Comparative Study Of Interpretation Of National Culture Of Chinese And Japanese Movies

With the development of economic globalization, Cross culturalcommunication has become more frequent. As an important carrier ofcross-cultural communication, Movies assume more and more responsibility ofspreading. It has become a urgent cultural problem for our national film, whichbelongs to Oriental films, to deal with the Hollywood movies breaking in fullfury of cultural hegemony, avoiding film aesthetic characteristics of assimilationwhich caused by global cultural convergence and keep the heterogeneity of ournational film and promote Chinese national film industry in a healthy, harmonyand sustainable way. Meanwhile, that is the purpose of this thesis.China and Japan, both belonging to Asia, oriental civilization, have thesame cultural origin. Influenced by Chinese Taoism and its own characteristic ofan island country, Japan has formed the unique national culture. However, withthe rapid development of Capitalism in Japan, Japan could not avoid the wave ofit, and began the process of Westernization. Meanwhile, the traditional cultureconfronted a great shock, now it intends to the Western culture. After the reformand opening up police in China, the political environment has been relaxed, andthe economy has experienced booming development, and such factors havepromoted the Chinese culture to be diversified.Through classical literature research, analysis of film and television works,design practice and summary and comparative approach, this paper intends tocompare the national cultural interpretation of both Chinese and Japanese movieson a research platform of comparative film studies, for the sake of putting somesuggestions to Chinese national film strategy, providing effective reference forthe development of Chinese film and contributing to the development of Chinesenational film afterAnalysis and comparison.This paper consists of6parts. The first part outlines the purpose of the study and the research methods adopted, which provide the necessary theoreticalbasis for the development of demonstration. The second part expatiates theimportance of background and research, through interpreting the closerelationship between national culture and film, and describing how the filmaffects national culture and in what way. The third part analyzes the twocountries’ cultural profiles, film cultural backgrounds and national film types toillustrate the cultural overview in the two countries’ films from macroscopicview. The fourth part compares the reasons which arouse the differences betweennational cultures in the two countries’ movies, the similarities and differences inaesthetic styles and narrative structures respectively. The fifth part describes theinspiration of Japanese film development strategy and suggestions for Chinesenational movie development strategy. The last part is the summary which comesfrom method of comparative film studies. That is Chinese national film need tomake full use of china’s long and rich culture. On this basis, absorb the essenceof other cultures unceasingly to enrich the theory system and the structure of itsown, so that Chinese film can get the key discourse power in interculturalcommunication as well as world movie Dom.