The Chinese Culture Represented In American Films (2000-2013)

As the most significant part of American global strategy, American films have been bestriding the market of world films for a long time, which profits of the colossus indicate a boom in the economy, with not only the basic economic function but also the more gradual cultural one. In additional, the nature of immigrant country spurs American films to set their stories into the background of different national cultures in coordination with the announced Americanism to expand the world-wide film market, instead of setting stories into a certain national context.The appearance of "The Chinese Culture Represented in American films" could date back to the period of the birth of films, and lasts for a whole twentieth century. With the improvement of Chinese national power and international status and driven by commercial interests, there are more and more Chinese stories, characters, natural scenery shown in American films.This research seeks to explore the cultural phenomenon by combining the analytical approaches of historical demonstration and classic documentation.In the first place, the research attempts to sort out and describe the research background, significance, status and content of the topic "Chinese elements represented in American films". Currently, a large scale of "Made in America" is taking on positive and negative looks to keep a vigilant guard over the acquaintance and discovery of ourselves, and it is quite important for our cultural dissemination in better orientation. However, the studies of this topic just start, the lack of monographs and obsolete of articles still exist.In the second place, it lays special stress on analyzing the outlook of the same objective and some momentous cases in the twenty-first century from spiritual and material aspects. The content of spiritual culture mainly can be divided into two parts-cultural spirits and cultural symbols, including the analysis and summarization on the essence of Chinese culture "harmony" and traditional symbol "Dragon". The part of material aspect sorts out the urban landscape and national dressing, focusing on Hong Kong, Shanghai and Tibet, etc. and traditional Chinese garments and cheongsams. It summarize the characteristic, manifestation and essence of this problem to find out the model of the process of American films output.In the third place, it analyzes the development of potential hidden attitudes in American films during this period, and makes a resolution on the judgment shot from the dual nature of interpretation and language in some of these important works, and then concludes the cause of all these distortions and misreading, except long-standing legacy in American society entrenched racial prejudice, but more from the unreal understanding of Chinese traditional culture that leads to difficulty of understanding the real meaning of the inherent, and the misjudgment on the latest international situation and wishful thinking.In the end, the research attempts to sort out and describe the progress of Chinese elements represented in American films during the twentieth century, and works out that it was the barometer of the entire USA audience’s perception and relationship between China and America. With the combination of film itself and politics, economy, culture, etc. it tries to find the reasons why American films have taken the lead in the world film market for long and Chinese elements find favor with American films, to conclude the impacts on the native culture and audience, and the enlightenment to the development of Chinese film industry.