After communicating with the teacher, I found that the topic selection was too large, which led to the unclear focus of the paper. Therefore, after careful consideration and leafing through the topics, I chose a specific film, Avatar, as the object of in-depth study.Here’s my latest research:

· A research question or title

From Science Fiction to Reality: Analyzing the Reflections of Contemporary Culture and Society in the Film Avatar1&2

· Keywords/key phrases

Avatar, Cultural Conflict, Indigenous Representation

· An Abstract 50-100 words

The Avatar series not only achieved significant technological breakthroughs but also reflects numerous real-world social and cultural issues through its narrative and character design. The story of the Na’vi in the film becomes an important vehicle for exploring these issues. This paper reviews the academic research on how Avatar reflects real-world social and cultural issues through the story of the Na’vi, focusing on aspects such as colonialism, indigenous culture, environmental protection, and cultural conflict.

· A structure indicating chapter headings and subheadings

• Title Page
• Page 1. – Abstract
• Page 2. – Contents
• Page 3. – Introduction
• Page 4. – Literature Review
• Page 4. – Chapter 1 – (Colonialism and Anti-Colonialism)
• Page 5. – Chapter 2 – (Indigenous Culture and Identity)
• Page 6. – Chapter 3 – (Cultural Conflict and Integration)
• Page 7. – Conclusion
• Page 8. – Bibliography

· Literature review

The exploitation of Pandora’s resources and the oppression of the Na ‘vi in Avatar clearly allude to colonialism in history. Many scholars have explored this point, arguing that the film critiques the expansion of colonialism and imperialism through this narrative structure. Eckstrand and Nathan (2014) pointed out that Avatar presents a typical colonial scenario, in which humans represent technologically advanced but morally bankrupt colonists, while the Na ‘vi represent the oppressed indigenous people. This plot structure reveals the cruelty and injustice of colonialism. At the same time, it further analyzes the anti-colonial elements in the film, and holds that the identity change and final stance of the protagonist Jake Sully reflects the identification of the indigenous culture and the negation of the colonialist behavior. But the author still thinks there is a subtle colonial message lurking beneath the film’s surface.

The culture, customs and relationship with nature of the Na ‘vi are depicted in detail in the film, and scholars believe that these depictions help to increase audiences’ awareness and respect for Aboriginal culture. Adamson, Joni. (2012) discuss how indigenous peoples and nations are mobilizing around the concept of a terrestrial organism that concentrates energy and life; Existence is defined as ecosystems, natural communities, species, and all other natural entities that exist as part of Mother Earth. Similarities between Na ‘vi culture and many indigenous cultures on Earth, such as reverence for nature, spiritual beliefs, and social organization.

Avatar explores the dialogue, conflict and fusion between different cultures through the cultural conflict between human and Na ‘vi. Meadows, Mark Stephen (2007) discuss how the process of creating and modifying characters, and what we do with them, affects the story, and that these conflicts lead to the emergence of new cultures. The cultural conflict in the film is not only superficial, but also the conflict of deep-seated values and lifestyles. The conflict and eventual fusion in the film is considered as a reflection on cultural exchange and conflict in the context of globalization. Jake Sully’s character symbolizes the possibility of cross-cultural understanding and integration, and the film conveys the possibility and importance of understanding, respect and integration.

To sum up, Avatar deeply reflects many social and cultural issues in the real world through the story of the Na ‘vi. Discussions on themes of colonialism and anti-colonialism, indigenous culture and identity, cultural conflict and integration not only enrich the narrative connotation of the film, but also provide the audience with an opportunity to reflect on real social issues. These academic studies demonstrate the profound impact and significance of Avatar on cultural and social issues.

This paper not only aggregates existing research, but also provides a framework for further academic discussion, demonstrating the additional layers of Avatar’s impact on cultural and social issues.

· A bibliography

• Eckstrand, Nathan. “Avatar and Colonialism.” Avatar and Philosophy: Learning to See (2014): 190-200.
• James, John, and Tom Ue. “‘I See You’: Colonial Narratives and the Act of Seeing in Avatar.” The Films of James Cameron: Critical Essays (2011): 186-99.
• Wicaksono, Yosua Tunas, Daniel Ginting, and FX Dono Sunardi. “Colonialism, Resistance, and Environmental Issues in James Cameron’s Avatar (2009).” INTERACTION: Jurnal Pendidikan Bahasa 10.1 (2023): 289-303.
• Adamson, Joni. “Indigenous literatures, multinaturalism, and Avatar: The emergence of indigenous cosmopolitics.” American Literary History 24.1 (2012): 143-162.
• Paliy, Anna. “The Spirituality of Nature: Indigenous Tradition in James Cameron’s Avatar and Western Mentality’s Failure to See Within.” Kino: the Western Undergraduate Film Studies Journal 3.1 (2012).
• Sherma, Amar Bahadur, Alok Lamsal, and Devi Prasad Pokharel. “Becoming an Ecological Citizen: The Concept of an Ecological Citizen in the movie Avatar.” International Journal of TESOL & Education 4.2 (2024): 62-77.
• Olivier, Bert. “AVATAR: Ecopolitics, technology, science, art and myth.” South African Journal of Art History 25.3 (2010): 1-16.
• Scola, Nancy. “Avatar politics: the social applications of Second Life.” (2007).
• Meadows, Mark Stephen. I, avatar: The culture and consequences of having a second life. New Riders, 2007.
• Fritz, Justin. “Environmentalism and the” Ecological Indian” in Avatar: A Visual Analysis.” The Arbutus Review (TAR) 3.1 (2012): 67-90.
• Erb, Cynthia. “A spiritual blockbuster: Avatar, environmentalism, and the new religions.” Journal of Film and Video 66.3 (2014): 3-17.
• Bergthaller, Hannes. “A sense of no-place: Avatar and the pitfalls of ecocentric identification.” European Journal of English Studies 16.2 (2012): 151-162.

