Research On The Cultural Connotation Of The Animated Image Of Sun Wukong In China And Japan From The Perspective Of Semiotics

We are now in the era when information tends to be transformed in a more and more graphical,dynamic and interactive mode.Animated images are expressed in the universal "language" of the world in their visual communication.The animated image has become a culture that can represent the national spirit.The animation of our country has ever enjoyed a high reputation internationally,but with the development of the market economy,as well as other complicated social factors,Chinese animation has lost its glory.With the development of globalization,cultural conflicts between different countries and races are occurring every day.This has also brought unprecedented challenges to the traditional culture of the Chinese nation.Moreover,as more and more western cultures continue to penetrate into China and the development of urbanization in China has been accelerating,traditional culture has gradually become a kind of deficiency.For many Chinese people,they can keep talking about foreign cultures with ease.But when it comes to traditional Chinese culture,there will be "cultural aphasia".It is the similar case with Chinese animation industry.Therefore,we need to make a good use of China's excellent traditional culture legacy and develop our animation industry with Chinese characteristics.This paper,by using methods of literature research,methods of comparative research,and graphic and methods of textual research,collects andsorts out the historical data and related research literature of Sun Wukong's animated images of China and Japan.It also uses the theory of semiotics to do a comparative analysis on the animated images of Sun Wukong in China and Japan.Specific comparative analysis method is employed to study the cultural factors behind the differences in image production.The dissertation is mainly divided into seven parts.The first part explains the reasons for choosing the topic,the current research status of the Chinese and Japanese Sun Wukong's images,the research significance and research methods used.The second part first briefly describes the development of semiotics and then explains the three classifications of encoding and decoding and meta-language.The third part and the fourth part explore respectively the five stages of the evolution histories of both Chinese animation image of Monkey King and Japanese Monkey King animation image from the perspective of semiotics.The fifth part begins with a summary of the part three and part four,and then compares the Monkey King's animated image in a similar time sequence in order to discover the differences between the Chinese and Japanese cultural connotations.The sixth part,based on the fifth part,analyzes the weaknesses of the development of the Chinese animation industry and what Chinese animation industry can learn from,thus offering some solutions and suggestions for the future development of the Chinese animation industry.The seventh part provides the summary and prospect of this research.Through the research conducted in previous parts some preliminary research results have been obtained from the perspective of meta-language.The meta-language of Chinese Monkey King's image comes from Chinese traditional culture,while the meta-language of Japanese Monkey King's image comes from a modern cultural social environment.This result is expected to give some valuable information to the creation of Monkey King's image.By the comparative analysis,some inadequacies and experiences were summarized with the hope of giving some feasible suggestions for the development ofChinese animation.However,this research still exists some weaknesses.For example,due to the non-mastery of Japanese language,all the materials concerning animated images of Japanese Monkey King in the paper except videos are not first-hand resource,but the research results from Chinese researchers.This may have a certain influence on the validity of the research.As for the suggestions on the future development of Chinese animation,they seem to be feasible theoretically.It is hoped that the results of this study can provide some theoretical support for the Chinese animation industry in the direction of inheritance and promotion of the Chinese national culture and have certain reference value.