The Tokyo Olympics are over, and thanks to social media, the level of national participation is very high.
Netizens joked that this Olympic Games is really tired, the anti-Japanese war is over, and the anti-Using is the same as history.
During the Olympics, a topic was on the hot search #Changes in young people's impressions of Japan #
When I was a child, I disagreed with my parents and felt that globalization should not deepen hatred, but now I have changed, and I am consistent with my parents to "resist Japan".
Young people's impression of Japan has changed, but Japan has not changed, and the anti-Japanese drama is full of obscenities about Japan, and we have never really known them.
Taking this opportunity, I recommend three extraordinary anti-Japanese films, each of which has a true portrayal of the Japanese people, and each of which has some kind of cautionary effect.
1. "Purple Sun"
>>>> Purple Sun: A Vision of Peace
Released in 2001, "Purple Sun" changed the grand, blunt, and hoarse mainstream narrative of the past, and presented a rare fresh look.
The perspective is unique and the metaphor is large.
In 1945, on the eve of the end of the War of Resistance Against Japanese Aggression, the beautiful Daxing'anling forest area in the northeast.
A Chinese farmer, Yang Yufu (Fu Dalong), a Soviet female military doctor Najia, and a Japanese girl, Qiu Yezi, are trapped in a forest area and have to cooperate in order to go out.
They had the shadow of the civilians of China, Japan and Russia at that time, and the female military doctors of the Soviet Union were less prominent, and more often played the role of intermediaries and embellishments.
Most of the contradictions in this film are triggered by the Japanese girl Akiba, who has been educated in militarism.
What puzzled Nadya was that this simple, unworldly Autumn Leaf had wanted to kill them several times.
This Japanese girl presents a strange two-sided, one side innocent, the other full of killing.
Unconsciously committing evil, you can also raise your pistol to your companions who have rescued each other and suffered together.
Qiu Yezi herself didn't understand why, "They told us to kill people, and in the end everyone came to kill us?" ”
They teach the people to kill in the name of "justice", and the people are convinced that they are doing a noble thing, and the result is that they have become the evil that everyone can condemn.
The girl does not understand, and the Chinese civilian played by Fu Dalong does not understand.
He will only ask, "You are a child, why did you make it like this?" ”
The whole film has some questions about some complex issues, but it is shallow.
Yang Yufu, who was forced out of anger and hatred, had the limitations of the peasants at that time.
Good to stupid, conservative to ignorant.
The Japanese girl fell into the swamp, he struggled to save her, and foolishly pointed the muzzle of the gun at himself...
2. "Here Comes the Devil"
>>>> "Here Comes the Devil": The Two Sides of the Japanese Soldier
"Purple Sun" presents the extreme two sides of the Japanese girl, but does not delve into it, which has become a problem that Jiang Wen is desperate to pursue.
In 1982, When Jiang Wen was in school at Chinese Opera.
A group of Japanese students came to the class, and their gentle and elegant appearance was very different from the Japanese soldiers in the anti-Japanese movie, which made him very confused.
With this question in mind, he listened to many accounts of those who witnessed the War of Resistance, including later going to Japan to study and read anthropological and sociological works such as "Chrysanthemum and the Knife" (a work of cultural anthropology by the American cultural anthropologist Ruth Benedict), and gradually he was able to overlap the two types of images.
In fact, they are the same thing, just two variants in different environments, which makes Jiang Wen creepy:
A mild-mannered Japanese can easily become a Japanese soldier we perceive.
The movie "The Devil Is Coming" also successfully fused these two types of images on several Japanese soldiers, and fused them tightly.
"The Devil Is Coming" was released in Japan in 2002, and the Japanese Yahoo rating was as high as 4.38 (the top 4 points are word-of-mouth masterpieces).
According to the lead actor Teruyuki Kagawa, the Japanese believe that this is a rather remarkable movie, and the portrayal of Japanese soldiers is quite real.
In "Purple Sun", Yang Yufu repeatedly complained that "why did you come to us to kill people", and Sawada Ken, who played the squad leader Saizuka in "The Devil Is Coming", also explained:
"In fact, adjust my thinking to think, I am also a victim, if I don't kill people, I can't go back to my hometown." So I can now imagine why militarism of that year was successfully combined into a war machine, because militarism propagated an illusory 'justice'. ”
This illusory justice has an ethical basis for convincing its own people, but it makes other countries extremely angry.
