The rise of China has prompted US film and TV series directors to include Chinese elements in their works. The way China is portrayed in American TV series - one of the most representative cultural products of American society, values and ideologies - largely reflects mainstream American views about Chinas political system, social issues, economic development model and its rising global status.

　　Chinese elements are evident in American movies and TV programs in three forms. First is the increasing presence of actors and actresses of Chinese origin in US films and TV series. Stereotypes of Chinese, like the murderous Dr Fu Manchu and the benevolent and heroic detective Charlie Chen, have been replaced by a new generation of Chinese-Americans, such as the characters played by Lucy Liu, making Chinese people more modern and diversified in their looks and values. Though largely confined to supporting roles, the Chinese characters have graduated from domestic servants, laundry workers and waiters to scientists in forensic laboratories and research institutions, government officials and highly skilled professionals.

　　Second is the rapid growth in the product placement by Chinese brands, which appear in popular shows like The Big Bang Theory and Homeland. This has happened because proactive Chinese enterprises are approaching American producers and screenwriters to get greater exposure for their brands.

　　And third is the blending of more China-related plots into US movies and TV programs. This blending, however, has revealed American mainstream prejudice against and misunderstanding of China and its culture.

　　If sent back to China, she will work as a slave in Shanghai. This was what Gabrielle says in Season III of Desperate Housewives of her maid, an illegal immigrant. To even suggest that a person could be forced to work as a slave anywhere in todays China, let alone Shanghai which is one of its most dynamic and open cities, is ridiculous. Talking about Chinese society and politics, Gabrielle portrays Shanghai as a poor and remote place, laments the lack of freedom and democracy in China, and says that repatriation from the US to China would be like falling from paradise into hell. Does this mean many Americans still see China as an impoverished and secluded country without democracy and freedom?

　　In Season XII of South Park, Eric Cartmen, a plump boy, has a nightmare the night he watches the opening ceremony of the Beijing 2008 Olympics: he sees many Chinese beating drums at the same tempo as in the opening ceremony, their eyes blazing with something close to evil. A scared Eric cries out the Chinese are gonna occupy the whole world ... America is gonna be defeated by them.

　　South Park uses a naive boys character to portray Americans most politically incorrect views and fears. The rise of China has fueled the China threat theory. Erics nightmare reflects something in the American subconscious: what Americans fear most is not an economically strong China, but a highly uniform and collective China. This is because the development model and values underpinning the rapidly growing Chinese economy is in conflict with the American value system.

　　In 1979, the year Beijing and Washington established diplomatic relations, Deng Xiaoping wound up his visit to the US with a number of agreements on bilateral cultural exchange. The next year, China Central Television telecast The Man from Atlantis, the first ever American TV series shown in China. Three decades later, Chinese people no longer have to wait for CCTV to telecast an American program, because they can freely choose what and when to watch thanks to the Internet.

　　American TV shows are produced for the mainstream American audience, not for avid Chinese viewers closely following American shows. But because of the Internet, many of those shows have generated a large audience in China, mainly among university students and white-collar workers, who are usually well educated and have independent views.

　　Their understanding of American society and values comes largely from what they see in American TV shows and films. But since these viewers are sensitive, they can identify the clash between Eastern and Western cultures and are critical of the prejudice against Chinese people in American shows. Their criticisms are not blind patriotism or narrow nationalism, instead they are the result of the absurd feeling they have after watching Chinese culture being misinterpreted and distorted.

　　Fictional representation of China is one way of increasing understanding between the Chinese and American people. Yet we should not forget that a TV show is a form of performing arts that relies on fabrication and exaggeration, whereas exchanges, understanding, and trust between the two countries should be based on sincerity, goodwill and inclusiveness.

