A Case Study of Kung Fu Panda

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Journal of Content, Community & Communication Amity School of Communication Vol. 6 Year 3, June - 2017 [ISSN: 2395-7514 (Print)] Amity University, Madhya Pradesh [ISSN: 2456-9011 (Online)]

The Western Gaze in Animation: A Case Study of Kung Fu Panda

Chenjun Wang*

ABSTRACT

Orientalists think western popular media extends cultural imperialism in the American Century. The increasing interest on producing diverse cultural perspectives in Hollywood raises the question of whether there is an “othering” process in its media representation, subordinating or distorting the image of non- Westerners. Consequently and consequentially, the naturalised ‘reality’ of Orientals and the Orient would be further reinforced to the global audience. Kung Fu Panda series (2008, 2011 and 2016) is one of the most popular Hollywood animations in recent years. In order to find out whether the animation is yet another Orientalism project based on occidentalist knowledge, this article will examine the Hollywood representation of characters, voice and miseen scène in Kung Fu Panda. Employing a combination of framing analysis and discourse analysis, this essay will examine visual images (the appearance and posture of main characters, landmarks, architectural features), depictions (the narratives of the stories), metaphors (cast members’ voices, words and deeds of characters), as well as cast members, movie posters, producers. The essay concludes that although Kung Fu Panda has remained within a traditional orientalist framework, it seems to have integrated different metaphors - depending on production settings and audiences.

Keywords:Orientalism; Media representation; Othering; Hollywood animation; Cultural imperialism; Kung Fu Panda.

INTRODUCTION (Said, 1978). Hollywood representation of “the otherness” has framed a certain environment of The movie Kung Fu Panda is a story about a images and narratives to shape a postcolonial clumsy cuddly panda that was unable to achieve hegemonic flow of knowledge from the West to his kung fu dream until he was recognised as the the East (Said, 1994). Globalised culture has been Dragon Warrior by Master Oogway. He was then consumed across the man-made sovereign trained by Shifu, defeated enemies, took borders by both the West and by the “others” responsibility for protecting the Valley of Peace (Orgad, 2012). The study of Orientalism focused and finally became a hero and the kung fu master on originally on the Near East and Middle East, who saved China. This is a movie that presents a expanding to India and then the Far East - China, comprehensive collection of aspects of Chinese Japan and Korea. In today’s hyper globalising traditional culture and many spot-on cultural world, the orientalist mindset reinforces references ranging from character appearance, occidentalist knowledge, naturalising the martial arts, architecture, landmarks, costumes, “reality” of differencing otherness, thereby custom (ancient and modern), history, language, empowering the West (Hall, 1991a). Hollywood, music, religion, ideology and philosophy. as the dominant American film industry in the Globally, the movie grossed 631 million USD (Box global market, with its cutting-edge technology, Office, 2011). With a packaging of Chinese has endeavoured to produce film animations, tradition, the star, a globalised Panda, ironically across the cultural spectrum, such as Aladdin represents western values - bringing, to the Valley (1992), The Lion King (1994) and Mulan (1998). of Peace and China, western heroism (Sparks, With its potential global influence, the way 1996), individualism (Schindler, 1996) and Hollywood represents and re-presents cultural liberalism. Hollywood movies offer entertainment diversity could serve an educational end. as well as education (Giroux, 1999), and have over Whether or not “Kung Fu Panda” is a the decades conveyed much occidental manifestation of structural themes of orientalism, knowledge of “the other” (Hall, 1992). post colonialism or globalization, or a mixture of these will be examined by analysing reflections of *Researcher,Department of Modern History, these values in the film’s rhetorical structures. It is Politics and International Relations, believed that the Kung Fu Panda series exemplifies Macquarie University, Balaclava Road, North a new tendency of Hollywood animation to both Ryde, NSW, 2109, Australia engage in “integration” and “distinction” of otherness (Hall, 1991b). Following this Orientalism takes the view that through western introduction, this article will (1) briefly review texts the “Orient”, as opposed to the “Occident”, is portrayed as weak, inferior and subordinates literature on Chinese stereotypes in Hollywood

