A Comparative Analysis of “Sense of Music” and “Sense of Guilt” in Chinese and Western Films
DOI:
https://doi.org/10.54097/jeer.v4i1.9945Keywords:
Music Culture, Guilt Culture, Chinese and Western Movies, Development ModelAbstract
The differences between Chinese and Western cultures result in systematic differences in the forms and styles of film art, the deep psychological patterns of a culture are more or less influenced by the society and ideology that gave birth to them. However, due to the natural environment, living conditions, especially the different forms of economic production and activities, people from different religious beliefs, different spiritual cores, different cultural development models. As a form of cultural presentation, Chinese and Western films show different ways of dealing with the same type of events, as well as different narrative philosophies. This paper analyzes the “Music culture” and “Guilt culture” in the image narrative strategy of Chinese and foreign films on this subject, to explain the source of the cultural differences.
Downloads
References
Sun Shuai. Augustine on the “Inheritance” of original sin [m] . Modern philosophy. 2013,2:76 -81.
Li Zehou. Practical rationality and musical culture [m] . Beijing: Beijing Sanlian Bookstore, 2003.305.
Hu Zhifeng. Film and television culture. [m] . Beijing: Beijing Broadcasting Institute Press, 2003.
Li Zehou. A new dream for the century. Philosophical Quest [m]. Hefei: Anhui literature and art publishing house, 1998.191.
Kelly Young. Sin and redemption. [m] . Beijing: The Eastern Publishing Co., Ltd. , April 1995.
Ruth Benedict. Cultural patterns. Beijing: Life. Reading [m] . San Lian bookstore, 1988.3.
Li Zehou. History of Chinese thought [m] . Beijing: People's publishing house, March 11,1986.
Liu Xiaoyan. A comparison of Chinese and western cultures (II) [J] Anhui literature, 2017(10) : 26 -27.
Lu Xiaoling. The collision and fusion of Chinese and Western cultures in Chinese films [J]. Film Literature, 2014(12) : 15-16.
Li Chin Yuen. Cultural differences between China and the West in the film [J] . New West (theoretical edition) , 2013(13) : 202-203.
Zhu Ou. The influence of Chinese and western myths on Chinese and Western culture [J -R Journal Xinxiangi College Social ScienceeEditiontion, 2010(04) .
Hung Wai. Disaster, death and life-an analysis of the aesthetic significance of disaster films [j] . Journal of Ningbo Institute of Education, 2006,8(06) : 26-29.
Lin Shuleng. On Chinese and Western ways of thinking [J] . Foreign Languages and foreign language teaching, 2002(2) : 40-46.
Ponzi elephant. Chinese film and television art in a global context [J] . Modern Communication (bimonthly) , 2001(2) .
Yu Ji. The darling of digital cinema-the aesthetics of disaster films and related issues. [J] . Beijing Film Journal, 2001:29-35.
Fan Ho. Cognition and the rule of law-a comparison of Chinese and Western legal spirits based on [J]. Learning and exploration, 1992(4) : 47-52.
Ma Ying. An analysis of the paradigm of disaster films as a mirror of humanity [d] . Shandong Normal University, 2010.
Li Yechao. Ecological implications of contemporary disaster films [D] . Shandong Normal University, 2010.
Wang Guofeng. Cultural differences between China and the west as seen from film and television works [D]. Jinan: Shandong University, 2008.
Li Jie. Disaster Film Studies: Persuasion Appeal of ecological connotation [D] . Southwest Jiaotong University, 2008.
Hung Wai. Reflections on life while enjoying disaster films-a study on the aesthetic value of disaster films [d] . Guizhou Normal University, 2007.