　　隨著中國的崛起，美國的電影和電視劇導(dǎo)演越來越多地在自己的作品中加入中國元素。作為美國社會、價值觀和意識形態(tài)最具代表性的文化載體之一，美國電視連續(xù)劇所刻畫的中國很大程度上反映了美國主流對于中國政治制度、社會問題、經(jīng)濟(jì)發(fā)展模式和逐漸上升的國際地位的看法。

　　在美國影視作品中，有三種體現(xiàn)中國元素的形式是顯而易見的。一是影視作品中華裔演員的增加。曾經(jīng)僵化刻板的中國人形象，如邪惡兇殘的傅滿楚博士(Fu Manchu)和熱心英勇陳查理偵探(Charlie Chan)，已被新一代美籍華裔演員所取代，如劉玉玲(Lucy Liu)，她飾演的角色讓中國人的形象在衣著打扮和價值觀上更現(xiàn)代化和多元化。盡管主要限于配角，但已經(jīng)告別了此前美劇中法醫(yī)實(shí)驗(yàn)室和科研機(jī)構(gòu)的科學(xué)家、政府官員以及高科技人士的家庭傭人、洗熨工和服務(wù)員等華人角色。

　　二是美劇中中國品牌植入式廣告的迅猛增長。例如，在十分流行的電視劇《生活大爆炸》和《國土安全》中就頻繁出現(xiàn)中國品牌。這個現(xiàn)象緣于一些有前瞻性的中國企業(yè)家接觸美國制片人和編劇，尋求他們的品牌在影視作品中有更大的曝光度。

　　三是在美劇中融入更多與中國相關(guān)的情節(jié)。然而，這種混合屢屢體現(xiàn)出美國主流對于中國和中國文化的誤解和歧視。

　　如果送回中國，她將成為在上海的苦工。這是《絕望的主婦》第三季中加布里埃爾談及她的非法移民女傭時的臺詞。其實(shí)，哪怕說某個人在今天中國的任何地方都意味著強(qiáng)迫做苦工都已屬十分荒謬，何況上海是中國最活躍和最開放的城市。此外，在談及中國社會和政治時，加布里埃爾將上海形容為窮鄉(xiāng)僻壤。這是否意味著，在許多美國人眼中，中國依然是窮困潦倒和與世隔絕的國家?

　　在《南方公園》第十二季中，埃里克卡特曼，一個胖嘟嘟的男孩，在觀看2008年北京奧運(yùn)會開幕式的當(dāng)晚做了個噩夢，在夢中，他看見許多中國人以同樣的節(jié)奏敲鑼打鼓，就像在開幕式上所看到的那樣，他們的眼睛燃燒著著近乎邪惡的目光。極度害怕的埃里克哭喊道中國人將要占領(lǐng)世界美國要被他們打敗了。

　　《南方公園》借用一個天真男孩的角色表達(dá)了美國人多數(shù)政治上不正確的觀點(diǎn)和恐懼。中國崛起催生了中國威脅論。埃里克的夢魘反映了美國人潛意識里的某些想法：美國人最恐懼的并不是經(jīng)濟(jì)上強(qiáng)大的中國，而是高度統(tǒng)一和集體主義的中國。這是因?yàn)?，支撐中國?jīng)濟(jì)迅速增長的發(fā)展模式和價值觀與美國的價值系統(tǒng)相沖突。

　　1979年中美建交時，鄧小平訪問美國，簽署了一攬子雙邊文化交流的項(xiàng)目。次年，中國中央電視臺播出《大西洋底來的人》，這是有史以來中國上映的第一部美國連續(xù)劇。30年后，中國人再也無需等中央電視臺的美國節(jié)目，他們可以在互聯(lián)網(wǎng)上隨時選擇自己想看的美劇。

　　美國電視連續(xù)劇服務(wù)于主流美國觀眾的，而非狂熱追蹤美劇的中國觀眾。但在互聯(lián)網(wǎng)時代，大多數(shù)美劇也有數(shù)量眾多的中國粉絲，他們主要是那些受過良好教育、有獨(dú)立思想的大學(xué)生和白領(lǐng)階層。

　　這些人對美國社會和美國價值觀的了解很大程度上基于他們所看過的美國影視作品。但這些觀眾很敏感，能辨別其中中西文化的沖突，對美國影視作品中歧視中國人的現(xiàn)象持批評態(tài)度。他們的批評并非盲目的愛國主義和狹隘民族主義，相反，這些批評是因?yàn)樗麄兛吹街袊幕徽`解和扭曲后感到十分荒唐。

　　影視劇是種表演藝術(shù)。然而，我們也不應(yīng)忘記，電視劇只是基于虛構(gòu)和夸張的表演藝術(shù)形式。無論如何，兩國的交流、理解和信任必須建立在真實(shí)、友好和包容的基礎(chǔ)之上。

　　The rise of China has prompted US film and TV series directors to include Chinese elements in their works. The way China is portrayed in American TV series - one of the most representative cultural products of American society, values and ideologies - largely reflects mainstream American views about Chinas political system, social issues, economic development model and its rising global status.

