In comparison, apart from Guo Degang's old novels and new stories and Wang Xiaofeng's "You Are Really Cruel", the mainland has not seen a comedy movie that dares to take care of reality. Most of the independent productions are still struggling to make a move. However, in his early years, Chen Peisi was advancing with the times and almost bottomed out. From Woody Allen to Terry Jones, they can basically represent the characteristics of American humor or media humor: there are two kinds of jokes in the face of the public, not politics and sex. There are two types of private humor, neither self-ridicule nor identity dislocation. Looking at the several films written by Eric, there is a dislocation of time and space, but it is a lower level approach. Chaplin started juggling, and in his later years also filmed "Mr. Van and Tu" to rectify his name. The collective dance of any era is a comedy when it is changed from generation to generation. Most of Eric’s assassins inadvertently asked a few farmers with a Scottish accent to talk about republic, or let death row prisoners analyze the criminal law in prison, and put the feudal lords and religious oligarchs out of power at the moment-already very pitiful- The role is pulled to the front desk to criticize. Show folk wisdom, lovable and not outdated. Due to the remoteness of the times, the British in the 1960s and 1970s probably all corresponded, but now it seems that it is of little practical significance. Although on the other hand, only humor without realistic references can be called pure humor. But there are so many jokes. If I have to laugh for politics, I would rather look at those that are more or less related to the world I live in. This kind of thing was a Tianqiao Dashilan in the Qing Dynasty, and a street drama in the Republic of China. After half a century of hiding in the middle, it was still not put on the stage by Wang Xiaobo. If you want to really judge the ability of turning over old accounts, who can surpass Brother Xun's "New Stories".
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