毕业设计（论文）原创性声明和使用授权说明

原创性声明

本人郑重承诺：所呈交的毕业设计（论文），是我个人在指导教师的指导下进行的研究工作及取得的成果。尽我所知，除文中特别加以标注和致谢的地方外，不包含其他人或组织已经发表或公布过的研究成果，也不包含我为获得 及其它教育机构的学位或学历而使用过的材料。对本研究提供过帮助和做出过贡献的个人或集体，均已在文中作了明确的说明并表示了谢意。

作 者 签 名：　　 　 　　日　 期：　　 　 　　

指导教师签名：　　 　 　　 日　　期：　　 　 　　

使用授权说明

本人完全了解 大学关于收集、保存、使用毕业设计（论文）的规定，即：按照学校要求提交毕业设计（论文）的印刷本和电子版本；学校有权保存毕业设计（论文）的印刷本和电子版，并提供目录检索与阅览服务；学校可以采用影印、缩印、数字化或其它复制手段保存论文；在不以赢利为目的前提下，学校可以公布论文的部分或全部内容。

作者签名：　　 　 　　 日　 期：　　 　 　　

学位论文原创性声明

本人郑重声明：所呈交的论文是本人在导师的指导下独立进行研究所取得的研究成果。除了文中特别加以标注引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写的成果作品。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律后果由本人承担。

作者签名： 日期： 年 月 日

学位论文版权使用授权书

本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授权　　 　 　大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。

涉密论文按学校规定处理。

作者签名： 日期： 年 月 日

导师签名： 日期： 年 月 日

注 意 事 项

1.设计（论文）的内容包括：

1）封面（按教务处制定的标准封面格式制作）

2）原创性声明

3）中文摘要（300字左右）、关键词

4）外文摘要、关键词

5）目次页（附件不统一编入）

6）论文主体部分：引言（或绪论）、正文、结论

7）参考文献

8）致谢

9）附录（对论文支持必要时）

2.论文字数要求：理工类设计（论文）正文字数不少于1万字（不包括图纸、程序清单等），文科类论文正文字数不少于1.2万字。

3.附件包括：任务书、开题报告、外文译文、译文原文（复印件）。

4.文字、图表要求：

1）文字通顺，语言流畅，书写字迹工整，打印字体及大小符合要求，无错别字，不准请他人代写

2）工程设计类题目的图纸，要求部分用尺规绘制，部分用计算机绘制，所有图纸应符合国家技术标准规范。图表整洁，布局合理，文字注释必须使用工程字书写，不准用徒手画

3）毕业论文须用A4单面打印，论文50页以上的双面打印

4）图表应绘制于无格子的页面上

5）软件工程类课题应有程序清单，并提供电子文档

5.装订顺序

1）设计（论文）

2）附件：按照任务书、开题报告、外文译文、译文原文（复印件）次序装订

指导教师评阅书

评阅教师评阅书

教研室（或答辩小组）及教学系意见

The Analysis of American Culture Reflected from Disney Culture

Chapter 1 Introduction

Culture, as a tool of communication, is used by more and more people around the world. There are different kinds of living culture in the world today. Of these, American culture is the most widely used. And then there are different kinds of culture in American. One of the most important cultures is Disney Culture. Many scholars and young people learn to Disney Culture because it is in close contact with American Culture. The Disney Culture successes in American society depends largely on how well they learn American Culture. In this kind of American Culture learning, we can not only to learn the Disney Culture but also to understand and realize American Culture. So the American Culture learning will be constantly reinforced. Learning American Culture as a foreign culture is much more difficult. This is done in areas where American Culture is not widely used. If we want to learn and understand American Culture very well, we have to think of many ways within and outside the varied of cultural books to allow us to remember the information of American Culture. Otherwise we will never have a chance to use American Culture, and will quickly forget what we have learned. This is the difficult task that our scholars and students of American Culture Learning in China face. We should have a method to learn and understand American Culture better and better. Disney Culture can help us to learn American Culture better. Disney is much more prominent in American society, its impact now lives in every household, as well as a place in everyone’s soul. Behind it all is a thriving business that will out live most humans now and in the future.

When we hear the words Walt Disney, we automatically see Mickey Mouse and think of the theme parks. But uncle Walt was a lot more than that! A multiple award-winning movie producer, Disney is notably famous for his role in the field of entertainment in the last century, becoming one of the best known film producers in the world. Today, The Walt Disney Company has annual revenues of $35 billion. The company also has theme parks in the United States, Japan, France, and China. A few of his characters include Winnie the Pooh, Tarzan, Sleeping Beauty, Peter Pan, Mary Poppins, The Jungle Book, Dumbo, Donald Duck, Cinderella, Goofy and many more.