cinema; (2) identify the research question and dominant groups and minorities cannot be method; (3) present findings; (4) engage in a mutually exclusive, Hollywood has sought discussion; and (5) provide a conclusion. multiculturalization and regional collaboration in order to succeed in varied markets across the LITERATURE REVIEW OF CHINESE IN globe (Ibbi, 2013). Postcolonial scholars argue that HOLLYWOOD CINEMA globalisation is the new key to reinforce western There are three Chinese stereotypes discernible in hegemony and capitalism and amounts to neo- Hollywood movies: The first image is of a vicious cultural-imperialism (Croteau&Wiliam, 2003). demon. During the first half of the 20th century, Cultural theorist Stuart Hall (1997) explains that Fu ManChu, a fictional character created by a the globalisation context has generated cultural British novelist, had a “crafty yellow face twisted hybridisation in representation, through an by a thin-lipped grin” (Frayling, 2014) and “English Eye” and more broadly a western gaze threatened all of white society. This was the first when viewing the “other”. While the “otherness” Chinese representation popularised with Western of a character may be seen merely in a precise audiences. The representations of Fu appeared in depiction of appearance, there seems to have been several movies in the 1920s, which strengthened hardly any change in the “American soul” in the the negative and even violent image of Chinese in construction of Hollywood Asian narratives. the US. The second was of a martial arts (Kung METHOD Fu) master. Representative Hollywood movies with Chinese martial arts include The Way of the This research proposes that contemporary Dragon (1972), Enter the Dragon (1973), The Last animated films on Chinese themes are not shaped Dragon (1985), Police Story (1985), Dragon: The exclusively by orientalist, postcolonial or Bruce Lee Story (1993), Rush Hour (1998), globalism values but reflect features from all of andCrouching Tiger, Hidden Dragon (2000). The these because of the dominance of globalization. Kung Fu actors and actresses have been A hybridity is discernible. The research question frequently presented in western popular media that will be addressed is whether frames of the and have been greatly welcomed since 1970s. Chinese in Kung Fu Panda carry stereotypes and Bruce Lee and Jackie Chan achieved great values from orientalism and/or postcolonial popularity in the West. The third representation is and/or globalization perspectives. Frames have more evident in modern Hollywood movies: been defined as ‘schemata of interpretation’ Orientals are depicted as weak, inferior, (Goffman, 1974). Framing is a social science subordinate, and non-masculine to westerners approach to analysis of media (as well as of other (Said, 1993). Such marginalised framing of Asians texts) that is situated between discourse analysis can also be found in American or British prime- and content analysis (Pan &Kosicki, 1993). time series, such as Ugly Betty and Entourage. For Discourse analysis emphasizes the notion of instance, in Two Broken Girls (2011-2017), an Asian political hierarchy while content analysis merely restaurant owner is portrayed as a flamboyant, examines features in messages present at the time greedy, undesirable, asexual, nerdish, diminutive of the research without basing these on historical man-child. political relationships such as between the West and the East. Frames can capture political Animating Asian cartoon characters is new in hierarchies and can be viewed as political Hollywood and emerged after attention was “devices embedded in political discourse” given to the Asian regional theme in the wake of (Kinder & Sanders, 1990). Zhongdang Pan and globalisation. Mulan in 1998, while based on Gerald Kosicki’s (1993) method, though it is Chinese folklore, has characters elaborated from a aimed at the analysis of news discourse, may be western point of view as “the other” - exotic and modified to identify frames in films. Pan and interesting. In some cases, an animation’s surface Kosicki recommend the identification and treatment would be altered by the underlying analysis of syntactical, script, thematic and storyline, or there would be important western rhetorical structures, the latter being revealed in references. For example the Lion King (1994) “metaphors, exemplars, and catchphrases. depicting a lion ruling an African animal Depictions and visual images” (Pan &Kosicki kingdom, has resonances with William 1993). For the purpose of identifying and Shakespeare's ‘Hamlet - Prince of Denmark’ analysing film it would be suitable to focus on (McElveen&Rohlfs, 1998). Hollywood animations thematic analysis - of larger structures that shape are no different to other western media, in style, structures identifiable with globalization, particular in the case of the American hegemon, post-colonialism and/or orientalism; and three they carry orientalist stereotypes and western selected rhetorical structures - metaphors, cultural imperialism (Said, 1993). Although depictions and visual images. Norman Fairclough