In "Chrysanthemum and the Sword", it is written that there are very thoughtful hierarchies in various fields in Japan, and the people feel "safe" because they regard the hierarchy system as legitimate.
Japan's mistake was to try to extend this formula of "security" peculiar to them to the whole of East Asia, without realizing that hierarchy is something that can never be exported.
The Japanese army took what they thought was "justice", but was surprised to find that the occupying power did not welcome them at all, "Didn't Japan give them a status?" Although it is very low, it is always a position in the whole hierarchy; isn't the hierarchy ideal for those at the bottom? (Chrysanthemum and the Knife)
But in our view, to treat aggression as a favor is simply arrogant and vicious.
Viewers who have seen "Here Comes the Devil" may be impressed by the capriciousness of the Japanese captive Hanaya Kosaburo.
Hanaya was taken prisoner in the village of Hangkadai, and he felt great shame and tried to provoke the villagers with words and make them kill him.
At first, the rhetoric was fierce, and it was as if death was returning, but it soon showed timidity.
There is a scene where Hanaya says she wants to die while hitting the wood.
The translator debunked his trick:
"Load! Specifying that you don't want to die, what do you want to do when you want to die against wood? Why don't you hit a rock? The stone has a tip! Fuck! ”
We see in many film and television dramas that the Japanese army killed themselves without moving, and it seems to be very "heroic".
Jiang Wen has always stressed that they are very cunning, in fact, there are not many self-inflicted suicides.
Unlike China's "music culture", the West is a "guilt culture" and Japan is a "shame culture".
People who are bound by the "culture of guilt" will feel chagrin and guilty for doing something bad.
People bound by a "culture of shame" don't have to be upset as long as bad behavior isn't exposed to society.
They pay great attention to society's evaluation of their own behavior, speculate about what kind of judgment others will make, and adjust their actions in response to other people's judgments.
For example, the scene of "Here Comes the Devil".
Nomura, who often gives candy to children at the entrance of the village, ends up slashing at the children with a knife, inspired by Saizuka's words.
In Nomura's view, Saizuka mocks him as "like the aunt of a little hairy child", and he feels humiliated and wants to wash away his "grievances".
Japan attaches great importance to the "righteousness of fame", that is, the obligation to make reputation untainted.
The Japanese "regard sensitivity to reputation as part of a noble ideal." ("Chrysanthemum and the Knife")
There is a theme in the story of Japanese history: whoever is humiliated will be punished.
In particular, those who insult the honor of the family and the honor of the country will be regarded as filthy and must be washed clean through arguments, otherwise it will not be able to restore cleanliness or health.
"Here Comes the Devil" Before Hanaya turns his face and Sazuka goes completely mad, there is a dialogue.
Liu Wang: "Oh, look at what scares you, don't be afraid, don't be afraid!"
Sazuka: "You think I'm scared"?
Liu Wang: "That's not it, you snap the gun, you scream and curse, it's not afraid of anything... Put your heart in your stomach, don't be afraid," he said, touching the head of the sake grave and patting the shoulder of the wine tukasa.
Rokuwang was right, and Sakuzuka was scared.
By then Japan had surrendered, and they were defeated. Like a strong paper tiger, self-esteem is very fragile.
Even if Saizuka did not intend to spare the villagers at the beginning, and eventually led to the brutal massacre, it still needed to be paved and advanced with layers of emotions.
Japanese soldiers, in our anti-Japanese films, no matter how evil and perverted the filming, the common people will not feel excessive.
The special thing about "Here Comes the Devil" is that even villains like Japanese soldiers who are full of evil will not make them natural sinners.
It is the logic of the characters' actions, and there are cultural motives and deep national psychology behind them everywhere.
This is a respect for history, a respect for the ancestors of the Confrontation Day, and even more a reflection on history and a wake-up call for future generations.
There's a dramatic shift in Here Comes the Devil.
In the end, Sazuka became a prisoner of the Kuomintang, behaved very meekly and loyally, obediently acted as an executioner, and let Hanaya cut off Ma Dasan's head with a knife, which was also ironic.
Why can such a stubborn person change so quickly? This puzzled the Allies.
It is explained in "Chrysanthemum and the Sword" that the captured Japanese have lost their reputation, which is equivalent to a "dead man".
