The only sun in Huayu

Chapter 168 Suffering for Lu Chuan (24)

not far away.

Shen Shandeng watched this scene with an unchanged expression, but inwardly he sneered repeatedly.

A wish for eternal life?
It is indeed a naive and wishful thinking.

What we should really do is seal it off for eternity.

The bestial side of the Japanese devils must be completely sealed within the mask of "Kenzen".

The culture surrounding Japanese books is extremely perverse.

They are not just two-faced; the whole society admires this hypocritical behavior.

The whole society follows the original pronunciation and the rules established before.

The true voice is what you really think; the pre-construction is just a superficial gesture.

The original sound and the pre-construction sound may be completely opposite.

Only a few powerful and aristocratic families can refrain from wearing the mask of their former status and speak their true feelings freely, without regard for occasion or identity, doing as they please.

This is something Chinese people can't understand. The core appeal of Japanese anime is that the protagonist can go without a mask and preach freely.

Only by understanding the original sound before construction can one comprehend the peculiar phenomena of the book.

This is a very sinister culture. If you can't read the air or understand the true nature of those in power, you're in big trouble.

As for Japan's attitude towards its history of aggression, it doesn't even repent for the period before its establishment, which gives you an idea of ​​what kind of "true intentions" it harbors.

Only by looking at the incense burning at toilet shrines and the offerings to war criminals in various regions can one discern the attitude of the Japanese people.

The underworld cannot tolerate direct sunlight.

Shen Shandeng wants to use the film "Nanjing" to let Chinese audiences see what kind of culture the script is and what its underlying tone is.

He wants to use this narrative and these images to make the audience deeply realize that such a nation must be bound by an eternal shackle.

They will forever be able to be gentle, humble, reflective, and remain only at the level of a mask.

Anyone who dares to bare even a fang will face thunderous blows from all sides.

We should learn from Da Liang in this regard, and not treat the Japanese as human beings.

Any dissent should be immediately rejected. Only in this way can the culture of reading air naturally produce gentle and mild-mannered texts.

May has arrived.

It’s spring.

The crew of "Nanjing" was like a precision machine fully lubricated, operating at an unprecedentedly high efficiency.

Shen Shandeng was in charge of the central government, but he did not do everything himself.

He simply controlled the key departments and directed the entire production crew.

The Chinese actors and crew were immersed in the clear and efficient process, while the Japanese staff seemed to be reading the room, maintaining a polite atmosphere and trying their best to cooperate.

Even Lu Chuan was full of energy, immersed in the pursuit of "artistic sublimation," and completed his own "artistic creation."

Investor Tan Hong took some time to visit the set, and after only a brief look around for half a day, he couldn't help but admire it from the bottom of his heart.

The orderly and goal-oriented atmosphere of the film crew was a world apart from the chaotic and listless atmosphere he had witnessed on his last visit.

Tan Hong's impression of Shen Shandeng now held a more genuine respect.

The same applies to other staff members.

Shen Shandeng received another raise, and more importantly, the feeling of helplessness and confusion disappeared.

With someone to back them up in everything, they willingly revolve around the new sun.

Qin Lan visited Shen Shandeng's room even more frequently.

Sometimes they bring fruit and snacks to thank Director Shen for his contributions to the crew, and sometimes they come to discuss a character with the script in hand.

The gratitude in her eyes was like that of an open orchid, almost overflowing with dew.

Lu Chuan saw all of this, but chose to ignore it.

He wished he could stare at the monitor 24/7 to keep a firm grasp on the rhythm of creation.

Lu Chuan had a vague premonition that this film, which had gone through so many hardships, might truly be transformed by Shen Shandeng's intervention and become the pinnacle of his directing career.

This excitement and anticipation made him forget his frustration and resentment.

Gao Yuanyuan often appeared in Shen Shandeng's room.

They chatted about which restaurants were the most authentic and discussed how to make nourishing soups.

Occasionally, we'd also take the ingredients and cook some glutinous rice balls together.

In this strange yet efficient atmosphere, the production team made rapid progress.

All planned activities were completed ahead of schedule, and filming is progressing rapidly towards completion.

"Don't worry, factory manager, I know what I'm doing."

Upon receiving Han Sanping's call, Shen Shandeng held his phone and said in a relaxed tone, "After all, this is Lu Chuan's movie. I'm just lending a hand."

"It was mainly Lu Chuan who was filming."

Han Sanping saw the filing application, noticed the important changes in the roles, and came over to inquire.

“Shandeng, I know you are capable, but you also need to be careful. This kind of historical subject matter can easily cause controversy if the artistry is not handled well. Don’t get too involved.”

Shen Shandeng frankly said, "Director, it's actually not that complicated. In Director Lu's original script, the Chinese and Japanese perspectives were disconnected, and the emotional and narrative weights were mismatched."

The original film's perspective was despicable.

The footage alternates between the Chinese and Japanese perspectives, with each side's shots roughly equal to the other's.

However, there are many main characters on the Chinese side, who appear and disappear, making the relay of events somewhat disjointed and the main storyline fragmented.

Only Mr. Tang, played by Fan Wei, can be considered a key character, and the fate of his family constitutes an important element driving the development of the film for a period of time.

Compared to Liu Ye's Lu Jianxiong and Gao Yuanyuan's Teacher Jiang, Mr. Tang is more fleshed out and more realistic.