The Walt Disney Company introduces itself to the people and the whole world. And also introduces the American Culture to the whole world. More and more people began to be interested in the Disney Culture and the American Culture. Disney Culture demonstrated the American Culture in a vividly way. So as to more and more people are willing to learn the American Culture.

Walt Disney's influence on American Culture is almost beyond reckoning. From humble origins as a small-time animator, he built a huge empire of movies, television, theme parks and merchandise. The very name "Disney" conjures a specific mood and feeling, which anyone in the Western world immediately understands.

Chapter 2 The Analysis of the Disney Culture

2.1 The Development of Disney Culture

Disney ['dizni] n.迪士尼. Walter Elias Disney (也称 Walt Elias Disney，1901~1966) American animator, showman, and film producer. Noted for his creation of the cartoon characters Mickey Mouse and Donald Duck, he produced the first animated film with sound, Steamboat Willie (1928), and the first full-length animated feature, Snow White (1938). The Disney Culture is originated in the Walt Disney Company.

Company Perspectives: Together, let's bring the Disney Magic to life. Our vocation is to give way to our imaginations and to tell beautiful stories, the type of stories that leave children and adults starry eyed. At Disneyland Resort Paris, each one of us has a part to play and each part has its setting. Everywhere, in each "land" in our world, in each restaurant, in each hotel, in each boutique, we take part in the magic of the moment. We wish for everything to be perfect and call upon the most talented creative artists, the most surprising innovations, and the most attentive of servers. Our "raison d'etre" is to continually surprise and enchant our guests.

Key Dates: 1987: Disney signs a contract with Jacques Chirac to build a theme park in Paris. 1992: Euro Disneyland opens. 1993: The company faces bankruptcy with losses of FFr 5 billion and debts of over FFr 21 billion. 1994: Saudi Prince Alwaleed purchases a stake in the firm; the park's name is changed to Disneyland Paris. 1996: The company secures profits for the second consecutive year. 2002: The Walt Disney Studios theme park opens. 2003: Euro Disney faces bankruptcy.

Company History: Euro Disney S.C.A. operates Disneyland Resort Paris, the leading tourist destination in Europe. Securing 12.2 million visitors in 2001 alone, the 1,943 hectare site includes Adventureland, Frontierland, Discoveryland, Fantasyland, and Main Street USA, along with Walt Disney Studios, a new theme park that opened in 2002. Euro Disney also encompasses seven hotels, two convention centers, 68 restaurants, 52 boutiques, Disney Village--an entertainment venue linking the theme parks and hotels--and a 27-hole golf course. After a rocky start in 1992, Euro Disney began posting profits in 1995. However, an economic slowdown, falling attendance, and rising debt related to the opening of Walt Disney Studios left the company strapped for cash in 2002. Euro Disney has turned to its major shareholders, including The Walt Disney Company and Saudi Prince Alwaleed bin Talal, to rescue it from its financial woes.

Mickey Goes to Europe: 1980s:Flush with the huge and instant success of the Tokyo Disneyland, which opened in 1983, the Walt Disney Company immediately began looking for a site to build a European version of the popular tourist destination. On the one hand, Disney sought to capitalize on their first experience gained from operating a theme park in a foreign market--and, given the long-established European embrace of Disney's products, especially its films, which found even larger audiences in Europe than in America--Europe, with a population of 320 million within airplane distances of less than three hours, seemed a logical choice. On the other hand, Disney looked to correct what it saw as mistakes made with its previous parks. The Tokyo Disneyland was not owned by the Disney company, which meant that Disney was forced to content itself only with royalties on that theme park's massive revenues. At Walt Disney World in Florida, the company had not foreseen the mushrooming development of hotels and other theme parks and recreation centers outside of the relatively limited confines of the park, reducing Disney's hotel room take to merely 14 percent of the area's total.

Between 1983 and 1987, Disney considered sites in various countries, including the United Kingdom, Germany, and Italy, but by 1985 the choice had been narrowed down to the Costa del Sol in Spain and the suburban area around Paris. In 1987, the choice fell to Paris--despite the fairer Spanish climate--in part because of Paris's larger population, its well-developed transportation system, and its role as one of the primary tourism destinations in the world, but also because of a number of important concessions made by the French government, which was eager to secure the plum job- and revenue-generating theme park, including use of the government's right of eminent domain to sell the large, principally farmland Marne-de-Vallee site at the cut-rate price of $7,500 per acre; the French guarantee of some FFr 1.5 billion for new road construction, including access to the nearby autoroute; the extension of the RER train system to the theme park, as well as the building of a rail link and station for the TGV train line; an agreement to drop the value-added tax rate on ticket sales from 18.6 percent to just 7 percent; and, finally, the French agreement to provide water, sewage, gas, electricity, and other services. Signing the contract with Jacques Chirac in March 1987, Disney head Michael Eisner was confident that the Paris theme park would be a success, despite France's winter climate. Indeed, the Tokyo Disneyland experienced much the same weather conditions but remained a year-round tourist draw for an eager and freely spending Japanese public.