　　Chinese elements are evident in American movies and TV programs in three forms. First is the increasing presence of actors and actresses of Chinese origin in US films and TV series. Stereotypes of Chinese, like the murderous Dr Fu Manchu and the benevolent and heroic detective Charlie Chen, have been replaced by a new generation of Chinese-Americans, such as the characters played by Lucy Liu, making Chinese people more modern and diversified in their looks and values. Though largely confined to supporting roles, the Chinese characters have graduated from domestic servants, laundry workers and waiters to scientists in forensic laboratories and research institutions, government officials and highly skilled professionals.

　　Second is the rapid growth in the product placement by Chinese brands, which appear in popular shows like The Big Bang Theory and Homeland. This has happened because proactive Chinese enterprises are approaching American producers and screenwriters to get greater exposure for their brands.

　　And third is the blending of more China-related plots into US movies and TV programs. This blending, however, has revealed American mainstream prejudice against and misunderstanding of China and its culture.

　　If sent back to China, she will work as a slave in Shanghai. This was what Gabrielle says in Season III of Desperate Housewives of her maid, an illegal immigrant. To even suggest that a person could be forced to work as a slave anywhere in todays China, let alone Shanghai which is one of its most dynamic and open cities, is ridiculous. Talking about Chinese society and politics, Gabrielle portrays Shanghai as a poor and remote place, laments the lack of freedom and democracy in China, and says that repatriation from the US to China would be like falling from paradise into hell. Does this mean many Americans still see China as an impoverished and secluded country without democracy and freedom?

　　In Season XII of South Park, Eric Cartmen, a plump boy, has a nightmare the night he watches the opening ceremony of the Beijing 2008 Olympics: he sees many Chinese beating drums at the same tempo as in the opening ceremony, their eyes blazing with something close to evil. A scared Eric cries out the Chinese are gonna occupy the whole world ... America is gonna be defeated by them.

　　South Park uses a naive boys character to portray Americans most politically incorrect views and fears. The rise of China has fueled the China threat theory. Erics nightmare reflects something in the American subconscious: what Americans fear most is not an economically strong China, but a highly uniform and collective China. This is because the development model and values underpinning the rapidly growing Chinese economy is in conflict with the American value system.

　　In 1979, the year Beijing and Washington established diplomatic relations, Deng Xiaoping wound up his visit to the US with a number of agreements on bilateral cultural exchange. The next year, China Central Television telecast The Man from Atlantis, the first ever American TV series shown in China. Three decades later, Chinese people no longer have to wait for CCTV to telecast an American program, because they can freely choose what and when to watch thanks to the Internet.

　　American TV shows are produced for the mainstream American audience, not for avid Chinese viewers closely following American shows. But because of the Internet, many of those shows have generated a large audience in China, mainly among university students and white-collar workers, who are usually well educated and have independent views.

　　Their understanding of American society and values comes largely from what they see in American TV shows and films. But since these viewers are sensitive, they can identify the clash between Eastern and Western cultures and are critical of the prejudice against Chinese people in American shows. Their criticisms are not blind patriotism or narrow nationalism, instead they are the result of the absurd feeling they have after watching Chinese culture being misinterpreted and distorted.

　　Fictional representation of China is one way of increasing understanding between the Chinese and American people. Yet we should not forget that a TV show is a form of performing arts that relies on fabrication and exaggeration, whereas exchanges, understanding, and trust between the two countries should be based on sincerity, goodwill and inclusiveness.