(1995) sees print as less personal than radio or (2008) and its two sequels (2011, 2016), it is found television, but that television goes further than that Chinese culture has been represented as an radio in “making people visually available, and exotic and magnified world of martial arts (kung not in frozen modality...but in movement and fu). As seen in Table 1, each character has at least action”. However, for the purposes of this case one martial arts related aspect to their visual study of Kung Fu Panda the frozen modality is images and has been presented in kung fu-style suitable as it seeks to examine principle postures. Their dress code is kung fu-related and characters, in terms of their metaphors, depictions sometimes links to Chinese symbolic philosophy and visual images; and key architectural, cultural such as yin and yang. and locational features - miseen scène. Principle Table 1. Principle characters in Kung Fu Panda characters and key features are identified and movie series1 described in the Tables. These will be discussed in terms of the existence of orientalism, postcolonial

Character Animal Chinese Characteristic Appearance Master Symbolism

Oogway Galápagos Longevity; Creator of Kung Fu, Long walking Conjunction with tortoise Power; Dragon Warrior, and stick made from the Hero’ Chi Immortality; Dragon Scroll; Founder of the wood of the which is a power Tenacity; the Valley of Peace; peach tree; gifted from (Helping P'an Senior master of the Jade Green cloak with Heaven that Ku) Create the Palace stylized yin-yang dwells within the world; symbols tortoise's body Sacred

Master Red Panda No specific Teacher,Shifu, of Furious Orange-brown Chi-based move Shifu reference Five and Po; robe and brown - Wuxi Finger Student of Oogway, belt; Hold learning “Hing Kung” - Green belt and Inner peace green shawl

Po Giant National Main protagonist; Patched-up All twelve Kung (Dragon panda treasure Dragon Warrior; burlap shorts Fu styles; Warrior) Adopted by Mr. Ping who with Shaolin “Belly” defense; called him “Xiao Bao wraps around Panda-style joke (Po)”- (Little treasure); ankles and tease Son of biological father Li Shan, Trained by Master Shifu; Hero of Valley of Peace; Protect and Save China from the enemies.

Table continued on next page and/or globalization structural themes. In this research Kung Fu Panda versions (2008, 2011, and 2016) were viewed and relevant metaphors, depictions and visual images of the principal characters and architectural, cultural and locational features were recorded in Tables. Following this they were reflected on in terms of whether or not they were consonant with the proposed theme structures of orientalism, post- 1 The table was constructed by the author, drawing on colonialism and globalization. the following references: Kung Fu Panda characters [online]. Fandom. Retrieved May 25, 2016, from FINDINGS http://kungfupanda.wikia.com/wiki/Category:Chara Firstly, through analyzing the principal cters; Kung Fu Panda Wiki [online]. Encyclopedia & characters’ appearances, architectural features Community. Retrieved May 23, 2016, from and landmarks presented in Kung Fu Panda http://kungfupanda.wikia.com/wiki/Kung_Fu_Pand a_Wiki

Master South Natural-born Leader of Furious Five; Chinese Qipao Tiger boxing Tigress China ‘King’ - The Trained by Shifu, with golden vine derived from Tiger pattern on her learning how to control patterns and Hung Gar Tiger forehead is her strength and temper black pants; Crane similar to the Long-sleeved (Tiger and Chinese word yellow tunic Crane boxing); for “King”; with red vine Fierce and A traditional patterns and aggressive; martial arts black pants Fluid, flexible style and graceful

Master Black- Beauty; Janitor at the Lee Da Blue trousers; Crane boxing Crane necked Immortality; Kung Fu Academy A conical Asian derived from crane There is a close (formerly); hat Hung Gar Tiger association A member of Furious Crane between Taoism Five; (Tiger and and the Crane; Crane boxing); A traditional Sweeping martial arts circular motions style with the arms

