從迪士尼文化特點(diǎn)淺析美國文化

哈爾濱師范大學(xué)恒星學(xué)院本科畢業(yè)論文開題報(bào)告Title:TheAnalysisofAmericanCultureReflectedfromDisneyCulture論文題目從迪士尼文化特點(diǎn)淺析美國文化學(xué)生姓名指導(dǎo)教師年級(jí)專業(yè)說明本表需在指導(dǎo)教師和有關(guān)領(lǐng)導(dǎo)審查批準(zhǔn)的情況下，要求學(xué)生認(rèn)真填寫。說明課題的來源（自擬題目或指導(dǎo)教師承擔(dān)的科研任務(wù)）、課題研究的目的和意義、課題在國內(nèi)外研究現(xiàn)狀和發(fā)展趨勢。若課題因故變動(dòng)時(shí)，應(yīng)向指導(dǎo)教師提出申請，提交題目變動(dòng)論證報(bào)告。課題來源：在教師指導(dǎo)下自擬題目課題研究的目的和意義：目的：針對迪士尼文化正風(fēng)靡全世界并影響著一代又一代人們的思想等一系列文化現(xiàn)象，如：迪士尼文化代表著當(dāng)代美國文化的主流和實(shí)體，越來越多的學(xué)者開始分析和研究迪士尼文化如何吸引人們的眼球和迪士尼文化的特點(diǎn)等，以期找到迪士尼文化是如何展現(xiàn)美國文化，從而更好地了解美國文化。意義：本文通過分析迪士尼文化的特點(diǎn)，可以更好地促進(jìn)人們感受美國文化，從而學(xué)習(xí)并深入研究美國文化,促進(jìn)中西文化交流。國內(nèi)外同類課題研究現(xiàn)狀及發(fā)展趨勢：國內(nèi)：即使在中國也有不少學(xué)者和年輕學(xué)子們開始進(jìn)行專題性研究。在聯(lián)合國教科文組織的世界傳媒大會(huì)學(xué)術(shù)會(huì)議上，我國學(xué)者們，就迪斯尼現(xiàn)象(thephenomenonofDisney)進(jìn)行激烈的討論。在閱讀大量的，有關(guān)的學(xué)術(shù)文章和專著，以及參加幾次學(xué)術(shù)會(huì)議，對迪士尼文化進(jìn)行了深入的研究。此后，王艷在《香港經(jīng)驗(yàn)》中發(fā)表了“迪士尼文化熱的原因”的文章，這篇文章針對迪士尼文化席卷世界這一文化現(xiàn)象進(jìn)行了闡述。因此迪士尼文化的研究是有必要的。國內(nèi)學(xué)者都為迪士尼文化的研究提供了確實(shí)可行的依據(jù)。國外：迪士尼研究是西方特別是美國大學(xué)內(nèi)學(xué)術(shù)研究的新興課題，美國學(xué)者分別從迪士尼的美學(xué)、兒童文學(xué)、女權(quán)主義、多元化等角度對迪士尼文化進(jìn)行了全面的闡述和分析。美國作家帕特·威廉姆斯在2006年出版了《迪士尼傳奇》該書介紹了迪士尼的創(chuàng)始人和迪士尼的發(fā)展史，將迪士尼文化介紹給全世界，并在該書中將迪士尼文化與美國本土文化相結(jié)合，促進(jìn)了美國文化的傳播。(美)肯·貝爾森,布賴恩·布雷姆納在《商業(yè)奇跡》中發(fā)表了“SANRIO和DISNEY的對比分析”，此文章通過對比的角度分析迪士尼文化是如何引領(lǐng)時(shí)代娛樂潮流，并進(jìn)一步分析了美國文化。發(fā)展趨勢：隨著世界的不斷發(fā)展，跨文化這一現(xiàn)象越來越受到人們的關(guān)注。迪士尼文化有著鮮明的美國文化特點(diǎn)，使各國在關(guān)注迪士尼文化的同時(shí)關(guān)注美國文化是如何建立并興起的，對于深入研究美國文化來說，這個(gè)課題有很大的發(fā)展前景。課題研究的主要內(nèi)容和方法，研究過程中的主要問題和解決辦法：ThesisStatement:ThethesisanalyzestheDisneyculturetohelpusunderstandAmericanculturebetter.1.Introduction2.TheAnalysisoftheDisneyCulture2.1TheDevelopmentofDisneyCulture2.2TheCharacteristicsofDisneyCulture3.AmericanCultureReflectedfromDisneyCulture3.1