Finally, he had the chance to leave, but he gave his chance to live to someone else, instantly elevating his image. However, his earlier act of betraying others to protect himself and his family made this seemingly more believable character untrustworthy.

After his death, the baton was passed to Xiaodouzi.

With each passing of the perspective, the viewpoint became fragmented and increasingly chaotic, until it was completely out of control by the time Xiaodouzi took over.

The protagonist of the story, Kadokawa, played by Hideo Nakaizumi, is the only character who appears throughout the entire film.

Compared to the Chinese characters, he remained consistent and even gave them a cheat code, making him stand out from the film, especially from the Japanese side.

He is a Japanese soldier who retains his humanity; he feels fear and homesickness when faced with killing.

After giving his virginity to a comfort woman named Yuriko, he would want to marry her.

The deaths of Yuriko and women who resemble her would greatly affect him.

Throughout the film, the Chinese perspective is presented intermittently, while the Japanese perspective is vivid and detailed.

The ending even features a scene where a Japanese officer "repents".

He released two Chinese people and redeemed his soul through suicide.

The genocide was real; it is true history.

The director fabricated a non-existent rescue scene and a non-existent "suicide redemption."

Not only did they fabricate a non-existent confession for the other party, but they also used the act of saving two people—an act that did not exist in history—to dissolve the true history of real suffering.

That's not just your average cheapness.

Shen Shandeng continued, “There are only two solutions to the unbalanced perspective: one is to cut out redundant scenes from the Chinese perspective and merge some functionally redundant characters to make the narrative more focused.”

"Director Lu disagrees with this approach, he strongly opposes it, and even resorts to underhanded tactics."

"This Lu Chuan," Han Sanping sighed, "what about the other kind?"

“The other one,” Shen Shandeng said calmly, “is to disrupt the integrity of the Japanese perspective.”

"It's like kneading dough. If there's too much dough, add water; if there's too much water, add more dough."

"Since the Japanese perspective is too prominent, we should weaken it and shatter its so-called 'complexity of human nature'."

Han Sanping asked in confusion, "But Lu Chuan's feedback is that the story is now more complete and artistically stronger?"

“That’s from his perspective, without distinguishing between friend and foe,” Shen Shandeng explained. “It’s about removing the historical context, ignoring the suffering of the nation, and standing from the perspective of Earthlings, Martians, or Moon people, but not from the perspective of Chinese people.”

"From this perspective, simply looking at the character arc, the process of a Japanese soldier going from participating in the massacre to feeling guilty and reflecting, and then putting down his butcher's knife and even picking up a camera does seem more 'complete' and even more 'noble'."

Shen Shandeng said, "But what if we look at it from a Chinese perspective, with the historical suffering in mind?"

"What I saw was not a profound thinker, but a complete hypocrite, even more terrifying than a hypocrite."

"It's the kind of naked beast that does all the evil things, but then tries to paint itself with a gilded coat in a seemingly civilized and artistic way."

"The moment he gave up on suicide, all his previous hesitation and guilt seemed incredibly hypocritical. The character's so-called 'arc' was completely destroyed."

"In this way, the unbalanced perspectives of both sides will be balanced."

akin.

The criticism of Zhang Xuefeng is not due to cognitive bias, but rather to a difference in stance.

The one who did this is the enemy, and the enemy's insults are what they truly feel.

Therefore, it produced completely different results.

Shen Shandeng wanted to make a clean cut, to let the enemy see what they wanted to see, and something completely different.

Lu Chuan wanted to use Japanese soldiers as the main characters, giving them such a complete character arc, so Shen Shandeng helped him out.

It presents the true perspective of the Japanese.

There are two parties involved in the Nanjing Massacre.

If one of them is the murderer, then let's see what the murderer's thoughts are.

A negative example is also a typical example.

May in Beijing was a bit dry, but Han Sanping felt a chill.

Shen Shandeng said, "What the audience will feel is not pity, but horror, chilling, and even anger."

"Of course, this kind of anger cannot be seen from the film text alone, or even from the film itself. It requires the audience to bring together Chinese historical memories and emotions to complete the process."

"In other words, the final experience of this film is jointly created by the film and the audience's own perspectives."

"Those who do not stand from China's perspective will remain indifferent."

Shen Shandeng added, "I did this for Lu Chuan's own good. He wants to take a Chinese perspective, but he lacks the ability."

"After thinking about it, I realized that his idea might not be wrong. Does China's painful history necessarily have to be told by Chinese people? Not necessarily. As long as it's done well, what's wrong with letting the script tell the story?"

"This production has faced numerous difficulties from preparation to project approval. It must be made exactly as Lu Chuan described, otherwise it would be a disservice to his efforts."

"After my revision, Nanjing will become a classic in his career."

"Of course, it might get a little bit of criticism after it's released."

You're a really nice guy! Han Sanping on the other end of the phone was silent for a moment, then let out a long breath and said, "You're quite the artist, kid. I was overthinking it. Anyway, just make sure you keep it within limits."

As for Lu Chuan, she could only suffer a little, no, she actually gained something.

This drama will indeed become Lu Chuan's representative work.

hang up the phone.

Shen Shandeng pondered deeply, knowing that the changes to "Nanjing" went beyond this.

Through his deliberate guidance and detailed setup, the image and behavior of Kadokawa, who picked up the camera, pointed to one of the directors in the book, Yasujiro Ozu.

He is the idol, even the patriarch, of many art-house film directors.

At that time, it will be a fatal blow to the film art school.

(End of this chapter)