| Acknowledgements | 第1-7页 |
| Abstract | 第7-8页 |
| 摘要 | 第8-11页 |
| 1. Introduction | 第11-18页 |
| ·Hollywood Films | 第11-14页 |
| ·The Image of China | 第14-15页 |
| ·Goals and Methodology of the Present Study | 第15-18页 |
| 2. Stereotypes and the Emerging "New":Changes of the China Image in the 21~(st)-century Hollywood Movies | 第18-31页 |
| ·Stereotyped Images of China in American Films | 第18-21页 |
| ·Cognitive Bias towards the Images of China | 第21-22页 |
| ·Increasing Absorption of Chinese Elements | 第22-23页 |
| ·Causes of the Change | 第23-31页 |
| ·The Sino-US Relationship | 第23-26页 |
| ·The Growing Chinese Market Attracting the World's Attention | 第26-28页 |
| ·Globalization Strategy of Hollywood | 第28-29页 |
| ·Shortcut to Maximize the Profit | 第29-31页 |
| 3. Implanted Brands and Landscapes | 第31-39页 |
| ·The Implantation of Chinese Brands | 第31-33页 |
| ·Natural Landscapes and Cultural Landscapes of China | 第33-37页 |
| ·The History of Chinese Landscapes in Hollywood Movies | 第33-34页 |
| ·Cultural Landscapes | 第34-36页 |
| ·Natural Landscapes | 第36-37页 |
| ·Money-driven Changes without Going Deep | 第37-39页 |
| 4. Adaptation and Recreation of China Themes | 第39-50页 |
| ·Incorporation of Chinese Kung Fu and Philosophy:the Series of Kung Fu Panda(2009,2011,2016) and The Last Airbender(2010) | 第39-45页 |
| ·Adaptation of the Traditional Chinese Story:the Series of Mulan (1998,2004) | 第45-47页 |
| ·Remaking of the Chinese Outstanding Movie:The Departed (2006) | 第47-48页 |
| ·China Stories to Convey an American Message | 第48-50页 |
| 5. The Use of Chinese Faces | 第50-61页 |
| ·Chinese Characters Representing a National Image | 第50-53页 |
| ·Chinese Women in Hollywood Films | 第53-61页 |
| ·Liu Yuling | 第55-56页 |
| ·Zhang Ziyi | 第56-58页 |
| ·Other Domestic Popular Movie Stars in Hollywood Films | 第58-59页 |
| ·Chinese Women:Still a Symbol of the Exotic but Feminized East | 第59-61页 |
| 6. Conclusion | 第61-64页 |
| Filmography | 第64-69页 |
| Bibliography | 第69-72页 |
