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首页> 外文期刊>International Journal of African and Asian Studies >Kungfu Movies as Driver of China-Africa Cultural Exchanges: Case Study of Cameroon
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Kungfu Movies as Driver of China-Africa Cultural Exchanges: Case Study of Cameroon

机译：功夫电影带动中非文化交流：喀麦隆案例研究

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Study Focus: This article put forward the interest of African youngsters for Kungfu Movies, and then highlights the driver’s role and the cross-cultural communicative competences of Kungfu Movies in strengthening the cultural exchanges as well as boosting the China-Africa Movie Cooperation. Methodology: The content of this paper relies on written documents from primary and secondary sources as well as on the author’s teaching experience and understanding of Chinese Kungfu in Cameroon. The primary sources include the author’s previous research and surveys conducted on 197 Cameroonian residents and fans of cinema in the cities of Douala, Yaounde and Bafoussam. Secondary sources include scientific journals and articles as well as official reports most of which are available online. Cameroon is used as case study. Findings: 1) There has been a growing influence of Kungfu Movies in Africa since the late 1970s following the emergence of Bruce Lee, and this has positively shifted African audiences’ interest toward Chinese Kungfu. 2) The arrival of Chinese Kungfu masters in African countries the late 1980s has brought Kungfu from screens to real life, and therefore deepens African audiences’ understanding and appreciation of the Chinese Kungfu. 3) The concept “Kungfu” in the eyes of African audiences is often surrounded by misconceptions and this influences their expectations and appreciations of Kungfu movies. 4) The actual pattern of Sino-African Movie Cooperation is undermined by shortcomings and challenges; furthermore, the “Sino-African movies” made until now are far from meeting the people’s needs and expectations. Conclusion and Recommendations: Base on the findings, the article suggests a new approach for the China-Africa Movie Cooperation, namely the “Sino-African Kungfu Movies”. This new approach will aim at adapting Kungfu Movies in the Sino-African cultural context by associating Some African martial arts styles, traditional wrestling and war dances with Chinese martial arts styles, and so come up with an innovative style of Sino-African actions movies” in which Africans and Chinese will work together for the common prosperity of their cultures.
机译：研究重点：本文提出了非洲年轻人对功夫电影的兴趣，然后重点介绍了驾驶员在加强文化交流和促进中非电影合作方面的作用和功夫电影的跨文化交流能力。方法：本文的内容依赖于主要和次要来源的书面文件以及作者的教学经验和对喀麦隆汉语功夫的理解。主要来源包括作者先前对197名喀麦隆居民和杜阿拉，雅温得和巴富桑的电影迷进行的研究和调查。次要资源包括科学期刊和文章以及官方报告，其中大多数可在线获得。喀麦隆被用作案例研究。调查结果：1）自1970年代后期李小龙（Bruce Lee）的出现以来，功夫电影在非洲的影响力日益增强，这已使非洲观众对中国功夫的兴趣发生了积极变化。 2）1980年代后期，中国功夫大师来到非洲国家，使功夫从银幕变成现实，因此加深了非洲观众对中国功夫的理解和欣赏。 3）在非洲观众眼中，“功夫”概念常常被误解所包围，这影响了他们对功夫电影的期望和欣赏。 4）中非电影合作的实际模式被缺点和挑战所破坏;此外，迄今为止制作的“中非电影”还远远不能满足人们的需求和期望。结论与建议：基于上述发现，本文提出了一种中非电影合作的新方法，即“中非功夫电影”。这种新方法旨在通过将一些非洲武术风格，传统摔跤和搏击舞与中国武术风格相结合，来适应中非文化背景的功夫电影，从而提出一种创新风格的中非动作片。”非洲人和中国人将共同努力，以实现其文化的共同繁荣。

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