第一篇：A simple analysis in culture differences of Anna and the King 安娜与国王影评
A simple analysis in culture differences of Anna and the King Anna and the King is a film which directed by Hollywood in 21th century.It is adopted from Elizabeth Hand’s Biographical Novel.The romantic story may not strictly based on history.Full-bodied exoticism mixing with conflicts and fusion of western-eastern culture, alternately present in the film.Anna and the King tells a story setting in Siam, 19th century.A young governess, Anna, is invited far from England to Siam by the King Mongkut: who yearns for exit may exist in western system.It is the first time Anna steps on a land totally different from the western.This courageous and stubborn bachelor mother is impacted on various aspects.As the plot developing, Anna and the King, from see each other, know to phase for the love.These romantic and dramatic conflicts also unfold how people from different background comprehend each other, communicate with each other.This article is going to analysis some culture differences.●Privacy Concept
In the film, a conversation happening when Anna and Prime Minister Mr.Hong firstly meet emerges a conflict usually occurring between westerners and easterners-----privacy.The western emphasizes individual while the eastern minds social.So when an easterner politely asks with concerns about, the westerner may take it as offence.●Time Concept
It takes Anna three weeks waiting to meet the King.The King rejects Anna’s requests for respect as a visitor.All these conflicts unfold two different attitudes, rules, and ways of dealing with time.Hall promoted them as ‘Unit time culture’ and ‘Multiple time culture’.For people living in ‘Unit time culture’, everything should be done strictly and effectively based on schedule.Being punctual and the deadline are deeply rooted in them.However, for people live in ‘Multiple time culture’, they don’t schedule every detail and abide by it.The ‘Unit time culture’ makes people only concern about time table ignores other elements, such as communications.While the ‘Multiple time culture’ hints people the head of series is the most important.These emerge in the film, Anna waiting for the King to receive, Anna’s request of living outside the palace.●High/low power distance cultures & gender discrimination Asian is a typical delegate of high power distance culture.It accepts power is distributed unequally power, teachers and students, parents and children, the emperor and the minister.High power distance culture also represents male power culture.This oriental stylish culture penetrates the film.In Siam, nobody is allowed to look in the face of the King, and