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Abstract
The undesirable reception of Disney's Mulan (2020) is attributable to complicated factors. This paper combs Hua Mulan's images in Chinese literary and visual discourses, and confirms her as a virtuous epitome and a national heroine in Chinese mainstream culture, whereas in Mulan, she is portrayed as a warrior with magic "qi" and homosexual orientation, representing modern feminists' pursuits for gender recognition and equality. Besides, the assertive collage of Chinese cultural elements severely impairs the authenticity of her story. Superficially, the arbitrary appropriation of Chinese culture causes the poor reception of the movie, which, however, if situated within the framework of Orientalism with a lineal examination of the Chinese-culture-related Hollywood movies, more underlying causes, ideological, political and commercial, can be uncovered. The film's failure bespeaks the predicament confronted by contemporary Hollywood film industry. If Hollywood film producers want to reap lucrative gains from the booming Chinese film market, they should rectify their outdated condescending attitudes and do more in updating their production concepts, innovation, empathy and cooperation. This paper may be of significance as a reference to the practice and study of film adaptation, production and marketing across cultures.

Abstract
Movies are often viewed as important tools to promote cultural communication. Many international moviegoers and researchers endorse Chinese movies as authentic representation of traditional Chinese history and culture. However, in this era of commercialism, movies are often produced as commercial products to win the maximum profits at global market; thus, the history and culture in Chinese movies are often reshaped and reconfigured to meet the taste of foreign moviegoers. This paper uses Judou (1990), Inkstone Bed (1995) and Crouching Tiger, Hidden Dragon (2000), three movies shot in Huizhou, a land known for its profound traditional culture, as a case study to explore how and why traditional culture is reshaped and reconfigured. The results show that those three movies diverge from traditional culture in one way or another. The distortion or stigmatization of Huizhou culture in Judou and Inkstone Bed caters to global audience's preconceived notion of a corrupted and chaotic "ancient China." Crouching Tiger, Hidden Dragon transcends local settings to address cross-cultural and multinational themes. With a diversity of cultural elements hybridized and well-attuned, it sets a good example for Chinese movies to win global recognition and commercial success worldwide.