TheAmericanCultureReflectedfromtheDisneyFilms3.1.1TheAmerica’sPortrayalofRace3.1.2TheImportanceofIndividualValues3.1.3TheNatureandHumanBeings3.2TheAmericanCultureReflectedfromtheDisneyMusic3.2.1TheEducationalModes3.2.2TheSpiritofEqualityandCompetition3.3TheAmericanCultureDisneyReflectedfromtheDisneyCharacters3.3.1TheRelationshipbetweenSolidarityandCooperation3.3.2TheSelf-fulfillmentthroughSelf-Gratification4.Conclusion主要方法：文獻(xiàn)閱讀、對比法、分析法、綜合歸納法主要困難：主觀原因：知識(shí)結(jié)構(gòu)不完善客觀原因：資料不完善，查找不方便解決辦法：向指導(dǎo)教師請教、上網(wǎng)、圖書館、資料室、書店、與同學(xué)討論課題研究起止時(shí)間和進(jìn)度安排：1.20XX年10月21日—12月2.20XX年4月1日提交開題報(bào)告3.20XX年4月2日—4月15日完成論文初稿4.20XX年4月16日提交論文初稿5.20XX年4月17日—4月25日修改論文提交修改稿6.20XX年4月26日—4月30日對論文進(jìn)行再次修改7.20XX年5月10日提交論文終稿8.20XX年5月25日提交論文打印稿課題研究所需主要設(shè)備、儀器：計(jì)算機(jī)打印機(jī)復(fù)印紙軟盤U盤外出調(diào)研主要單位，訪問學(xué)者姓名：黑龍江省圖書館哈爾濱市圖書館黑龍江大學(xué)圖書館哈爾濱師范大學(xué)圖書館指導(dǎo)教師審查意見：指導(dǎo)教師（簽字）年月教研室（研究室）評審意見：____________教研室（研究室）主任（簽字）年月系（部）主任審查意見：____________系（部）主任（簽字）年月TheAnalysisofAmericanCultureReflectedfromDisneyCultureChapter1IntroductionCulture,asatoolofcommunication,isusedbymoreandmorepeoplearoundtheworld.Therearedifferentkindsoflivingcultureintheworldtoday.Ofthese,Americancultureisthemostwidelyused.AndthentherearedifferentkindsofcultureinAmerican.OneofthemostimportantculturesisDisneyCulture.ManyscholarsandyoungpeoplelearntoDisneyCulturebecauseitisinclosecontactwithAmericanCulture.TheDisneyCulturesuccessesinAmericansocietydependslargelyonhowwelltheylearnAmericanCulture.InthiskindofAmericanCulturelearning,wecannotonlytolearntheDisneyCulturebutalsotounderstandandrealizeAmericanCulture.SotheAmericanCulturelearningwillbeconstantlyreinforced.LearningAmericanCultureasaforeigncultureismuchmoredifficult.ThisisdoneinareaswhereAmericanCultureisnotwidelyused.IfwewanttolearnandunderstandAmericanCultureverywell,wehavetothinkofmanywayswithinandoutsidethevariedofculturalbookstoallowustoremembertheinformationofAmericanCulture.OtherwisewewillneverhaveachancetouseAmericanCulture,andwillquicklyforgetwhatwehavelearned.ThisisthedifficulttaskthatourscholarsandstudentsofAmericanCultureLearninginChinaface.WeshouldhaveamethodtolearnandunderstandAmericanCulturebetterandbetter.DisneyCulturecanhelpustolearnAmericanCulturebetter.DisneyismuchmoreprominentinAmericansociety,itsimpactnowlivesineveryhousehold,aswellasaplaceineveryone’ssoul.Behinditallisathrivingbusinessthatwilloutlivemosthumansnowandinthefuture.WhenwehearthewordsWaltDisney,weautomaticallyseeMickeyMouseandthinkofthethemeparks.ButuncleWaltwasalotmorethanthat!Amultipleaward-winningmovieproducer,Disneyisnotablyfamousforhisroleinthefieldofentertainmentinthelastcentury,becomingoneofthebestknownfilmproducersintheworld.Today,TheWaltDisneyCompanyhasannualrevenuesof$35billion.ThecompanyalsohasthemeparksintheUnitedStates,Japan,France,andChina.AfewofhischaractersincludeWinniethePooh,Tarzan,SleepingBeauty,PeterPan,MaryPoppins,TheJungleBook,Dumbo,DonaldDuck,Cinderella,Goofyandmanymore.TheWaltDisneyCompanyintroducesitselftothepeopleandthewholeworld.AndalsointroducestheAmericanCulturetothewholeworld.MoreandmorepeoplebegantobeinterestedintheDisneyCultureandtheAmericanCulture.DisneyCulturedemonstratedtheAmericanCultureinavividlyway.SoastomoreandmorepeoplearewillingtolearntheAmericanCulture.WaltDisney'sinfluenceonAmericanCultureisalmostbeyondreckoning.Fromhumbleoriginsasasmall-timeanimator,hebuiltahugeempireofmovies,television,themeparksandmerchandise.Theveryname"Disney"conjuresaspecificmoodandfeeling,whichanyoneintheWesternworldimmediatelyunderstands.Chapter2TheAnalysisoftheDisneyCulture2.1TheDevelopmentofDisneyCultureDisney['dizni]n.迪士尼.WalterEliasDisney(也稱WaltEliasDisney，1901~1966)Americananimator,showman,andfilmproducer.NotedforhiscreationofthecartooncharactersMickeyMouseandDonaldDuck,heproducedthefirstanimatedfilmwithsound,SteamboatWillie(1928),andthefirstfull-lengthanimatedfeature,SnowWhite(1938).TheDisneyCultureisoriginatedintheWaltDisneyCompany.CompanyPerspectives:Together,let'sbringtheDisneyMagictolife.Ourvocationistogivewaytoourimaginationsandtotellbeautifulstories,thetypeofstoriesthatleavechildrenandadultsstarryeyed.AtDisneylandResortParis,eachoneofushasaparttoplayandeachparthasitssetting.Everywhere,ineach"land"inourworld,ineachrestaurant,ineachhotel,ineachboutique,wetakepartinthemagicofthemoment.Wewishforeverythingtobeperfectandcalluponthemosttalentedcreativeartists,themostsurprisinginnovations,andthemostattentiveofservers.Our"raisond'etre"istocontinuallysurpriseandenchantourguests.KeyDates:1987:DisneysignsacontractwithJacquesChiractobuildathemeparkinParis.1992:EuroDisneylandopens.1993:ThecompanyfacesbankruptcywithlossesofFFr5billionanddebtsofoverFFr21billion.1994:SaudiPrinceAlwaleedpurchasesastakeinthefirm;thepark'snameischangedtoDisneylandParis.1996:Thecompanysecuresprofitsforthesecondconsecutiveyear.2002:TheWaltDisneyStudiosthemeparkopens.2003:EuroDisneyfacesbankruptcy.CompanyHistory:EuroDisneyS.C.A.operatesDisneylandResortParis,theleadingtouristdestinationinEurope.Securing12.2millionvisitorsin2001alone,the1,943hectaresiteincludesAdventureland,Frontierland,Discoveryland,Fantasyland,andMainStreetUSA,alongwithWaltDisneyStudios,anewthemeparkthatopenedin2002.EuroDisneyalsoencompassessevenhotels,twoconventioncenters,68restaurants,52boutiques,DisneyVillage--anentertainmentvenuelinkingthethemeparksandhotels--anda27-holegolfcourse.Afterarockystartin1992,EuroDisneybeganpostingprofitsin1995.However,aneconomicslowdown,fallingattendance,andrisingdebtrelatedtotheopeningofWaltDisneyStudiosleftthecompanystrappedforcashin2002.EuroDisneyhasturnedtoitsmajorshareholders,includingTheWaltDisneyCompanyandSaudiPrinceAlwaleedbinTalal,torescueitfromitsfinancialwoes.MickeyGoestoEurope:1980s:FlushwiththehugeandinstantsuccessoftheTokyoDisneyland,whichopenedin1983,theWaltDisneyCompanyimmediatelybeganlookingforasitetobuildaEuropeanversionofthepopulartouristdestination.Ontheonehand,Disneysoughttocapitalizeontheirfirstexperiencegainedfromoperatingathemeparkinaforeignmarket--and,giventhelong-establishedEuropeanembraceofDisney'sproducts,especiallyitsfilms,whichfoundevenlargeraudiencesinEuropethaninAmerica--Europe,withapopulationof320millionwithinairplanedistancesoflessthanthreehours,seemedalogicalchoice.Ontheotherhand,Disneylookedtocorrectwhatitsawasmistakesmadewithitspreviousparks.TheTokyoDisneylandwasnotownedbytheDisneycompany,whichmeantthatDisneywasforcedtocontentitselfonlywithroyaltiesonthatthemepark'smassiverevenues.AtWaltDisneyWorldinFlorida,thecompanyhadnotforeseenthemushroomingdevelopmentofhotelsandotherthemeparksandrecreationcentersoutsideoftherelativelylimitedconfinesofthepark,reducingDisney'shotelroomtaketomerely14percentofthearea'stotal.Between1983and1987,Disneyconsideredsitesinvariouscountries,includingtheUnitedKingdom,Germany,andItaly,butby1985thechoicehadbeennarroweddowntotheCostadelSolinSpainandthesuburbanareaaroundParis.In1987,thechoicefelltoParis--despitethefairerSpanishclimate--inpartbecauseofParis'slargerpopulation,itswell-developedtransportationsystem,anditsroleasoneoftheprimarytourismdestinationsintheworld,butalsobecauseofanumberofimportantconcessionsmadebytheFrenchgovernment,whichwaseagertosecuretheplumjob-andrevenue-generatingthemepark,includinguseofthegovernment'srightofeminentdomaintosellthelarge,principallyfarmlandMarne-de-Valleesiteatthecut-ratepriceof$7,500peracre;theFrenchguaranteeofsomeFFr1.5billionfornewroadconstruction,includingaccesstothenearbyautoroute;theextensionoftheRERtrainsystemtothethemepark,aswellasthebuildingofaraillinkandstationfortheTGVtrainline;anagreementtodropthevalue-addedtaxrateonticketsalesfrom18.6percenttojust7percent;and,finally,theFrenchagreementtoprovidewater,sewage,gas,electricity,andotherservices.SigningthecontractwithJacquesChiracinMarch1987,DisneyheadMichaelEisnerwasconfidentthattheParisthemeparkwouldbeasuccess,despiteFrance'swinterclimate.Indeed,theTokyoDisneylandexperiencedmuchthesameweatherconditionsbutremainedayear-roundtouristdrawforaneagerandfreelyspendingJapanesepublic.The4,400-acresitepurchasedbyDisneywasfarlargerthanthecompany--nowoperatingthroughawhollyowneddevelopmentsubsidiary,EuroDisneyAssociesSNC,whichinturnwouldgivewaytothemeparkoperatorandpubliclyheldcompanyEuroDisneylandS.C.A.--neededtobuilditsthemepark.However,rememberingtheexperienceoftheOrlando-areaDisneyWorld,thecompanyproposedtodevelopthesiteinseveralphases,excluding"mosquitoes"fromthearea.Inaddition,withtheboomingFrenchrealestatemarketofthe1980s,thecompanyexpectedeasilytorecoupmuchofitsdevelopmentcosts--initiallyslatedatFFr15billionforthePhaseIconstruction--bysellingoffthepropertiesitdevelopedwhileretainingownershipofthelandandmaintainingcontrolofboththecommercialuseanddesignofthepropertiessurroundingthethemepark.Theserealestatesaleswereprojectedtosupply22percentofEuroDisneyland'srevenuesin1992,whentheparkwasscheduledtobeopened,andriseto45percentofrevenuesby1995.TheDisneyCompanylimiteditselftoa49percentstakeintheenterprise,satisfyingtheFrenchgovernment'srequirementthatatleast51percentofthecompanywouldbeownedbyEuropeans.WiththebackingofthepowerfulDisneybrandnameandfinancialclout,theinitialfinancingfortheventure,completedin1989,tooktwoprimaryforms.ThefirstwasaloanpackagecoveringmuchoftheprojectedPhaseIcostraisedamongsevenFrenchbanks.Thesecondwasapublicofferingof51percentofEuroDisneylandS.C.A.,whichraised$1billiontocompletethefinancing.Disneywasdeterminedtobuildastate-of-theartthemepark,"perfecting"theconceptofitsotherthemeparks,whichinturnledtoanumberofso-called"budgetbreakers,"thatis,last-minutedesignchanges,manyofwhichwereinitiatedbyDisneychiefEisnerhimself.AsthePhaseIprojectnearedcompletiontwoyearslater,EuroDisneyland,inordertocoverconstructioncostoverrunswasforcedtoarrangeadditionalcapitalizationof$144millionandaddedloansof$522million,raisedfromacollectionofwhateventuallybecamemorethan60banks.Confidenceintheventureranhigh,withEuroDisneylandforecastinganattendancefigureof11millionvisitorsinthepark'sfirstyear,risingpast16millionannualvisitorssoonaftertheturnofthecentury.NotonlydidWaltDisneyre-definetheworldofentertainment,hislegacyisfoundinaworldwidescopeofmotionpictures,ThemeParks,stageshows,books,magazines,television,merchandise,music,apparel,radio,resorts,acruiselineandmore.Ofcourse,noneofthiswouldhavebeenpossiblehadhenotalsore-writtentherulesofbusiness.WaltDisneywas,andwillalwaysremain,thatrarebreed:anartisticgeniuswho,withtheunflaggingandessentialsupportofhisbrother,Roy,createdaneffectiveorganizationalmodelandefficientworkenvironmentwhereemployeeswererecognizedfortheirachievements,encouragedtoworkasateamand,bystrivingforexcellence,continuallybroketheconfinesofthestatusquotosurpasstheexpectationsoftheworld.2.2TheCharacteristicsofDisneyCultureDisneyhasselectedmanyoutstandingsubjectmattersfromclassicsaschiefsourcesofcreationandsuccessfullyadaptedthemintofilms’scripts.Aseriesoffairytaleshaveturnedoutonthefilms’screen,makingDisneyaspiritualparadiseforChildrenandadults;otherthanthat,manyworkssuchasHamletwrittenbyShakespeareandsoonhavebeeninterpretedwithcartoons,projectingchildren′svisualangleonadults′classicaltextsandcreatingadoublevisionforbothadultsandchildren.Disneycartoonsalwaysconveythepositivethemesandspiritaboutlife,love,justiceandfreedom,whichthusexploresaninfinitelyextendingworldoffantasybymakingfulluseofrichimagination,delicateemotionsandromanticideasoffairytales.WhiletheWaltDisneyCompanyin1928launchedthe"SteamboatWillie"hasalreadygonethroughnearly80yearsofdevelopment,butDisneyhasbeenitsowncharacteristicsofthebrand.Theyare:Innovation.DisneyhasalwaysinsistedonthetraditionofinnovationQuality.Disneycontinuetomakefurthereffortstoreachhighqualitystandardsofexcellence,qualitymustbeguaranteedinalltheDisneybrandproducts,.Community.Forfamilies,Disneyhasbeencreatingtheattitudeofpositiveandinclusive,Disneycreatedtheentertainmentthatcanbesharedbydifferentkindsofgenerations.Storytelling.EachDisneyproductwilltellusastory,timelessstoriesalwaysbringjoyandinspirationtopeople.Optimism.TheentertainmentexperienceofDisneyisalwaystellingthepeopleabouthope,aspiration,andoptimisticdetermination.DecencyDisneyrespecteachperson’sinterested,Disney'sfunisbasedonourownexperience,donotmakefunofothers.Note:DisneyinChinacalledthispointas"faith."Chapter3AmericanCultureReflectedfromDisneyCulture3.1

