从迪士尼文化特点浅析美国文化

哈尔滨师范大学恒星学院本科毕业论文开题报告Title:TheAnalysisofAmericanCultureReflectedfromDisneyCulture论文题目从迪士尼文化特点浅析美国文化学生姓名指导教师年级专业说明本表需在指导教师和有关领导审查批准的情况下，要求学生认真填写。说明课题的来源（自拟题目或指导教师承担的科研任务）、课题研究的目的和意义、课题在国内外研究现状和发展趋势。若课题因故变动时，应向指导教师提出申请，提交题目变动论证报告。课题来源：在教师指导下自拟题目课题研究的目的和意义：目的：针对迪士尼文化正风靡全世界并影响着一代又一代人们的思想等一系列文化现象，如：迪士尼文化代表着当代美国文化的主流和实体，越来越多的学者开始分析和研究迪士尼文化如何吸引人们的眼球和迪士尼文化的特点等，以期找到迪士尼文化是如何展现美国文化，从而更好地了解美国文化。意义：本文通过分析迪士尼文化的特点，可以更好地促进人们感受美国文化，从而学习并深入研究美国文化,促进中西文化交流。国内外同类课题研究现状及发展趋势：国内：即使在中国也有不少学者和年轻学子们开始进行专题性研究。在联合国教科文组织的世界传媒大会学术会议上，我国学者们，就迪斯尼现象(thephenomenonofDisney)进行激烈的讨论。在阅读大量的，有关的学术文章和专著，以及参加几次学术会议，对迪士尼文化进行了深入的研究。此后，王艳在《香港经验》中发表了“迪士尼文化热的原因”的文章，这篇文章针对迪士尼文化席卷世界这一文化现象进行了阐述。因此迪士尼文化的研究是有必要的。国内学者都为迪士尼文化的研究提供了确实可行的依据。国外：迪士尼研究是西方特别是美国大学内学术研究的新兴课题，美国学者分别从迪士尼的美学、儿童文学、女权主义、多元化等角度对迪士尼文化进行了全面的阐述和分析。美国作家帕特·威廉姆斯在2006年出版了《迪士尼传奇》该书介绍了迪士尼的创始人和迪士尼的发展史，将迪士尼文化介绍给全世界，并在该书中将迪士尼文化与美国本土文化相结合，促进了美国文化的传播。(美)肯·贝尔森,布赖恩·布雷姆纳在《商业奇迹》中发表了“SANRIO和DISNEY的对比分析”，此文章通过对比的角度分析迪士尼文化是如何引领时代娱乐潮流，并进一步分析了美国文化。发展趋势：随着世界的不断发展，跨文化这一现象越来越受到人们的关注。迪士尼文化有着鲜明的美国文化特点，使各国在关注迪士尼文化的同时关注美国文化是如何建立并兴起的，对于深入研究美国文化来说，这个课题有很大的发展前景。课题研究的主要内容和方法，研究过程中的主要问题和解决办法：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：文献阅读、对比法、分析法、综合归纳法主要困难：主观原因：知识结构不完善客观原因：资料不完善，查找不方便解决办法：向指导教师请教、上网、图书馆、资料室、书店、与同学讨论课题研究起止时间和进度安排：1.20XX年10月21日—12月2.20XX年4月1日提交开题报告3.20XX年4月2日—4月15日完成论文初稿4.20XX年4月16日提交论文初稿5.20XX年4月17日—4月25日修改论文提交修改稿6.20XX年4月26日—4月30日对论文进行再次修改7.20XX年5月10日提交论文终稿8.20XX年5月25日提交论文打印稿课题研究所需主要设备、仪器：计算机打印机复印纸软盘U盘外出调研主要单位，访问学者姓名：黑龙江省图书馆哈尔滨市图书馆黑龙江大学图书馆哈尔滨师范大学图书馆指导教师审查意见：指导教师（签字）年月教研室（研究室）评审意见：____________教研室（研究室）主任（签字）年月系（部）主任审查意见：____________系（部）主任（签字）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(也称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