Master Green tree Small dragon; Viper clans signify Two lotus Poison Fang Viper viper A traditional descent from fire- flower clips on Technique martial arts breathing Dragon Gods; her head style A member of Furious Five

Master Gee’s Wukong Wu Kong’s young Brown wrist Monkey style Monkey golden (Monkey King) brother; braces; Golden boxing langur from the novel Trouble- making belt; Quick, tricky Journey to the hooligan (formerly); Reddish-brown and West (India); Surrendered to Oogway pants unpredictable; Saved by a and became a student of Using flips, monk he Oogway and Master spins, and became a Shifu; jumps in his follower of the A member of Furious fighting Monk Five

Master Chinese Never makes a A member of Furious Skin colour: Staying-still- Mantis mantis move - symbol Five; Green for-a-really- of meditation Master of patience and long-time and stillness - was locked in technique; contemplation a cage for days and Super low forced to sit and wait for stances; something to happen Praying Mantis style; Using hooked mantis-claws to trap, kick and punch.

Mr. Ping; Chinese Sacred bird; Noodle-maker; Burgundy/ Noodle- Po’s goose In early Owner of the noodle maroon and gold making; adoptive mythology, the shop; robe; “secret father goddess fed High-expectation that noodle -bowl- ingredient” geese with her his son Po will carry on shaped hat peaches of his family business immortality

The locations chosen for the movie are all Table 2. Cast in Kung Fu Panda movie series2 preferred attractions for western tourists, with Character Cast Country Accent exotic names. In the case of the Jade Palace, the of Birth original attraction is the Jade Buddha Palace in Anshan, Liaoning, where China houses the Po Jack Black USA American World’s largest Buddha statue made entirely of Mr. Ping James USA Chinese jade. The Sacred Pagoda in GonMeng City is very Hong American similar to the Leifeng Pagoda near the West Lake in Hangzhou. WuDang Mountain is the most Shifu Dustin USA American famous place for the eternal martial arts of TaiChi Hoffman and is located in Hubei. Thread of Hope (the Oogway Randall USA American Infinite Bridge in the movie) and the Valley of Duk Kim Peace are both among the most popular attractions in China. Moreover, pagodas are Tigress Angelina USA American traditional oriental architectural forms; notably, in Jolie East Asia, pagodas are normally built by Monkey Jackie China Hong Kong Buddhists; in China, they are also used as Taoist Chan Chinese houses of worship). Other traditional architectural forms include palaces. Streets filled Mantis Seth Rogen Canada British with red lanterns and traditional noodle shops, Viper Lucy Liu USA American portraying an exotic China, distinct from western modernity and culture, are other aspects of miseen Crane David USA American scène. Cross Secondly, by comparing the protagonist Po and other characters in terms of depictions of By analysing the scenes in Table 3 where Mr. Ping personality through words, voice and deeds, as appears, we see that the narrative has given him well as visual image, it is not hard to see that Po’s the role of being the main obstacle in his son’s frames are distinctive and contrast with those of way to becoming the hero of the village and others. As shown in Table 1, Po’s depictions and saving China. He did not believe his son had a visual image include being laid back and having a martial arts hero’s destiny. Rather he believed his western sense of humour and enjoying joking and son’s destiny was to take over from him his teasing, compared with the other kung fu family-run noodle shop like he did from his father masters’ serious, strict and unsmiling faces. Even before. The role of Mr. Ping is absent in the his master skills are half-jokingly, in a western process of Po being trained as a kung fu hero. style, referred to by him as “belly defense”, There were three occasions before Po was although he is expert at all twelve kung fu styles. accidently recognized as the Dragon Warrior by This distinctiveness has been represented master Oogway, where Mr. Ping appeared on the throughout the movie, and is best seen in screen and discouraged his son from dreaming comparison with his adoptive father - Mr. Ping (a other dreams and persuaded Po to remain in the goose). Mr. Ping is portrayed as a more noodle shop (scene 1, 2 and 3, in Table 3). At the traditional Chinese noodle-shop owner who is outset Po could not contravened his father’s will; somehow simple-minded (‘silly goose’?) and but later, he eschewed the noodle cart and expects his son to succeed him in his noodle followed his own heart (scene 2, in Table 3, and in business. As shown in Table 2, the entire cast for the end, Po even questioned whether Mr. Ping this animation consists of western-born actors was his father (scene 4, in Table 3). except for Jackie Chan, who is identified with kung fu in the western mind following the success of the Run Run Shaw movies. However, only Mr. Ping’s speech has been dubbed over 2 The table was constructed by the author, drawing on with a first generation (more traditional) Chinese- the following references: Kung Fu Panda (2008) full cast American accent. & crew. IMDb, Retrieved May 30, 2016, from http://www.imdb.com/title/tt0441773/fullcredits; Kung Fu Panda 2 (2011) full cast & crew.IMDb, Retrieved May 30, 2016, from http://www.imdb.com/title/tt1302011/fullcredits?ref _=tt_ov_st_sm; Kung Fu Panda 3 (2016) full cast & crew.IMDb, Retrieved May 30, 2016, from http://www.imdb.com/title/tt2267968/fullcredits?ref _=tt_ov_st_sm.