　　隨著中國的崛起，美國的電影和電視劇導(dǎo)演越來越多地在自己的作品中加入中國元素。作為美國社會、價值觀和意識形態(tài)最具代表性的文化載體之一，美國電視連續(xù)劇所刻畫的中國很大程度上反映了美國主流對于中國政治制度、社會問題、經(jīng)濟(jì)發(fā)展模式和逐漸上升的國際地位的看法。

　　在美國影視作品中，有三種體現(xiàn)中國元素的形式是顯而易見的。一是影視作品中華裔演員的增加。曾經(jīng)僵化刻板的中國人形象，如邪惡兇殘的傅滿楚博士(Fu Manchu)和熱心英勇陳查理偵探(Charlie Chan)，已被新一代美籍華裔演員所取代，如劉玉玲(Lucy Liu)，她飾演的角色讓中國人的形象在衣著打扮和價值觀上更現(xiàn)代化和多元化。盡管主要限于配角，但已經(jīng)告別了此前美劇中法醫(yī)實(shí)驗(yàn)室和科研機(jī)構(gòu)的科學(xué)家、政府官員以及高科技人士的家庭傭人、洗熨工和服務(wù)員等華人角色。

　　二是美劇中中國品牌植入式廣告的迅猛增長。例如，在十分流行的電視劇《生活大爆炸》和《國土安全》中就頻繁出現(xiàn)中國品牌。這個現(xiàn)象緣于一些有前瞻性的中國企業(yè)家接觸美國制片人和編劇，尋求他們的品牌在影視作品中有更大的曝光度。

　　三是在美劇中融入更多與中國相關(guān)的情節(jié)。然而，這種混合屢屢體現(xiàn)出美國主流對于中國和中國文化的誤解和歧視。

　　如果送回中國，她將成為在上海的苦工。這是《絕望的主婦》第三季中加布里埃爾談及她的非法移民女傭時的臺詞。其實(shí)，哪怕說某個人在今天中國的任何地方都意味著強(qiáng)迫做苦工都已屬十分荒謬，何況上海是中國最活躍和最開放的城市。此外，在談及中國社會和政治時，加布里埃爾將上海形容為窮鄉(xiāng)僻壤。這是否意味著，在許多美國人眼中，中國依然是窮困潦倒和與世隔絕的國家?

　　在《南方公園》第十二季中，埃里克卡特曼，一個胖嘟嘟的男孩，在觀看2008年北京奧運(yùn)會開幕式的當(dāng)晚做了個噩夢，在夢中，他看見許多中國人以同樣的節(jié)奏敲鑼打鼓，就像在開幕式上所看到的那樣，他們的眼睛燃燒著著近乎邪惡的目光。極度害怕的埃里克哭喊道中國人將要占領(lǐng)世界美國要被他們打敗了。

　　《南方公園》借用一個天真男孩的角色表達(dá)了美國人多數(shù)政治上不正確的觀點(diǎn)和恐懼。中國崛起催生了中國威脅論。埃里克的夢魘反映了美國人潛意識里的某些想法：美國人最恐懼的并不是經(jīng)濟(jì)上強(qiáng)大的中國，而是高度統(tǒng)一和集體主義的中國。這是因?yàn)?，支撐中國?jīng)濟(jì)迅速增長的發(fā)展模式和價值觀與美國的價值系統(tǒng)相沖突。

　　1979年中美建交時，鄧小平訪問美國，簽署了一攬子雙邊文化交流的項(xiàng)目。次年，中國中央電視臺播出《大西洋底來的人》，這是有史以來中國上映的第一部美國連續(xù)劇。30年后，中國人再也無需等中央電視臺的美國節(jié)目，他們可以在互聯(lián)網(wǎng)上隨時選擇自己想看的美劇。

　　美國電視連續(xù)劇服務(wù)于主流美國觀眾的，而非狂熱追蹤美劇的中國觀眾。但在互聯(lián)網(wǎng)時代，大多數(shù)美劇也有數(shù)量眾多的中國粉絲，他們主要是那些受過良好教育、有獨(dú)立思想的大學(xué)生和白領(lǐng)階層。

　　這些人對美國社會和美國價值觀的了解很大程度上基于他們所看過的美國影視作品。但這些觀眾很敏感，能辨別其中中西文化的沖突，對美國影視作品中歧視中國人的現(xiàn)象持批評態(tài)度。他們的批評并非盲目的愛國主義和狹隘民族主義，相反，這些批評是因?yàn)樗麄兛吹街袊幕徽`解和扭曲后感到十分荒唐。

　　影視劇是種表演藝術(shù)。然而，我們也不應(yīng)忘記，電視劇只是基于虛構(gòu)和夸張的表演藝術(shù)形式。無論如何，兩國的交流、理解和信任必須建立在真實(shí)、友好和包容的基礎(chǔ)之上。