The 4,400-acre site purchased by Disney was far larger than the company--now operating through a wholly owned development subsidiary, Euro Disney Associes SNC, which in turn would give way to theme park operator and publicly held company Euro Disneyland S.C.A.--needed to build its theme park. However, remembering the experience of the Orlando-area Disney World, the company proposed to develop the site in several phases, excluding "mosquitoes" from the area. In addition, with the booming French real estate market of the 1980s, the company expected easily to recoup much of its development costs--initially slated at FFr 15 billion for the Phase I construction--by selling off the properties it developed while retaining ownership of the land and maintaining control of both the commercial use and design of the properties surrounding the theme park. These real estate sales were projected to supply 22 percent of Euro Disneyland's revenues in 1992, when the park was scheduled to be opened, and rise to 45 percent of revenues by 1995.

The Disney Company limited itself to a 49 percent stake in the enterprise, satisfying the French government's requirement that at least 51 percent of the company would be owned by Europeans. With the backing of the powerful Disney brand name and financial clout, the initial financing for the venture, completed in 1989, took two primary forms. The first was a loan package covering much of the projected Phase I cost raised among seven French banks. The second was a public offering of 51 percent of Euro Disneyland S.C.A., which raised $1 billion to complete the financing. Disney was determined to build a state-of-the art theme park, "perfecting" the concept of its other theme parks, which in turn led to a number of so-called "budget breakers," that is, last-minute design changes, many of which were initiated by Disney chief Eisner himself. As the Phase I project neared completion two years later, Euro Disneyland, in order to cover construction cost overruns was forced to arrange additional capitalization of $144 million and added loans of $522 million, raised from a collection of what eventually became more than 60 banks. Confidence in the venture ran high, with Euro Disneyland forecasting an attendance figure of 11 million visitors in the park's first year, rising past 16 million annual visitors soon after the turn of the century.

Not only did Walt Disney re-define the world of entertainment, his legacy is found in a worldwide scope of motion pictures, Theme Parks, stage shows, books, magazines, television, merchandise, music, apparel, radio, resorts, a cruise line and more. Of course, none of this would have been possible had he not also re-written the rules of business. Walt Disney was, and will always remain, that rare breed: an artistic genius who, with the unflagging and essential support of his brother, Roy, created an effective organizational model and efficient work environment where employees were recognized for their achievements, encouraged to work as a team and, by striving for excellence, continually broke the confines of the status quo to surpass the expectations of the world.

2.2 The Characteristics of Disney Culture

Disney has selected many outstanding subject matters from classics as chief sources of creation and successfully adapted them into films’ scripts. A series of fairy tales have turned out on the films’ screen, making Disney a spiritual paradise for Children and adults; other than that, many works such as Hamlet written by Shakespeare and so on have been interpreted with cartoons, projecting children′s visual angle on adults′ classical texts and creating a double vision for both adults and children. Disney cartoons always convey the positive themes and spirit about life, love, justice and freedom, which thus explores an infinitely extending world of fantasy by making full use of rich imagination, delicate emotions and romantic ideas of fairy tales.

While the Walt Disney Company in 1928 launched the "Steamboat Willie" has already gone through nearly 80 years of development, but Disney has been its own characteristics of the brand. They are:

Innovation.

Disney has always insisted on the tradition of innovation

Quality.

Disney continue to make further efforts to reach high quality standards of excellence, quality must be guaranteed in all the Disney brand products,.

Community.

For families, Disney has been creating the attitude of positive and inclusive, Disney created the entertainment that can be shared by different kinds of generations.

Storytelling.

Each Disney product will tell us a story, timeless stories always bring joy and inspiration to people.

Optimism.

The entertainment experience of Disney is always telling the people about hope, aspiration, and optimistic determination.

Decency

Disney respect each person’s interested, Disney's fun is based on our own experience, do not make fun of others. Note: Disney in China called this point as "faith."