Table 3. The Scenes of Mr. Ping in Kung Fu Panda3

Scene 1. One morning Po was having a MR. PING: What were you dreaming about? [He puts down the Kung Fu dream, when he was basket and begins chopping vegetables next to Po as he listens.] woken up by his father, Mr. Ping, PO: What was I...uhh… I was dreaming about… [He sees Mr. Ping in order to serve in their family listening expectantly, and can’t bring himself to say the truth. He noodle shop. Po wants to tell his glances down at the bowl he’s holding.] Uh..noodles. father his dream is about becoming a Kung Fu master rather than a ... noodle person. MR. PING: Oh, happy day! My son finally having the noodle dream! [He begins rummaging through something and arrives with an apron and a noodle hat. He ties the apron around Po’s waist and places But finally he could not, since Mr. the noodle hat in Po’s paws]. Ping wants Po to inherit his noodle business and tells Po that we are You don’t know how long I’ve been waiting for this moment. This is noodle folk, here is our destiny a sign, Po! and other dreams are just stupid. … MR. PING: You are almost ready to be entrusted with the secret ingredient of my “Secret Ingredient Soup”, and then you will fulfill your destiny and take over the restaurant! [He quickly runs over to section of wall with three portraits and points at them]. Just as I took it over from my father, who took it over from his father, who won it from a friend in a game of mahjong. PO: Dad, Dad, Dad, it was just a dream. [Chuckles nervously]. MR. PING: No, it was the dream. We are noodle folk. Broth runs through our veins. [While saying this, he hands two customers their bowls without even looking at them.]

Scene 2. When Po saw the poster in the MR. PING: Po! Where are you going? restaurant, he was excited and [Po struggles to hide his dismay as he turns back to his father.] desired to go to the Jade Palace to see the Dragon Warrior. PO: To the… Jade Palace?... [Inches slightly out of door.] MR. PING: But you’re forgetting your noodle cart! [He rolls a heavy-looking noodle cart towards Po.] The whole Valley will be When Mr. Ping asked him where there, and you’ll sell noodles to all of them! he wanted to go, he could not say the truth. PO: Selling noodles? [Mr. Ping nods happily.] But Dad, I was kinda thinking maybe I…

MR. PING: [smiling] Yeah? Mr. Ping stopped him and said that Po should take the noodle cart PO: I was kinda thinking maybe I… to sell noodles to the villagers who MR. PING: [still smiling] Uh-huh? would crowd in the Jade Palace. PO: … could also sell the bean buns. They’re-they’re about to go bad. Po was exhausted carrying the MR. PING: That’s my boy! I told you that dream was a sign! [He noodle cart all the way up to the walks back into the shop.] Jade Palace. PO: [Looks down at the cart, disappointed.] Yeah, heh heh, glad I

3 The table was constructed by the author, drawing on the following references: Kung Fu Panda Transcript [online]. Fandom. Retrieved May 25, 2016, from http://kungfupanda.wikia.com/wiki/Kung_Fu_Panda/Transcript

He decided to throw away the had it. family noodle cart and go to the Jade Palace to witness the selection of the Dragon Warrior.

