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A brief analysis of Chinese and Western cultural differences in animated films featuring Chinese elements

机译：浅析中国元素的动画电影中的中国文化差异

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Over more than one hundred years of development, film industry has witnessed the transition from silent pictures to sound motion ones, from black-and-white films to color ones and from flat films to dimensional ones. As such, a revolution of "post-film" or "digitization" is brewing and being reorganized. Animated film is unique for its style and technique of expression, which unveils a new vision of cultural life and social values in other countries for audience's appreciation. Animated film also provides a new platform for Chinese and western cultural exchange. As a creative industry, film has been the fast-growing and most influential media since the 20th century, which embodies aspects of politics, economy and culture. Nevertheless, animated film performs its recreational function, shaking off fetters in the real world on the basis of its function. Chinese elements are constantly applied in western animated films. This paper sets out to analyze the current conditions in Chinese and western animated films. In this paper, a comparison will be made between Mulan and The Lotus Lantern, Kung Fu Panda and Monkey King: Hero Is Back. The paper will discuss cultural differences in Chinese elements in animated films in the aspects of national cultures and aesthetics with analysis and demonstration, thereby offering references to follow-up animated film production.
机译：超过一百多年的发展，电影业已经目睹了从静音图片到声音动作的过渡，从黑白电影到彩色薄膜，从扁膜到尺寸。因此，“薄膜后”或“数字化”的革命正在酝酿和重组。动画电影对于其风格和表达方式是独一无二的，这对其他国家的文化生活和社会价值观的新愿景有关，以获得受众的升值。动画电影还为中西文化交流提供了新的平台。作为一个创造性的行业，电影以来一直是20世纪以来的快速增长，最具影响力的媒体，体现了政治，经济和文化的方面。尽管如此，动画电影表现了其娱乐功能，在其功能的基础上振动现实世界。中国元素不断应用于西部动画电影。本文阐述了分析中西动画电影的当前条件。在本文中，将在木兰和莲花灯笼，功夫熊猫和猴王之间进行比较：英雄回来了。本文将讨论民族文化和审美方面的动画电影中中国元素的文化差异，分析和示范，从而提及后续动画电影制作。

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