TheAmericanCultureReflectedfromtheDisneyFilms3.1.1TheAmerica’sPortrayalofRaceTheDisneyvisionoffairy-talelovestories,benevolentnature,andclassicAmericanvirtuessuchashardworkhaveremainedunchangedsinceWaltDisneycreatedMickeyMouse.

InDisneyfilmsstockcharactersandpredictableplotshaveledtocriticismthatDisneyfilmscontainracistelements.

Disneyfacesadilemma,thecompanymustmaintaintraditionalAmericanvalueswhilerealizingthechangingtimesoftoday'ssociety.

ThreemovieswillbeexaminedinAmerica'sportrayalofcultureandrace.

ThemovieAladdinshowsnegativestereotypicalimageryandlyricsinthemovie.

InthemovieTheLionKing,jivetalkinghyenaswerecharactersthatlivedinajungleequivalentofaninner-cityghetto.

Finally,thefilmPocahontasisDisney’sanswertothepreviouscriticismsonracial/culturalbiases.InthemovieAladdin,lyricsintheopeningsong“ArabianNights”containedoffensivespeech.

Thelyricswere:1.“Oh,Icomefromaland2.Fromafarawayplace3.Wherethecaravancamelsroam.4.Wheretheycutoffyourear5.Iftheydon’tlikeyourface6.It’sbarbaric,buthey,it’shome.”TheAmerican-ArabAnti-DiscriminationCommitteeprotestedandaftersixmonths,Disneyalteredlinesfourandfiveto:4.“Whereit’sflatandimmense5.Andtheheatisintense”Howeverthesixthlineremainedas“It’sbarbaric,buthey,it’shome.”

OtherstereotypicalportrayalsofArabsinthefilmincludeAladdinridingonamagiccarpetalsothenarratorofthestorywasdepictedasaunsightly,filthyArab.HyenasaresavageanimalsoftheAfricansavannah.

InTheLionKing,thehyenasinthemoviecontainedAfrican-AmericanandHispaniccharacterizations.

UsingthevoicesofWhoopiGoldbergandCheechMarin,theseanimalsresidedinainnercityghettoequivalentofthejungle.

Theirbehaviorandenvironmentreinforcedstereotypesofthesetworaces.

Withracial/culturalcriticisminDisney'smoviesofAladdin,andTheLionKing,thecorporationsetthegoalofproducingamoviethatwouldbeacceptedbyallcultures.

TheselectedstorylinewasPocahontas,alovestorybetweenanEnglishcaptainandayoungNativeAmericanwoman.

ForthisfilmDisneyunderwentsensitivitytrainingforthreeyearssinceproductionofthemoviebegan.

ToassureanunbiasedfairculturalportrayalofNativeAmericans,DisneysoughtconselfromactualdecedentsofPowhatanindiansaswellas

incorporatingresourcesfromacademics,historians,andtheleadersofAmericanIndianorganizations.

TorecreatetheatmospherebehindthePocahontasstorywriters,directors,animators,andcomposersmademultiplevisitstoJamestown,Virginia,thesiteoftheoriginalJamestowncolony.

DirectorEricGoldberg,whoco-directedthemoviesaidthisaboutthedifficultyincreatingaculturallysensitivefilm,"Whenyoubringvisualdetailstoafilm,you'realsobringingasenseoftheculture,youcan'tdisengagethetwo...