Scene 3. Mr. Ping brings Po’s noodle apron MR. PING: Po! [He appears at the top of the stairs, holding Po’s and wanted to stop Po trying to apron. He sees Po sitting on the fireworks chair.] What are you enter in the Jade Palace by doing?! [He rushes forward and attempts to blow out the fuse.] fireworks chair. PO: I lied. I don’t dream about noodles, Dad!

[Mr. Ping’s eyes widen. Po looks down and sees that the fuse is After Po failed to enter the Jade almost out. He braces himself and yells to the heavens.] Palace using his fireworks- I LOVE KUNG FUUUUUUUUUUUUUUUUU!!... propelled chair, Mr. Ping proffered the noodle apron towards Po and [When Po opens his eyes, he finds himself still on the ground: the asked him to return to the noodle fuse was a dud. He loses balance on the little chair and falls flat on shop. his face (the chair still stuck on his rear), then begins to sniffle, defeated at last. Though sympathetic, Mr. Ping holds out Po’s

apron.]

MR. PING: Oh, come on, son. Let’s get back to work.

PO: [He sighs.] Okay. [Po is sadly getting up when all of a sudden, the fireworks on the chair go off, propelling Po into the arena wall.] MR. PING: Po! [Propelled by the fireworks, Po slides along the wall on his face, wailing.] Po, come back!

Scene 4. Mr. Ping repeatedly reminds Po MR. PING: We are noodle folk. Broth runs deep through our veins. that they are noodle folk, which PO: I don’t know,Dad. Honestly, sometimes I can’t believe I’m leads Po to wonder whether Mr. actually your son. Ping is his father.

Thirdly, the official posters with different frames, posture presented is like that of superman’s flying from the two film property owners, are observed pose rather than a kung fu pose. The most distinct here. The original Kung Fu Panda (2008) and Kung one is the Kung Fu Panda 3 poster that has shifted Fu Panda 2 (2011) were produced by American to a green and blue background and is filled up DreamWorks Animation. Kung Fu Panda 3 (2016) with Po and many panda family members who was produced by Oriental DreamWorks are completely ignorant about kung fu. Unlike in Animation - a joint Chinese-American the previous kung fu theme posters, he is holding cooperation film production company. In Kung Fu dumplings in his hand and his posture is not Panda in 2008, American DreamWorks prefers a typically related to kung fu posture - he looks like red and yellow background with a solitary he is about to lose his balance on account of the chubby Panda (Po) in a classic kung fu pose. Po is many little pandas riding on his body. kicking out with his left leg with a red rising sun Not only the posters, as Table 4 shows, the behind him. Kung Fu Panda 2 (2011), has two storyline of Kung Fu Panda 3 has altered from poster versions, one being akin to the former - Po ‘one-save-all’ heroism (Sparks, 1996) to ‘collective in a preparatory kung fu position standing on the power is stronger’ theme. number 2 with a golden sunrise behind him. Another Kung Fu Panda 2 poster presents both Po and the Furious Five. Po diving from an orange sky with the Furious Five. Interestingly, the

Table 4. The storyline summary4 being peaceful again.

