The only sun in Huayu

Chapter 74 Weak System (14)

"Brother, what next?"

Zhou Qifeng felt a little better, not as depressed as he had been at the beginning of the movie. Seeing that Shen Shandeng hadn't said anything for a while, he asked out of curiosity.

Shen Shandeng blinked and said, "An attack on cognition and psychology can at most distort emotions, causing people to fall into a state of tearing and entanglement. In terms of reality, it can only have an impact, but cannot change anything."

The power of cognitive offensives is not as great as imagined.

Otherwise, the financial crisis next year won't happen, and we can just keep winning.

Shen Shandeng pointed out the porthole and said, "Everyone on the night hemisphere, if they draw the curtains and turn on the lights, they will say it is daytime, but it is still night. The fact that the Earth rotates cannot be changed."

Zhou Qifeng didn't want to ask that: "You said it's not easy to cultivate a master, right, Mu Zi?"

Shen Shandeng denied it three times: "I didn't say that, it wasn't me, you must have misheard."

Zhou Qifeng was certain he hadn't misheard.

"You just said exactly that: it's not easy to cultivate a master; it requires resources, timing, and luck—in other words, the right time, the right place, and the right people. Who are the master figures related to 'The Creation of Sins'?"

Shen Shandeng quickly shook his head and said evasively, "I definitely didn't say that. If I did, it would be that Director Paperclip is a role model for us to learn from."

"Actually, there are many things we can learn from 'The Creation'."

Shen Shandeng quickly changed the subject.

Ha people.

He wasn't afraid; he wasn't afraid of anything. His main concern was Zhou Qifeng.

Take "The Creation" as an example. I'm only talking about the movie, not any particular person. It's definitely not referring to anyone in particular, and it certainly doesn't mean I'm talking about the director.

Shen Shandeng, who is also a director, is well aware that "Creating a Sin" is a team effort.
The most important person in "The Creation" is not the director, and has little to do with the director.

The key figure is James Schamus, CEO of Focus Features, a subsidiary of Universal Pictures.

James Schamus was also the producer of films such as "The Ghost Hand," "The Ghost Banquet," "The Male Thief and the Female Prostitute," "The Hidden Dragon and the Hidden Tiger," "The Bend of Water," and "The Creation."

Unsurprisingly, this was an Isaac.

PhD in Comparative Literature from Columbia University.

The title of my doctoral dissertation is: "Within the framework of the 'Issabi problem': Anti-Issabiism, Identity and Representation in 19th-century European Novels".

Although the research direction is comparative literature and literary criticism.

However, the narrative perspective is not "the other" and there is no humanistic rhetoric; it is a standard "self" narrative.

This study explores how to construct the Isaac character through narrative and examines anti-Isaacist discourse.

If it were a student from CUHK, the research would focus on how to construct Chinese characters through narrative and explore the harm that 19th-century Western literature inflicted on China.

The exact same methodology led to drastically different results. The absence of a line on the surface indicates the existence of another line.

James Schamus's mentor was Gaiatri Spivak, a world-renowned literary theorist and cultural critic, and a highly influential scholar in the fields of postcolonial theory and deconstruction.

Spivak's mentor was Paul de Man.

Paul de Man is one of the most central figures in deconstructionist criticism, on par with Jacques Derrida.

During his time teaching at Yale University, he profoundly influenced a generation of scholars, including Spivak, and formed the famous "Yale School".

Spivak completed her doctoral dissertation, on Yeats, under the guidance of de Man.

In theory, the core of the critique of postcolonial theory is anticolonialism.

The primary objective is to deconstruct the Eurocentric knowledge system, revealing how it legitimized historical colonial rule and continues to shape unequal global power structures.

At the same time, some postcolonial scholars have explicitly directed their criticism at forms of neocolonialism.

That is, through economic control, multinational corporations, international financial institutions, political intervention, and cultural infiltration, Hollywood, popular culture, and academic standards, the global system of inequality is maintained, with Hollywood being the main actor.

It also supports the struggles of the Global South, indigenous communities, and marginalized groups for cultural autonomy, political sovereignty, and economic justice.

However, this is only in theory.

The result was exactly the opposite.

James Schamus, with his greater expertise, understood better how to create identity rifts and how to trap people in cultural divides.

"The Hidden Dragon and the Hidden Tiger" uses the name of avant-garde art to replace the patriotic sentiments of martial arts with Western universal values ​​and philosophy.

In reality, this system is all show and no substance.

From a personal perspective, this is still a behemoth, and rashly touching it before a version update could have unimaginable consequences.

Zhou Qifeng asked in bewilderment, "What are we supposed to learn from 'The Creation'? What's there to learn from a movie like that?"

Shen Shandeng felt there was still some danger: "I didn't say 'Creating Sins,' you misheard again."

Zhou Qifeng: "?"

Shen Shandeng talked about a movie from several years ago, about security.

"I'm learning from 'The Hidden Dragon and the Hidden Tiger.' I'm also learning from 'The Supervisor' in this play."

"?"

Zhou Qifeng looked at Shen Shandeng and said, "Senior brother, don't lie to me, I don't believe you."

(End of this chapter)