文章以西方观影者的视角为切入点,运用语料库量化分析法,通过对主题词、搭配词和索引行的分析来发掘西方观影者眼中的中国动画形象。研究发现,西方观影者对《哪吒之魔童降世》这部电影所呈现的中国动画形象的态度是积极正面的:他们对电...文章以西方观影者的视角为切入点,运用语料库量化分析法,通过对主题词、搭配词和索引行的分析来发掘西方观影者眼中的中国动画形象。研究发现,西方观影者对《哪吒之魔童降世》这部电影所呈现的中国动画形象的态度是积极正面的:他们对电影评价较高;认为动画人物形象鲜活、画面唯美;认可中国神话的讲述方式。但是,对于片中音调、动画设计、字幕翻译及叙事方式等方面也进行了负面建构。最后,针对西方观影者的负面评价,笔者提出了未来传播和推广中国动画电影的思路。This paper adopts the perspective of Western viewers as the starting point, utilizing corpus-based quantitative analysis to explore the depiction of Chinese animation in the eyes of Western viewers. Through the analysis of keywords, collocations, and index lines, the study uncovers the image of Chinese animation perceived by Western viewers. The research reveals that Western viewers hold a predominantly positive perception of Chinese animation as depicted in the film “Ne Zha”: they rate the film highly, consider the animation characters lively, and appreciate the beautiful imagery, as well as acknowledge the storytelling of Chinese mythology. However, negative criticisms are also expressed regarding aspects such as the tone, animation design, subtitle translation, and narrative style. Finally, in response to the negative evaluations from Western viewers, the author proposes future strategies for the communication and promotion of Chinese animated films.展开更多
This research uses a theoretical conceptual method based on Chantal Mouffe＇s Radical Democracy which blended with Derrida＇s deconstruction thesis about ＂democracy to come＂ to reach findings on the state of South A...This research uses a theoretical conceptual method based on Chantal Mouffe＇s Radical Democracy which blended with Derrida＇s deconstruction thesis about ＂democracy to come＂ to reach findings on the state of South Africa＇s media freedom landscape. The method is contained in the conceptual framework. The article provides the constitutional legal landscape--or the overarching laws of the land--and the co-regulatory framework within which journalists work. There are four research explications： the Protection of State Information Bill （dubbed the Secrecy Bill）, a painting of the president and Freedom of Expression, an arson attack on a community radio station and finally, the death of a photojournalist at the hands of police. The argument here is that the death, the arson attack, the Secrecy Bill, and the shut-down of dissent during the exhibition of the painting of the president all undermine democracy and signify significant closures for the media in the now 20-year-old post-apartheid South Africa. The analysis and reflections will be framed within theories of radical democracy, which argue for more fights and contestations and more voices from the margins in order to deepen democracy, rather than rational consensus which closes the spaces for greater plurality.展开更多
文摘文章以西方观影者的视角为切入点,运用语料库量化分析法,通过对主题词、搭配词和索引行的分析来发掘西方观影者眼中的中国动画形象。研究发现,西方观影者对《哪吒之魔童降世》这部电影所呈现的中国动画形象的态度是积极正面的:他们对电影评价较高;认为动画人物形象鲜活、画面唯美;认可中国神话的讲述方式。但是,对于片中音调、动画设计、字幕翻译及叙事方式等方面也进行了负面建构。最后,针对西方观影者的负面评价,笔者提出了未来传播和推广中国动画电影的思路。This paper adopts the perspective of Western viewers as the starting point, utilizing corpus-based quantitative analysis to explore the depiction of Chinese animation in the eyes of Western viewers. Through the analysis of keywords, collocations, and index lines, the study uncovers the image of Chinese animation perceived by Western viewers. The research reveals that Western viewers hold a predominantly positive perception of Chinese animation as depicted in the film “Ne Zha”: they rate the film highly, consider the animation characters lively, and appreciate the beautiful imagery, as well as acknowledge the storytelling of Chinese mythology. However, negative criticisms are also expressed regarding aspects such as the tone, animation design, subtitle translation, and narrative style. Finally, in response to the negative evaluations from Western viewers, the author proposes future strategies for the communication and promotion of Chinese animated films.
文摘This research uses a theoretical conceptual method based on Chantal Mouffe＇s Radical Democracy which blended with Derrida＇s deconstruction thesis about ＂democracy to come＂ to reach findings on the state of South Africa＇s media freedom landscape. The method is contained in the conceptual framework. The article provides the constitutional legal landscape--or the overarching laws of the land--and the co-regulatory framework within which journalists work. There are four research explications： the Protection of State Information Bill （dubbed the Secrecy Bill）, a painting of the president and Freedom of Expression, an arson attack on a community radio station and finally, the death of a photojournalist at the hands of police. The argument here is that the death, the arson attack, the Secrecy Bill, and the shut-down of dissent during the exhibition of the painting of the president all undermine democracy and signify significant closures for the media in the now 20-year-old post-apartheid South Africa. The analysis and reflections will be framed within theories of radical democracy, which argue for more fights and contestations and more voices from the margins in order to deepen democracy, rather than rational consensus which closes the spaces for greater plurality.