Kung Fu Po, a son of a noodle shop owner, is the DISCUSSION Panda biggest fan of Kung Fu. He was tired of working every day in his family's A postcolonial structural theme has been (2008) noodle shop. Unexpectedly chosen to recognised in lingering orientalist visual images fulfill an ancient prophecy, Po's dreams but the otherness has been subordinated in other become reality when he was recognised visual images, depictions and metaphors because by Master Oogway as the Dragon of the dominance of the globalization structural Warrior. He joins the world of Kung Fu theme (Hall, 1991b). Globalization becomes the and studies alongside his idols, the legendary Furious Five and is trained new face of orientalism - a cute face in cartoon by Master Shifu. Tai Lung (a villainous animations. First, there is a totally exotic martial- leopard) is on his way to the Jade arts presented to world audiences. An Palace, threatening the peace of China; enthusiastically use of traditional Chinese cultural the Furious Five have failed to defeat references and martial arts related elements in the this enemy. Po puts his heart into Kung Fu Panda series is omnipresent, from small understanding the secret of the Dragon symbolic items such as food (noodles and Scroll, taking on the task of saving all dumplings) to characters’ appearances (martial- the villagers and China. arts costumes and poses), to traditional Kung Fu Peace reigns in the Valley a year after landmarks and exotic architecture. Those Panda 2 Po becomes the Dragon Warrior. He symbolised images signified an orientalist view of and his companions, the Furious Five, China. Secondly, Po is depicted as a Chinese on (2011) take on the responsibility to protect the the surface but an occidental inside (in contrast whole of China. However, in the with other principle characters who are Chinese distance, in Gongmen City, Lord Shen throughout). Notably, protagonist Po in this (a peacock) is planning a new movie, with his western humour and western technological weapon threatening the thinking, which is depicted through his words, peace of China. Meanwhile Po gets to know that he is an orphan, feels and a young urban American accent, makes Kung depression, but finally he chooses to Fu Panda a metaphor for individual freedom in overcome the past and to be a real hero an American-dream plot with a ‘one-save-all’ and defeat Lord Shen, thereby saving ending. This universal theme in hollywood hero China and everyone again. movies is applied to this Chinese-theme animation under a postcolonial structural theme. Kung Fu Po's biological father (Li) reappears one Furthermore, in the American company- Panda 3 day, in the noodle restaurant, and produced movie poster, American individualism influences Po to return to a Panda (2016) village where his big panda family and heroism is depicted through Po - standing lives. However, the supernatural villain out against a background of yellow and red - Kai (a bull) begins to sweep across stereotypical colours used to represent the Yellow China defeating all the kung fu Peril and Red China. Thirdly, only Mr. Ping has masters. Po must train a village full of been cast with a traditional Chinese-American his fun-loving, clumsy brethren to accent. He is depicted as being subordinate to Po become Kung Fu Pandas like him. He in the narrative, Mr. Ping being a more traditional recalls that Master Shifu taught him to Chinese goose while Po is the exemplification of a be himself with his weaknesses and modern westernized Panda. In the story, Po’s strengths - this is Confucian wisdom. Finally he make the impossible mission father (Mr. Ping) wanted him to inherit the family possible and the whole Panda village noodle business, but Po felt he was not a noodle defeated Ka; the world returned to kind of person and wanted to learn kung fu instead. In a way kung fu has been appropriated by the West here and his rejection of tradition for 4The table was constructed by the author, drawing on kung fu represents an acceptance of western the following references: Osborne, M. & Stevenson, J. values. Finally, under an “American Dream”- like (Directors). (2008). Kung Fu Panda [film] USA: plot, Po became a kung fu master and a hero who DreamWorks Animation; Carloni, A. & Nelson, J. Y. saved China, by ignoring Mr. Ping’s traditional (Directors).(2011). Kung Fu Panda 2 [film] USA: Chinese “noodle dream” obstacle. This DreamWorks Animation; Nelson, J. Y. (Director). (2016) subordination is also applied to the Five Furious. Kung Fu Panda 3 [film] CHINA-USA: Oriental In the movie, they always fight enemies’ DreamWorks Animation.; Kung Fu Panda Wiki shoulder-to-shoulder - a metaphor for Chinese- [online]. Encyclopedia & Community. Retrieved May 23, 2016, from http://kungfupanda.wikia.com/ style collectivism. However, Po, a metaphor for wiki/Kung_Fu_Panda_Wiki the West, ultimately understood the secret in the