Chapter 3 American Culture Reflected from Disney Culture

3.1 The American Culture Reflected from the Disney Films

3.1.1 The America’s Portrayal of Race

The Disney vision of fairy-tale love stories, benevolent nature, and classic American virtues such as hard work have remained unchanged since Walt Disney created Mickey Mouse.  In Disney films stock characters and predictable plots have led to criticism that Disney films contain racist elements.  Disney faces a dilemma, the company must maintain traditional American values while realizing the changing times of today's society.  Three movies will be examined in America's portrayal of culture and race.  The movie Aladdin shows negative stereotypical imagery and lyrics in the movie.  In the movie The Lion King, jive talking hyenas were characters that lived in a jungle equivalent of an inner-city ghetto.  Finally, the film Pocahontas is Disney’s answer to the previous criticisms on racial/cultural biases.

In the movie Aladdin, lyrics in the opening song “Arabian Nights” contained offensive speech.  The lyrics were:

1.“Oh, I come from a land

2.From a faraway place

3.Where the caravan camels roam.

4.Where they cut off your ear

5.If they don’t like your face

6.It’s barbaric, but hey, it’s home.”

The American-Arab Anti-Discrimination Committee protested and after six months, Disney altered lines four and five to: 4.“Where it’s flat and immense 5.And the heat is intense”

However the sixth line remained as “It’s barbaric, but hey, it’s home.”  Other stereotypical portrayals of Arabs in the film include Aladdin riding on a magic carpet also the narrator of the story was depicted as a unsightly, filthy Arab.

Hyenas are savage animals of the African savannah.  In The Lion King, the hyenas in the movie contained African-American and Hispanic characterizations.  Using the voices of Whoopi Goldberg and Cheech Marin, these animals resided in a inner city ghetto equivalent of the jungle.  Their behavior and environment reinforced stereotypes of these two races.

    With racial/cultural criticism in Disney's movies of Aladdin, and The Lion King, the corporation set the goal of producing a movie that would be accepted by all cultures.  The selected story line was Pocahontas, a love story between an English captain and a young Native American woman.  For this film Disney underwent sensitivity training for three years since production of the movie began.  To assure an unbiased fair cultural portrayal of Native Americans, Disney sought consel from actual decedents of Powhatan indians as well as incorporating resources from academics, historians, and the leaders of American Indian organizations.  To recreate the atmosphere behind the Pocahontas story writers, directors, animators, and composers made multiple visits to Jamestown, Virginia, the site of the original Jamestown colony.  Director Eric Goldberg, who co-directed the movie said this about the difficulty in creating a culturally sensitive film, "When you bring visual details to a film, you're also bringing a sense of the culture, you can't disengage the two. . .  Hopefully, as we continue to use ethnic casts and get advisers in the process, Disney will become more successful at it" (quoted by Sharkley, 1995).  Despite these efforts, there have been continuing criticisms regarding the actual extent to which Disney consulted the Powhatans (for example, by representatives of the Powhatan Nation) as well criticisms regarding the historical distortions contained in the film

3.1.2 The Importance of Individual Values

When the Huns attack China, her father, who is aged and crippled, is conscriptred into the Imperial Army. Mulan fears for her father's life and secretly steals his sword, his armor, his conscription order, disquises herself as a man, and takes his place.

Mulan's parents send her to the matchmaker hoping that she will find a suitable husband, but through several mishaps she fails miserably and is told she will never bring her family honor. She realizes that when she is true to herself she breaks her family's heart. But she also realizes she can't hide who she is inside.

Mulan is a loveable, spirited girl who doesn't fit in with Chinese tradition because she has a bad habit of speaking her mind and following her heart, which gets her into a lot of trouble. However, being true to her heart also brings her victory in the end and honor to her family.

From Ancient China to Disney American Imperialism, Mulan highlights the feminist discourse of the independent woman. Mulan, a mythical heroine, is a character in a Chinese poem which originated in the 6th century A.D. as “The Ballad of Hua Mulan”. The Disney Company adopted this poem to develop the story line and later produced the animated film “Mulan” (1998), but in the process, Disney modified it to suit the Western audiences.

Disney Culture has created the Mulan in the creation of the legendary classical Chinese characters, with combination of American Culture. From the theme of filial piety to the theme of realizing herself value in the whole story. Essentially, it reflects that the American society has paid attention to the thought and emotion of individuality. From the Mulan, we can see the single most important pattern in the United States is individualism. Whether it is literature, art, or American history, the message is the same: Individual achievement, sovereignty, and freedom are the virtues most glorified and canonized. American role models, be they the cowboys of the Old West or action heroes in today’s movies, videos, or computer games, are all portrayed as independent agents who accomplish their goals with little or no assistance. The result of these and countless other messages is that most Americans believe that each person has his or her own separate identity, which should be recognized and reinforced. As Kim points out, “In America, what counts is who you are, not who others around you are. A person tends to be judged on his or her own merit.”

从迪士尼文化特点浅析美国文化毕业论文