China's efforts to put its best face forward have ranged from a large advertisement in New York's Times Square to a documentary channel by state broadcaster China Central Television featuring films about historical Chinese sites.

　　中國用各種方法來宣傳自己，從紐約時報廣場(Times Square)上的巨幅國家形像宣傳片，到中央電視臺推出的一個以中國歷史古跡影片為主的紀錄片頻道。

　　But Jonathan So, senior adviser at Imagi, the studio that owns the rights to “Pleasant Goat and the Big Big Wolf,” a popular Chinese animated television series that is now being distributed by Disney in 52 markets around the Asia Pacific region, said that showing red flags and images of the Great Wall may not the best way to win audiences over.

　　不過，電影制作公司意馬(Imagi)資深顧問蘇永樂(Jonathan So)說，展示紅旗和長城圖片可能并非贏得觀眾的最好方法。該公司擁有《喜羊羊與灰太狼》的版權(quán)，這部頗受歡迎的中國電視動畫片目前由迪士尼(Disney)在亞太地區(qū)的52個市場進行發(fā)行。

　　Mr. So - whose cartoon about a family of goats and their adventures escaping from a wolf is now showing in places such as Australia, New Zealand, Malaysia, the Philippines and India with voiceovers in many different languages and dialects - said as many as half of the fans of “Pleasant Goat” may not even know the cartoon originated in China. But for those who do, animation shows there “really are not too many boundaries” between cultures, he said.

　　蘇永樂說，《喜羊羊與灰太狼》有至多一半的粉絲甚至不知道這部動畫片是中國制作的。不過，對于那些知道的人來說，動畫片表明不同文化之間真的沒有太多的界限。《喜羊羊與灰太狼》這部動畫片講述的是一個“羊村”的羊以及他們逃脫一只狼捕食的冒險經(jīng)歷，目前在澳大利亞、新西蘭、馬來西亞、菲律賓和印度播出，有多種語言和方言版本的配音。

　　“You really don't have to put a Chinese story, or to have the Great Wall in the scenery, or to wear something red,” said Mr. So, who started out as a toy manufacturer. “Pleasant Goat,” created in 2005, has a “sense of humor,” he said. “We put a lot of family elements in there, representing the Chinese family and how the kids are thinking, how they live their lives.”

　　蘇永樂說，你真的不必講一個中國故事，或把長城放到場景中，或穿上紅衣服。他是從玩具生產(chǎn)起家的。他說，2005年制作的《喜羊羊與灰太狼》有幽默感，我們加入了很多家庭元素，代表了中國家庭和孩子的想法和生活方式。

　　Marketing experts say that independently created cultural content may help China gain global cultural influence better than government efforts. Earlier this year, Ogilvy & Mather Worldwide Chief Executive Miles Young said Beijing should promote things “which are happening culturally and spontaneously” within the country, such as its vibrant art scene─something South Korea and Japan have done more successfully.

　　營銷專家說，獨立創(chuàng)作的文化內(nèi)容可能比政府的努力更有助于中國獲得全球文化影響力。今年早些時候，奧美(Ogilvy & Mather Worldwide)首席執(zhí)行長楊名皓(Miles Young)說，北京應該宣傳在中國文化領域自然發(fā)生的事，比如富有活力的藝術界，在這個方面韓國和日本做得更加成功。

　　Still, Mr. So said he believes the animation industry faces challenges. While filmmakers can earn returns from TV stations and box-office sales in the U.S. and other markets, Chinese animators have limited choices of broadcasting partners and their earnings come from government-awarded bonuses and toy sales, leaving less incentive to create original content, he said.

　　盡管如此，蘇永樂說，他認為，動畫產(chǎn)業(yè)面臨著挑戰(zhàn)。在美國等市場，電影制作人能夠從電視臺和電影票房獲得回報，而中國動畫片制作人的播出伙伴選擇有限，他們的收益來自政府獎勵的獎金和玩具銷售，創(chuàng)作原創(chuàng)內(nèi)容缺乏激勵。

　　Mr. So said “Pleasant Goat” was originally intended only for the China market, which he estimates is 130 million people. According to Imagi, “Pleasant Goat” programs occupied five of the top 10 ratings for animation programs in China based on prime-time viewership by children in cities between the ages of 4 and 14.

　　蘇永樂說，《喜羊羊與灰太狼》最初計劃僅面向中國市場。他估計這個市場有1.30億觀眾。據(jù)意馬說，按照對多個城市4到14歲兒童黃金時段收視率做出的中國動畫片節(jié)目的10大排行，《喜羊羊與灰太狼》占了五個。