Hopefully,aswecontinuetouseethniccastsandgetadvisersintheprocess,Disneywillbecomemoresuccessfulatit"(quotedbySharkley,1995).

Despitetheseefforts,therehavebeencontinuingcriticismsregardingtheactualextenttowhichDisneyconsultedthePowhatans(forexample,byrepresentativesofthePowhatanNation)aswellcriticismsregardingthehistoricaldistortionscontainedinthefilm3.1.2TheImportanceofIndividualValuesWhentheHunsattackChina,herfather,whoisagedandcrippled,isconscriptredintotheImperialArmy.Mulanfearsforherfather'slifeandsecretlystealshissword,hisarmor,hisconscriptionorder,disquisesherselfasaman,andtakeshisplace.Mulan'sparentssendhertothematchmakerhopingthatshewillfindasuitablehusband,butthroughseveralmishapsshefailsmiserablyandistoldshewillneverbringherfamilyhonor.Sherealizesthatwhensheistruetoherselfshebreaksherfamily'sheart.Butshealsorealizesshecan'thidewhosheisinside.Mulanisaloveable,spiritedgirlwhodoesn'tfitinwithChinesetraditionbecauseshehasabadhabitofspeakinghermindandfollowingherheart,whichgetsherintoalotoftrouble.However,beingtruetoherheartalsobringshervictoryintheendandhonortoherfamily.FromAncientChinatoDisneyAmericanImperialism,Mulanhighlightsthefeministdiscourseoftheindependentwoman.Mulan,amythicalheroine,isacharacterinaChinesepoemwhichoriginatedinthe6thcenturyA.D.as“TheBalladofHuaMulan”.TheDisneyCompanyadoptedthispoemtodevelopthestorylineandlaterproducedtheanimatedfilm“Mulan”(1998),butintheprocess,DisneymodifiedittosuittheWesternaudiences.DisneyCulturehascreatedtheMulaninthecreationofthelegendaryclassicalChinesecharacters,withcombinationofAmericanCulture.Fromthethemeoffilialpietytothethemeofrealizingherselfvalueinthewholestory.Essentially,itreflectsthattheAmericansocietyhaspaidattentiontothethoughtandemotionofindividuality.FromtheMulan,wecanseethesinglemostimportantpatternintheUnitedStatesisindividualism.Whetheritisliterature,art,orAmericanhistory,themessageisthesame:Individualachievement,sovereignty,andfreedomarethevirtuesmostglorifiedandcanonized.Americanrolemodels,betheythecowboysoftheOldWestoractionheroesintoday’smovies,videos,orcomputergames,areallportrayedasindependentagentswhoaccomplishtheirgoalswithlittleornoassistance.TheresultoftheseandcountlessothermessagesisthatmostAmericansbelievethateachpersonhashisorherownseparateidentity,whichshouldberecognizedandreinforced.AsKimpointsout,“InAmerica,whatcountsiswhoyouare,notwhoothersaroundyouare.Apersontendstobejudgedonhisorherownmerit.”3.1.3TheNatureandHumanBeingsWaltDisneyfilmssuchasBambi,TheJungleBookandPocahontashaveplayedanimportantroleineducatingthepublicabouttheenvironment.ThestoriesofanimatedDisneycharacters,fromSnowWhitein1937totheclownfishNemoin2003,havebuilt“acriticalawarenessofcontestedenvironmentalissues”.WhileDisneymoviesareoftenregardedaslittlemorethanescapism,andhaveevenbeencriticisedasblandpopulism,manyfeaturemessagesaboutconservationandtherelationshipbetweenpeopleandthenaturalworldthathaveprovedtobehighlyinfluential.TheIdeaofNatureinDisneyAnimation,arguesthatthefilms’cuteanimalshavesystematicallyencouragedgenerationsofchildrenandhumanbeingstoallythemselveswiththenaturalworldandprotectit.IntheBambi,itwasreleasedin1942,asparticularlyinfluential,sayingthatmanygreenactivistshadcrediteditastheinspirationthatfirstmadetheminterestedinenvironmentalissues.Infact,thesefilmshavetaughtusvariouslyabouthavingafundamentalrespectfornature.Someofthem,suchasBambi,inspiredconservationawarenessandlaidtheemotionalgroundworkforenvironmentalactivism.FordecadesDisneyfilmshavebeenprovidingchildrenandhumanbeingswithpotentfantasies,enablingthemtoexplorehowtheyrelatetothenaturalworld.IntheSnowWhiteandtheSevenDwarfs(1937)ThejealousQueenarrangesforthedeathofSnowWhitewhoescapestotheforestandbefriendsdwarfsandwoodlandcreatures.Wecanunderstand:“Theforest’spastoralsettinggivesviewersasenseoftheintegrityandseparatenessofnaturefromtheworldofhumans,whichisshownasoppressivelyunbalanced.SnowWhiteisalsoarolemodel,showinghowhumanscanprotectnatureandevenbringordertoit.”IntheBambi(1942)TheplotfollowsBambithroughhisfriendshipswithThumpertherabbitandFlowertheskunk,thedeathofhismotheratthehandsofhuntersandhisascenttoprinceoftheforest.Wecanunderstand:“Aclassicexampleoftheuseofanimateddetailtorepresenttheidyllicrealmofnaturerenderedvulnerablebyhumanincursions.Thefilmiscreditedwithhavinginfluencedagenerationofconservationists.”IntheCinderella(1950)Underthethumbofhercruelstepmotherandstepsisters,Cinderella’sonlyfriendsareanimals.Afterattendingtheroyalball,themicehelpthePrincetofindher.Wecanunderstand:“Cinderella’srelationshipwithanextensivesubcultureoffriendlyanimalsdemonstratesthatsheiswholesomeandgood.Theanimalshelptosubverttheauthorityofarepressive,self-regardinghumanculturecutofffromnatureandrepresentedbytheuglysisters.”IntheFindingNemo(2003)Nemo,aclownfish,isembarrassedbyhisoverprotectivefather,Marlin.HeiscapturedandtakentoSydney.Wecanunderstand:“Thethemeoflettinggoofone’sprotectiveanxietiesacceptsthedangerousaspectofnature,butweareencouragedtotoleratefreedomwithalltheprecariousnessthatentails.”3.2TheAmericanCultureReflectedfromtheDisneyMusic3.2.1TheEducationalModesWesawaDisneymusicmoviecalledHighSchoolMusical.Thisisamusicfilmaboutyouth,dreamsandAmericanEducation.Withthedevelopmentofglobalization,moreandmorepeoplebegintobeinterestedinAmericanEducation.WecanlearnmuchknowledgeaboutAmericanEducationfromthismusicmovie.Americaeducationsystemstressmoreoncreativity.Therearedefinitelydifferencesinthestructuringofclasses,curriculumandadministration,materials,teachingstyles,studentexpectations,etc.AmericanEducationpayattentiontoIndividualist.Comparativelytherearemoreresourcesallocatedtospecialneedsandmoreofafocusontheindividuallearningofeachchild(intheU.S.)Highervalueplacedonself-reliance.

Self-promotionismoreaccepted.Highvalueplacedon"freedom"fromexternallyimposedconstraints.Americahasatalentmeritocracyexam.Weknowhowtotrainpeopletotakeexams.Youknowhowtousepeople'stalentstothefullest.Bothareimportant,buttherearesomepartsoftheintellectthatwearenotabletotestwell-likecreativity,curiosity,asenseofadventure,ambition.Mostofall,Americahasacultureoflearningthatchallengesconventionalwisdom,evenifitmeanschallengingauthority.TheseareareaswhereChinamustlearnfromAmerica.ThebestaspectsaboutWesterneducationareitsinnovativedeliverables,theapplications,andtheapproachtofomentingexcellence.Inthesituationofinformalandegalitarian.Peoplemostcomfortablewiththeirsocialequals;importanceofsocialrankingsminimized.Americanpeopleavoidinterdependentrelationshipsa