men never apologize to women.And the King Mongkut can’t imagine a man only has one wife.While western countries tend to low power distance culture.People try hard to break unequally distributed power.They believe everyone is born equally and everyone deserves respect, whether women or men.So in the film, we know a gentle Anna, who won’t accept polygamy and slave’s suffering.Anna and the King paints a colorful engaging picture of Smile Land, Siam.Its multicultural conflicts make this film a classical case of cross-cultural research.
第二篇：安娜与国王 英文影评
Intercultural communication and conflicts
——the comments on Anna and the king Adapted by a novel and filmed in 1999, “Anna and the king” tells a story of an English widow going to Thailand with her son and teaching King’s sons English, based on the background in the middle of the 19th century.Except for love and war, this movie reflects intercultural communication and conflicts as a manifestation of culture shock in terms of human rights, concept of privacy and time.As for human rights, western people possess the value of equality;while eastern rank people by their gender and social state.When Anna met the prime minister of Thailand for the first time, she was called “sir” for standing in front of him, which violated Siam’s provision that girls must go down on their knees when meeting the primer.Although she had been advised to touch forehead to floor and bow down to the king, she insisted on greeting by protocol of her own custom, in most respectful way.When Anna saw a slave be chained outside, both physically and mentally painful, she decided to request king to release her.In her opinion, each human being has the right to enjoy full freedom, and slavery should never exist in a modern nation.King admired her humanism and courage and allowed her to stand when speaking to him.Princess Chulalongkorn also learned from his teacher and changed from being superior to respectful, self-righteous to a good listener, and selfish to indiscriminate love Ancient Siam’s polygamy, which is inhumane and deprives women of pursuing true love, also caused conflicts between Anna and king.When king’s new imperial concubine——Tatian was found cheating on king with her lover for being neglected by king, she was lashed in court and was going to be executed.Anna defended for her, which put king on a spot and lead to a tragic ending.Although Anna gets a strong point, it is not strong enough to confront with king’s dignity and feudal polygamy around the whole nation.Cultural conflicts in privacy are skillfully mentioned when Anna met primer for the first time.After primer asked a series of personal questions before getting