on the Chinese traditional culture. The conflicts and the convergence of both cultures—those from China and those from oversees—managed to cultivate a new approach to present Chinese traditional cultures. It is during this period of time with quantities of foreign dramas and movies in that comes the first climax of the 1930s—1940s. There exist aesthetic habits and distinct appreciation levels between people in China and people outside China, which makes it happen that the imports of foreign dramas and movies move form simply replication to combination with Chinese historical backgrounds and culture traditions. In the meantime, both dramas and movies are no longer a kind of propaganda at the very beginning of its entrance to China, but a work with more value.After the Reforming and Opening up, the localized adaptation of foreign dramas and movies is becoming increasingly diverse and open, which enriches, to a huge extent, the methods to produce Chinese dramas and movies, both in the content and form. During the process of localization, we can see clearly the difference of language uses in both Chinese versions and foreign versions. Based on the above, I spare no effort to present with examples as many as possible the localization of foreign dramas/movies from the perspective of language uses.