Myths are the identity of a nation and it is noteworthy to its own nation’s people and the international community. These cultural assets have various applications and might have preserved their cultural and national features in society over passing years. Myths are directors, controllers and flow makers. On the other hand, there are some myths in foreign literature, verbal or visual cultures that are similar to our myths.

Legends, anecdotes and tales are a reflection of people’s life which in turn represents their experiences. For millennia, humans have believed that everything in the world around them is alive and, above all, aware of what’s going on. The mythical structure is classic and formal technique that has affected researchers and scenarists in the fields of animation. Although the major part of this journey is the same for all humans and we are shared in facts of birth, growth and death, we possess different cycle, rhythm and needs. That’s why knowing and getting familiar with them is a must for the people and intellectuals. The process of cultural and historical recognition leads us to two mainstreams of mythology and mythography. Iran and China, by having an ancient civilization, have various kinds of myths that western film-makers and animators are interested in. In this regard, the researcher has purposefully selected the films “Mulan”,”Gordafarid”. The Mulan myth is one of them which is used in animation by an American company (Disney) and has similarity with Iranian myth called Gordafarid. The present study aims at analyzing Mulan and Gordafarid myth and its main focus is the substantial role of old and new myths in portraying and characterizing the national identity. The method of survey is qualitative with a descriptive and historical approach and based on library resources and audio-video archives.