straight to the point, Anna stressed that her purpose there was to tutor king’s son, and personal questions are unnecessary.In Siam, asking personal questions first is a gesture to be polite and friendly.However, westerners pursue individualism and value the importance of privacy, which is greatly different from collectivism advocated by most easterners.The difference in concept of time is another culture shock in this movie.After Anna came to Siam, she wasn’t called in until the third week, and her request for living outside palace wasn’t worked out immediately.Prime minister explained that everything has its own time in Siam and it will resolve itself in time.However, in Anna’s mind, it is a matter of principle whether one can keep his or her promise, not time.Not only does Anna bring new ideas to Siam, but the culture there has also changed her way of thinking.In the beginning of the movie, when Louis, Anna’s son, asked her why the king needed her when no one in Siam spoke any English, she answered, the ways the England, the ways the world.However, this sense of superiority faded gradually as she found England, the so called country of modernization and civilization, secretly planned to provoke a war between Siam and Burma for the sake of its own self-interest.As English, she chose to stand on the side of justice, not power.This movie sets a good example for intercultural exchange, where different values can conflict with each other, learn from each other, and finally reform to be a better one.
第三篇：《安娜与国王》观后感
《安娜与国王》观后感
这个学期我选了跨文化交流这门有意思的选修课，其中令我印象最深刻的就是看了一部由周润发和朱迪·福斯特主演的好莱坞电影《安娜与国王》，电影播放的时间虽然很长，但是却给我留下了许多遐思，明白了各国之间文化的差异性。
电影中英国妇女安娜应邀前往暹罗王宫中做家庭教师。由于东西方文化及各自性格上的差异，她与国王的子女乃至国王本人时有冲突，甚至差点被赶走。但是随着了解的加深，尤其是在一次粉碎敌对分子政变阴谋的过程中，安娜临危不惧和国王对自己国家的忠诚都给对方留下了深刻的印象，国王认识到，女人是可以同自己平起平坐的；而孩子们更是由衷地把她当成自己的良师益友。就在国王从心底喜爱她的时候，她却认为自己已经完成了来王宫授益解惑的任务，毅然回到了自己的祖国。四十年后，当年的得意门生已经继承了王位，像老国王一样对自己的国家竭尽忠诚，并带领人民向二十世纪进军做好准备。
电影中的许多情节反映了文化大师们的著名文化理论，将东西文化差异表现得淋漓尽致，是一部很值得观看的文艺片。通过这部影片，我对各国的文化差异有了更深一步的了解。
在觐见国王之前，安娜被带到首相官邸。首相称她为“先生”，她问翻译为什么称呼她为sir，翻译告诉她，因为暹罗国的女子在首相面前不能站立。得到国王召见后，在觐见国王的路上，首相告诫安娜：“觐见国王时，你和你的儿子要记住，前额触地，行跪拜礼。”安娜不卑不亢地说：“尽管我们已经逐渐熟悉了贵国的风俗，但是我们也有自己的礼节和习惯。我会用我国的礼节表示我的最高敬意。”这一情节充分体现了赫福斯特文化维度中权力距离，泰国是一个权力距离比较高的国家，国王拥有至高无上的皇权，任何人见到国王都必须下跪，更何况安娜是一个妇人。君为臣纲，夫为妻纲在泰国体现的更加明显。
影片中有一个情节体现了强皮拉斯的普遍主义和特殊主义。但暹罗国王子和安娜的儿子发生冲突时，安娜并没有因为王子的尊贵身份而偏袒他，也没有因为爱护自己的儿子而有所纵容，相反，安娜以应有的方式惩罚他们，这就是典型的西方的法律权威，不会因人而异，讲究什么情面，顾及什么情理。不搞什么特殊化。
传统东方人的隐私观念比较弱，愿意了解别人的酸甜苦辣，对方也愿意坦诚相告。但西方人则非常注重个人隐私，讲究个人空间，不愿意过多地提及个人隐私，更不愿意别人干涉。
安娜初次见到首相，就被问及她的私事。首相问她在曼谷有没有朋友，结婚没有，丈夫死了多久，怎么死的。她非常尴尬，但却不得不回答。实在没有退路，她请翻译转告，她来这里是做国王长子的教师的，请首相不要再问及她的个人私事。首相却出乎意料地用英语告诉她，初次见面问私事是暹罗国的风俗，是为了显示礼貌。着体现了强皮拉斯的关系散漫和关系特定理论。同时体现了赫福斯特文化中的长期导向和短期导向。暹罗国，大家总是很关心安娜的过去，而安娜觉得人应该向前看。
