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"Right up until the end of the Hellenistic era the ancient Greeks did not realise that on the far eastern side of the Asiatic continent there was a Chinese civilisation. Before knowledge of China reached the West, silk was introduced there, imported from a country inhabited by a people called the Seres (Σῆρες). We find in Strabo’s Geography the oldest certain reference to the Seres, which originates in the lost history of Apollodorus of Artemita, who described the successes of the Indo-Greek rulers (200–180 BC and 155–130 BC). The real explosion of information about silk and the Seres as its producers came only at the beginning of the Augustan era, for the first time in Horace’s Epodes (between 40 and 30 BC). The Seres became a popular motif in Augustan poetry; in the Georgics Virgil was the first to mention expressis verbis that the Seres were the producers of fabrics. Yet even though the appearance of silk in Augustan Rome is absolutely certain, we cannot be completely sure that contemporary Romans knew anything of China. It is highly likely that the first references to the Seres refer to people from southern India. The first certain piece of information about China is a reference in the Periplus of the Erythraean Sea (40–70 AD) about a country called Thin, whose capital is Thina. New observations made by travellers on overland and maritime routes were written about by Marinus of Tyre and then Claudius Ptolemy, who separated Serica, which is placed in the middle of the continent, from the country of Sinae (Σῖναι). In the third century AD the Roman Empire was experiencing an internal crisis and in China the empire of the Han dynasty was fractured into local states, so there is nothing strange in the weakening of direct trade relations between China and Rome. The book-knowledge of the ancient authors would from this point be the only source for garnering information about China in the Latin West right up until the thirteenth century."

""How have Westerners seen the People's Republic of China over the years? The question raises many important issues, which this book aims to present, analyze and explain. The basic conclusion is that Western perspectives are somewhat more complex than simply viewing China's realities. Involved also are politics and power relations, trends in journalism and scholarship, as well as individual and group personalities and psychologies. Based on extensive personal experiences in China dating back to 1964 and wide-ranging travel in Tibet and ethnic regions since the 1980s, the author attempts to distinguish trends in different Western countries. However, most of the material will concern the United States, which has been the dominant contributor to Western perspectives during the whole period of concern to this book. The perspectives are taken up by topic, including politics, economy, society, and ethnic minorities. Inherent in each topic is the way cultures see and react towards each other. Images and perspectives can affect policy, and have done so many times in the past, which adds to the importance of this book. It also takes up questions of the sources of Western perspectives, both in terms of direct sources, such as newspapers, television or the internet, and deeper ones, such as social values and temperament."--"

"Film merupakan sebuah media komunikasi massa yang menampilkan cerita dalam bentuk audio visual. Mulan (2020) merupakan film hasil karya Disney yang diadaptasi dari cerita rakyat Cina. Film Mulan (2020) mengisahkan perjuangan seorang perempuan bernama Hua Mulan yang harus menyamar sebagai laki-laki untuk menggantikan posisi ayahnya dalam berperang melawan suku Rouran. Sebagai seorang perempuan yang menyamar menjadi laki-laki, banyak tantangan yang harus dihadapi oleh Mulan. Penolakan yang didapat Mulan setelah menunjukkan identitas dirinya sebagai seorang perempuan di dalam pasukan mencerminkan adanya konsep patriarki. Penelitian ini bertujuan untuk menunjukkan konsep patriarki di Cina dalam film Mulan (2020) dan untuk menunjukkan sejauh mana kesesuaian interpretasi sineas barat terhadap konsep patriarki di Cina dalam film Mulan (2020). Penelitian ini menggunakan teknik analisis semiotika John Fiske. Semiotika adalah cabang ilmu yang berhubungan dengan tanda-tanda. Melalui teknik analisis The Code of Television dari John Fiske yang terdiri dari level realitas, level representasi dan level ideologi, ditemukan tiga variabel patriarki menurut Kamla Bhasin yang paling menonjol dalam film yaitu kontrol atas tenaga kerja perempuan, kontrol atas seksualitas perempuan dan kontrol atas gerak perempuan. Hasil penelitian juga menunjukkan adanya kesesuaian interpretasi sineas barat (Disney) terhadap konsep patriarki di Cina.

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Film is a medium of mass communication that shows stories in audio visual form. Mulan (2020) is a Disney film that is adapted from the Chinese Folk Tales. Mulan (2020) tell the story about the struggle of a woman named Hua Mulan who must disguise as a man to replace her father's position in the war against the Rouran tribe. As a woman who is disguised as a man, many challenges has to face by Mulan. The rejection that Mulan received after show her identity as a woman in the army reflects the concept of patriarchy. This study aims to show the patriarchy concept in China in Mulan (2020) and to show how far suitability of western filmmaker interpretation of the concept of patriarchy in China in the Mulan movie (2020). This study uses the semiotic analysis technique of John Fiske. Semiotics is a branch of science that associated with signs. Through the analysis technique The Code of Television by John Fiske which consist of levels of reality, level of representation and level of ideology, three patriarchy variables according to Kamla Bhasin's which most prominent were found in the film is control of women's labour power, control of women's sexuality and control of women's mobility. The results of the study also show that there is a suitability of the interpretation of western filmmaker (Disney) with the concept of patriarchy in China."