Communications in Humanities Research
- The Open Access Proceedings Series for Conferences
Vol. 13, 20 November 2023
* Author to whom correspondence should be addressed.
Compared to traditional media, new media is characterized by openness, personalization, segmentation, and cost-effective global communication. It provides a wider platform for films and enables individuals to explore cultural identity within a vast digital community. This paper focuses on cross-cultural communication of Japanese animated films in China, specifically analyzing Sezume directed by Makoto Shinkai. By examining distribution channels, promotional strategies, and narrative elements, the study first illustrates how new media offers opportunities and challenges for cross-cultural film communication. Furthermore, it explores how Sezume skillfully utilizes cultural context to reduce cultural misunderstanding, then apply linguistic symbols and non-linguistic symbols to integrate the ‘world series’ narrative framework with universal thematic expression. Finally, the paper presents recommendations for the cross-cultural communication of animated films: adopt all-age positioning and harmonize global appeal with Japanese tradition and feature; value fans and make long-term commitments with them; collaborate with local agencies in target audience countries; maintain distinctive artistic style and convey universal themes.
cross-cultural communication, new media, Makoto Shinkai, Sezume, world series
1. Maoyan Movie Pro. 2023.3.24, 2023.7.5, Retrieved from: https://piaofang.maoyan.com
2. Douban. 2023.3.24, 2023.7.5, Retrieved from: https://movie.douban.com
3. IMDb. 2023.3.24, 2023.7.5, Retrieved from: https://movie.douban.com
4. Edward Twitchell Hall Jr. (1973). The Silent Language.Anchor.New York.
5. Edward Twitchell Hall Jr. (1977). Beyond Culture.Anchor Books. New York .
6. Geert Hofstede. (2001). Cultures and Organizations.McGraw-Hill.New York.
7. Joseph Straubhaar. (1991) Beyond media imperialism: Asymmetrical interdependence and cultural proximity. Critical Studies in Mass Communications, 8(1), 39-59.
8. Song Yun. (2017). The Cross-Cultural Interpretation of Makoto Shinkai’s Animated Films. Movie Literature (23),137-139.
9. Kong Huimin. (2019). Compatibility and Recognition of Japanese Animation from a Cross-Cultural Perspective: A Case Study of Makoto Shinkai’s Animated Films. Journalism and Communication (14),184-185.
10. Jin Qiannan. (2022). The Screen Image Construction of Youth in Contemporary Animated Films under the Perspective of “Post-subculture”. Contemporary Animation (01),59-63.
11. Xu Rui. (2018). The Communication of Makoto Shinkai’s Animation in China and its Implications(Master’s degree thesis, Hunan Normal University).
12. Azuma Hiroki. (2007).Generazione Otaku. Uno studio della postmodernità, Tokyo, Kodansha Ltd., 96-97.
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See Open Access Instruction).