Since everything that was before is gone, it is natural to choose another path.
For the contradictory personality of the Japanese, Benedict, author of "Chrysanthemum and the Sword", has studied the educational findings of children in Japan.
Before the age of six or seven, they were indulgent education, and then began to be strictly restrained, so no matter how they trained in the future, their subconscious always retained the "shameless self" of childhood.
The incoherence of education leads to the contradiction of behavior and the formation of a duality of character, so Benedict wrote this very classic evaluation -
"Japanese life is extremely aggressive and very gentle; militaristic and loves beauty; arrogant and self-respecting and courteous; stubborn and weak and fickle; tame and unwilling to be manipulated; loyal and prone to rebellion; brave and cowardly; conservative and very welcoming of a new way of life."
Before filming "The Devil Is Coming", Jiang Wen specifically studied Japan and the Japanese, only to see the extreme two sides of them, and only then did he shoot a work that even the Japanese people were convinced of.
Of course, the film's reflection on the inferiority of the Chinese people is no less profound than the understanding of the Japanese soldiers, but it has nothing to do with the theme, so I will not talk about it, and one point must be pointed out.
Gu Hongming once said that Chinese has one thing that no other ethnic group has, that is, gentleness.
But to be kind to the enemy in the face of the aggressor is to be cruel to oneself.
3. "Sedek Bale"
>>>> Sedek Bale: The Hidden Cultural Invasion
The film is based on the historically real "Wushe Uprising".
On October 27, 1930, Mona Rudao, the leader of the Saidek tribe in Taiwan, after thirty years of oppression by the Japanese army, could not bear it and led the whole clan to launch an uprising, which ended in failure.
Why mention this movie? Because there's a little bit of it that people in peacetime are wary of—
Cultural invasion.
During the 30 years that the leader of Mona endured humiliation, the Japanese civilization carried out a comprehensive invasion and conquest of the Saidek civilization.
Some young people of the Saidek ethnic group received Japanese education, spoke Japanese, and wore Japanese clothes, becoming authentic "Japanese".
As Chief Mona questioned:
"Are you going to enter a Japanese shrine or the home of the ancestors of Theodek," are you bleeding from the Japanese or the blood of the Sideks?
The young man advised Mona that we no longer have to live by hunting and killing, is it not good to live such a civilized life?
Mona asked him: What is civilization? Men were forced to bend down to move wood, women were forced to kneel with the maids to accompany the wine, and I, the leader, got drunk every day and pretended not to see or hear...
Women were raped, a piece of wood was more valuable than a human life, and in another 20 years, all the children would become Japanese.
Mona, sensing the danger of annihilation, raised the banner of righteousness of resistance and cried out:
If your civilization has made us humble, then I will show you the pride of barbarism.
Sedek Balai, meaning real man, real hero.
For the sake of the totem, for the indomitable soul of the clan, resist to the end.
The cultural invasion of peacetime is not as direct and powerful as in the movie, it is indirectly and secretly imported, allowing people to unconsciously accept the influence of their culture, and subtly guiding people's thinking and action.
Let me give you an example.
Teacher Dai Jinhua mentioned that at the turn of the 80s and 90s, China began to form the world's largest underground pirateD, DVD, CD market, and the international record industry continued to crack down on China's piracy market, but international film companies rarely protested.
"I think this is one of Hollywood's strategies, using the pirate markets of various countries to feed Hollywood's film interests for more than a generation, and even this has some ideological intentions." 」
Hollywood's export of American values through movies makes it obvious to us now.
The "aggression" of strong cultures against weak cultures is almost irreversible, but it is necessary to be hard to strike iron, and it is not waiting to be whipped up.
Jiang Wen filmed "The Devil Is Coming" to let the audience understand that if you want to avoid that unpleasant history, what else can you do but be addicted?
Even more terrible is that after the disaster, we cannot deeply study and summarize the root causes of the disaster.
When filming "The Devil is Coming", Jiang Wen went to Japan, and in the shop that sold samurai swords, he took a fancy to a 400-year-old sword, but unfortunately it was a cultural relic and could not be bought.
The Accompanying Japanese asked Jiang Wen why he was so interested in the knife.
Jiang Wen said:
This knife once brought fear to Chinese, and the best way to get rid of this fear is to hold the knife in your own hand and unite it with the palm of my hand.