电影中安娜敢于追求真理，敢于维护自己和自己国家的文化尊严，敢于同世俗、权势斗争，以及国王能够亲民大度，对待新的思想能够吐故纳新，能够博采众志的形象都给我留下了深刻的记忆。同时安娜在离开暹罗国，即将回国前同国王跳舞时小王子的旁白更是精典，小王子说到“当时我还小，但父王拥着他最心
爱的女人的画面，我会记得很清楚。生活中美好的时刻往往只占一小部分，有时候它还没开始就已经结束了，然而它所带来的影响让人永世难忘。安娜就是一个例子。”
一百多年来，世界文化的交流和沟通，极大地促进了各种历史传统和文化之间的相互尊重和理解。这种文化沟通与交流，也正在不断破除传统和壁垒。
从这部电影中，观众不仅能够了解东方独特的文化传统和价值观，而且可以从一系列的东西方文化冲突中认识到文化歧视和偏见所造成的误解和伤害，也进一步认识到摒弃文化中心主义、消除文化歧视和偏见、培养自己的文化敏感性和对异文化的包容和跨文化交际能力的重要性。在跨文化交往日益频繁、国际化程度日益加深的今天，这部电影的意义尤为深远。
第四篇：安娜影评
观《安娜·卡列尼娜》有感
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090302222 不久前，我观看了《安娜·卡列尼娜》这部影片，有很多的感触。初中时，我曾阅读了安娜这部名著，对安娜的命运有着同情与可惜。《安娜·卡列尼娜》是俄国著名作家列夫·托尔斯泰的代表作品。列夫·尼古拉耶维奇·托尔斯泰19世纪末20世纪初最伟大的文学家俄国作家、思想家，1828年9月9日出生，1910年11月20日去世。他是19世纪末20世纪初俄国最伟大的文学家，也是世界文学史上最杰出的作家之一，他的文学作品在世界文学中占有重要的地位。他以自己一生的辛勤创作，登上了当时欧洲批判现实主义文学的高峰。他还以自己有力的笔触和卓越的艺术技巧辛勤创作了“世界文学中第一流的作品”，因此被列宁称颂为具有“最清醒的现实主义”、“俄国革命的镜子”的“天才艺术家”。托尔斯泰思想中充满着矛盾，这种矛盾正是俄国社会错综复杂的矛盾的反映，是一个富有正义感的贵族知识分子在寻求新生活中，清醒与软弱、奋斗与彷徨、呼喊与苦闷的生动写照。托尔斯泰的作品纵然其中有反动的和空想的东西，但仍不失为世界进步人类的骄傲，他已被公认是全世界的文学泰斗。
《安娜·卡列尼娜》巨大的思想和艺术价值，使得这部巨著一发表便引起巨大社会反响。书中通过女主人公安娜追求爱情的悲剧，列文在农村面临危机而进行的改革与探索这两条线索，描写了俄国从莫斯科到外省乡村广阔而丰富多彩的场景，先后描写了150多个人物，是一部社会百科全书式的作品。托尔斯泰并没有简单地写一个男女私通的故事，而是通过这个故事揭示了俄国社会中妇女的地位，并由此来鞭挞它的不合理性。作品描写了个人感情需要与社会道德之间的冲突。
主角安娜·卡列尼娜是19世纪俄国文学巨匠托尔斯泰笔下最富有魅力的女性形象，她那迷人的风采，至今仍然像磁石一样牵引着全世界无数渴望善与美的心灵。她那勇敢的叛逆和不屈的追求，犹如一束冲动的野火，烛照着整个俄罗斯的文学画廊。作者极力表现安娜美丽的外貌、美丽的感
情和美丽的精神世界，充分展示了安娜超凡出众的美丽风采。
此次这部巨著被搬上荧幕，同样引起了极大的轰动。著名女演员苏菲玛·索有幸出演主角安娜·卡列尼娜。在苏菲的演绎下，一个迷人的热烈的安娜跃然荧幕之上。相对于传统文学中的《安娜·卡列尼娜》，影片淡化了安娜所处的周围世界对她的有形无形的束缚，而是把所有的笔墨都集中在描述安娜与渥伦斯基一段惊世婚外孽情。也许是她太美丽了，仅仅展现了安娜美丽火热的一面，而她的善良与心灵的美好，她的挣扎与矛盾都埋没在了这惊艳的美丽之下。安娜心里追求的爱情在电影中变的更像是一种身体的出轨，她与渥伦斯基(西恩·宾饰)在精神层面上的爱情并没有得到很好地体现。当然，苏菲·玛索的表演不能说不出色，但剧本本身的一些局限，减轻了安娜的悲剧性，着力在安娜的情欲上着墨，限制了角色的深度，安娜这个形象的很多内在心理没有体现出来，失去了很多原著的精髓，矛盾体现不突出。不过，影片全部在俄罗斯实地拍摄，场景宏大，给人以视觉上的直观美感，讲述一个凄美无限的动人爱情故事，还是有很大的可观性，值得欣赏。
第五篇：国王与小鸟影评
《国王与小鸟》影评
看过这部电影之后始知它身后一系列的荣誉和褒奖。在动画界，我想这的确算得上是极高的评价了。但这些评价并非纯粹跟风的附和，实则是非常中肯的，付出心血与智慧而生产的作品，必然有其价值。
影片开场一只小鸟（实则他可是一只大鸟）开始了的它的演讲，俨如以为幽默而又深沉的绅士。从这只小鸟口中，我们得知国王其人以及他与鸟儿们的恩怨和渊缘。
国王登场，圆鼓鼓的身体坐在高级定制的万能座椅上，小眼睛怯懦却因大权在握而冷酷无情，随从们莫不滑稽可笑唯唯诺诺。
这部影片改变自丹麦童话作家安徒生的作品《扫烟囱的男孩和牧羊女》。而影片的作者将故事改变之后命名为《国王与小鸟》，这无疑让故事的主角进行了一场转移，这也正是影片的哲思之一，不同的着眼之处，不同的领悟。接下来不消说，国王与扫烟囱的男孩之间便开展了一场力量悬殊的牧羊女争夺之战，国王权倾朝野，而扫烟囱的一无所有，一对亡命恋人四处奔逃躲避追捕。
整个国家都臣服于独裁专横的国王，但除了那只会说话的小鸟，唯有这只鸟敢于蔑视和嘲笑他，在这对恋人的逃亡中，这只鸟可帮了大忙。
无奈普天之下莫非王土，难逃被捕的恶缘，小鸟和扫烟囱的男孩纷纷落入牢窟与群狮关在一起。而可怜的牧羊女则被迫穿上了嫁纱。
危急时刻，峰回路转，小鸟的演说和和真挚的爱情撼动了群狮相助帮他们逃出牢笼并且救出了美丽的牧羊女。
爱情故事并不复杂，值得一看和思索的是这场斗争。
至高无上却有愚不可及的专制统治，智慧而又勇敢无畏的小鸟，年轻而且真挚的恋人，谄媚而又慵懒的群臣.....不同的群体不同地位，这之间存在着微妙复杂的联结。
但是为了公平正义的事情，任何的斗争最终只会产生一个结果：让邪恶的势力倒戈覆亡。影片出彩的地方很大一部分是对于故事角色的形象刻画，惟妙惟肖入木三分。其中的对白富有哲理又不乏幽默，情节起伏妙趣横生，同时又以沉稳干净的基调将故事娓娓道来。无论从艺术价值还是娱乐价值来看都不失为一部出色的动画影片。
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