Dragon Scroll all by himself, combated enemies addressed to Chinese audiences in the Chinese by himself and saved all the people himself. co-production. It has been established through this research, that different frameworks have been It is occidentalist knowledge that, through the used by different elites or executive institutions film industry’s globalisation based cooperation, for different audiences, by comparing two leads to neo-imperialist coloration. This Kung Fu versions of posters and plots. The result is a Panda deviates from the classic orientalism by hybrid image where orientalism lingers. being a hybrid production that is seeking to do well both in the West and China seeking pure REFERENCES Chinese cultural references and bringing in much Barnet, R. J., & Cavanagh, J. (1995). Global Chinese tradition and culture to the whole world. dreams: Imperial corporations and the new world By maintaining an attitude of western-supremacy order. New York: Simon and Schuster. China is framed for audiences as an exotic Box Office Mojo.(2008). Kung Fu Panda. Retrieved culture, a martial-arts nation with an otherness that is inferior to western cultural values - from individualism and liberalism - that have been http://www.boxofficemojo.com/franchises/char embedded in a universal Hollywood-style hero t/?id=kungfupanda.htm (Waxman, 1998). Remarkably, Kung Fu Panda 3 Brandes, G. (1898). William Shakespeare: A critical has had its frame dramatically shifted by a study. London: William Heinemann. different plot structure and posters, looking Carloni, A. & Nelson, J. Y. (Directors).(2011). Kung lightly on kung fu or other symbols of China with Fu Panda 2 [film] USA: DreamWorks Animation. a western gaze, neither providing metaphors for Chadha, K., &Kavoori, A. (2000). Media American individualism nor for American imperialism revisited: Some findings from the heroism. The Chinese-American jointly-produced Asian case. Media, Culture and Society, 22, 415–432. animation, aimed at Chinese audiences, emphasized more on pure Chinese ideology Chicago Cultural Studies Group.(1992). Critical dissemination such as the teaching of Confucian multiculturalism.Critical Inquiry, 18(3), 530–555. and Taoist wisdom, with collective power, rather Eliot, T. S. (1964). Hamlet.In Elizabethan essays. than individual heroism, defeating the villain. New York: Haskell House. CONCLUSION Fairclough, N. (1995). Media discourse. London: Edward Arnold. In conclusion, this essay has discussed the literature of orientalism and Hollywood movies’ Frayling, C. (2014). The yellow peril: Dr Fu continuing historical framework of “othering” Manchu and the rise of Chinaphobia. London, and “Oriental” in depicting China (Hall, 1996). United Kingdom: Thames and Hudson. The three types of Chinese image represented by Goffmann, E. (1974). Frame analysis: An essay in the Hollywood have been reviewed: Demon, martial organization of experience. Cambridge, Mass: arts master, weak and subordinate. The essay Harvard University Press. examined whether the Kung Fu Panda series Hall, S. (1991a). The local and the global: maintained this western orientalist framework Globalization and ethnicity. In A. D. King (Ed.), and infused its own occidental perspectives, Culture, globalization and the world-system: using the methodology of framing analysis - Contemporary conditions for the representation of focusing on rhetorical structures. It categorizes identity (pp. 19–40). Minneapolis: University of three aspects, that are: (1) visual images that Minnesota Press. include exotic traditional appearances and landmarks as well as an essentialised martial-arts Hall, S. (1991b). Old and new identities, old and image; (2) depictions, through comparing Po’s new ethnicities of globality. In A. D. King (Ed.), accent, personality and his own narratives with Culture, globalization and the world-system: the others who have been recognised as Contemporary conditions for the representation of displaying more traditional Chinese features; (3) identity (pp. 41-68). Minneapolis: University of metaphors that refer to western culture and Minnesota Press. values such as individualism and liberalism. Hall, S. (1992). Cultural studies and its theoretical Hence, although Kung Fu Panda series embraces legacies.In L. Grossberg, C. Nelson, & P. Treichler several Chinese cultural elements, the two (Eds.).Cultural studies (pp. 277–294). New York stereotypes of China have been maintained by and London: Routledge. integrating postcolonial and neo-imperialist Hall S. (1996). When was the ‘postcolonial’: knowledge for the global audience. This is seen Thinking at the limit. In L. Curti& I. Chambers clearly when contrasted with metaphors (Eds.). The postcolonial question: Common skies,

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