After a discussion with the teacher last week, I chose one of the two directions in the draft for further study.

· A research question or title

From Screen to Society: the Influence of Animated Films on Political Attitudes

· Keywords/key phrases

Society, political attitude, political metaphors

· An Abstract 50-100 words

The thesis aims to explore the ways of using political metaphors in animation works, their effects and their impact on the audience. In addition, we will pay attention to the audience’s acceptance and understanding of these political metaphors, as well as the differences in different cultural contexts. Through this study, we can enrich our understanding of the relationship between animated works and politics, and provide new perspectives and insights for the study of political communication and social ideology.

· A structure indicating chapter headings and subheadings

• Title Page
• Page 1. – Abstract
• Page 2. – Contents
• Page 3. – Introduction
• Page 4. – Literature Review
• Page 4. – Chapter 1 – (The expression and impact of political metaphor in animation)
• Page 5. – Chapter 2 – (Limitation of political metaphor in animation)
• Page 6. – Chapter 3 – (Innovative exploration of ideological and political elements)
• Page 7. – Conclusion
• Page 8. – Bibliography

Show development on Literature review

Literature 1: In Okoro N and Onakpa M’s study, the researcher recommends, among others, that TV cartoonists should think out of the box and come with crafty cartoons that effective convey political messages.

Literature 2: In this article,Man ye said that in the process of exploration and innovation of two-dimensional animation short film creation, we should objectively examine the importance of the practical application of Ideological and political elements, and explore the rational application of Ideological

Literature 3: Yoshida, Kaori in this study combines textual and discourse analyses, taking perspectives of cultural studies, gender theory, and postcolonial theory, which allow us to unpack complex mechanisms of gender, racial/ethnic, and national identity constructions. I analyze tropes for identity articulation in a select group of Disney folktale-saga style animations, and compare them with those in anime directed by Miyazaki Hayao. It is demonstrated that Japan also expresses political positions through animation to ensure its national identity.

Literature 4: The article written by Whitley David suggests that what children learn from Disney and other animated films is shaped in complex ways by responses to the quality of innocence with which such films are so often imbued.

Book 5: M. Keith. Disney, Pixar, and the hidden messages of children’s films. Bloomsbury Publishing USA, 2009. Through his analysis of several animated films in that article, Smith notes that animated works express critique and reflection on contemporary political realities through the use of exaggeration, symbolism, and satire.  However, the study fails to fully consider the audience groups of animation works and their understanding and acceptance of political metaphors.

To summarize, animation is one of the popular media of political thought, but current studies have some common limitations in exploring political metaphors in animated works. First, most of the studies have not fully considered the audience groups of animation works and the way viewers understand political metaphors, nor have they taken into account the differences in viewers’ acceptance and understanding of metaphors in different cultural and social backgrounds. Second, some studies have not fully explored the relationship between political metaphors and socio-political contexts in animation works, nor have they differentiated and analyzed different types and styles of animation works. Therefore, future studies can further explore the specific forms of political metaphors in animation works, the ways of audience acceptance and interpretation, and the differences in different cultural contexts, in order to enrich our understanding of the relationship between animation and politics.

A bibliography

• Okoro, Nnanyelugo, and Mohammed S. Onakpa. “Audience perception of television animated cartoons as tool for political communication: A study of selected towns in North Central Nigeria.” AFRREV IJAH: An International Journal of Arts and Humanities 5.4 (2016): 232-249.
• Quigley, Marian. “The Politics of Animation: <i>South Park</I>” 2000. Metro Magazine: Media & Education Magazine, no. 124/125, Australian Teachers of Media Inc. (ATOM), 2000, pp. 48–53, https://search.informit.org/doi/10.3316/informit.729075992328488.
• Man, Ye. “INNOVATIVE EXPLORATION OF IDEOLOGICAL AND POLITICAL ELEMENTS IN THE CREATION OF TWO-DIMENSIONAL ANIMATION SHORT FILMS.” IETI Transactions on Social Sciences and Humanities 15 (2021): 8-15.
• Yoshida, Kaori. Animation and” otherness”: the politics of gender, racial, and ethnic identity in the world of Japanese anime. Diss. University of British Columbia, 2008.
• Ishii, Kenichi. “Nationalism and preferences for domestic and foreign animation programmes in China.” International Communication Gazette 75.2 (2013): 225-245.
• Whitley, David. “Learning with Disney: Children’s animation and the politics of innocence.” Journal of Educational Media, Memory, and Society 5.2 (2013): 75-91.
• M. Keith. Disney, Pixar, and the hidden messages of children’s films. Bloomsbury Publishing USA, 2009.