Cross-cultural migrations such as these raise questions about the portability of the cultural traditions and metanarratives underpinning aesthetic traditions and the politics and ethics of adapting across cultures, but they also foreground the ways in which ideologies of childhood, subjectivity and national identity are culturally nuanced through the operation of cultural metanarratives. Chapter 6 focusses on texts that move between Eastern and Western cultures: the Disney CorporationвЂ™s adaptation of the Chinese Mulan story, Mulan (1998) Jingle MaвЂ™s Chinese adaptation, Hua Mu Lan (1999) two Japanese anime adaptations of British novels, HowlвЂ™s Moving Castle (Jones, 1986) and The Borrowers (Norton, 1952) and English and American adaptations of The Borrowers. It is also, however, an area that is potentially beset with difficulties, as adaptations that cross both media and culture can raise ethical, political, ideological and aesthetic issues. The position of film within the global cultural economy and its popularity, hybridity and intertextuality, makes it of particular interest when adaptations cross cultures. This chapter ends with a conclusion of the discussion. Then the research limitations and the future research directions are presented. Next, this chapter considers the practical implications deriving from these key findings. Furthermore, it is found that semiotic interplay also functions to maintain the narrative flow in subtitled films, which is a function that has not been granted its deserved attention in previous research. This book also stresses how semiotic interplay between the visual and the verbal modes exerts impacts on the interplay between viewers and subtitled films. In comparison to previous studies, this book highlights the importance of tackling subtitle research beyond simply focusing on shots because the visual images in preceding and subsequent filmic units also greatly influence the translation of the source verbal message. Then, it moves on to the discussion of these findings by referring to relevant previous studies and the theoretical framework employed in this book. It begins with a concluding summary of the main findings in delivering the representational, the compositional and the interactive meanings in subtitling. 4, 5 and 6, this chapter aims to summarize and discuss the key findings revealed in this book. Drawing on the data analysis conducted in Chaps.

Aiya meaning chinese