"Ninja Assassin" and "Tekken" are two hybrid films directed by Hollywood directors and starring Asian actors. Compared with pure-blooded Japanese films, they look a little out of place. I think it is influenced by two aspects: the first is Differences in shooting techniques and cultural connotations; the second is the alienated interpretation of oriental culture by the white old watch. The first point is still bearable, and the second point is whether it is bearable or unbearable. After watching "Ninja Assassin", my first sense was: "Stupid B Japanese, they were all killed by Koreans.", see After I finished Tekken, my first feeling was: "Stupid B Americans and Japanese were killed by a mixed-race Chinese." After thinking about it, I found that the director is the real parallel importer.
Hollywood's method of filming has always been very direct. After watching the first ten minutes of the film, you can know what the whole film is like. Generally speaking, the level of directors such as James McTeigue and Dwight H. Little is the same, and the films that come out are basically of the average level of Hollywood, and the slight connotation is because of the script itself. good. Under this mechanism, the cultural stories that contain the East are put on the assembly line, which naturally gives people a weird feeling. This feeling cannot be judged solely on the basis of good or bad. Generally speaking, this difference can bring a sense of freshness, as well as a sense of cultural fusion.
The biggest problem is the alienated interpretation of culture. First, in films with oriental elements that have more Western funds, oriental people usually choose some mixed-race people to star in them, or even just blond foreigners. Maybe Western audiences think it’s nothing, and it’s not good for mainland audiences. It's true that biracial people are beautiful, they may have half or very little Chinese or Japanese ancestry, but in the minds of the general fans these people are definitely not oriental. Regardless of the box office of these films in the United States, they can only be classified as bad films in China. Second, these ignorant Westerners do not know the nationality of Asians, and they randomly find some people to play special roles. The protagonist of "Ninja Assassin" will find the Korean Rain to play the role. This is intolerable for the ninja, a warrior class who pays attention to blood. There is a big gap between the temperament of Koreans and Japanese anyway. The tenacity and ruthlessness in the bones of the Japanese, and some are just the ruthless eyes of the Koreans. It seems a little inappropriate to let Jon Foo come to evolve the perverted Mishima family's Jin Kazama. First of all, the three generations of the perverted Mishima family kill each other, and everyone is abnormal; and the father, Mishima 18, interprets it more closely. On the other hand, the grandfather Mishima Renhachi and Kazama Ren himself were shown very righteous and untruthful. Going a little further, for example, "Memoirs of a Geisha" asked Zhang Ziyi and Michelle Yeoh to play Japanese geisha, which I think is a very unsuccessful move. Zhang Ziyi possesses a series of virtues such as Chinese women's patience and intelligence, but does not have the water-like gentleness of traditional Japanese women; Xu Zhimo once used water lotus to perform the gentle side of traditional Japanese women, so you might as well experience this metaphor. Furthermore, the director showed more of the combative, brutal or perverted side of Japanese culture, but not much of the Japanese aesthetic and polite side. Even if there is a relatively large-scale performance, it seems to be too much, and it is said that it has the nature of "pretend". "The Last Samurai"'s great praise for the Bushido spirit actually has a step that goes to the extreme - watching the horses rushing through the guns, I feel that there is an element of child's play in it - this is a kind of cultural misinterpreted. If death is the final destination of a samurai, then death should be death for honor, not death for death, which is meaningless. In Benedict's "The Chrysanthemum and the Sword", the research on the Japanese dual character is more detailed, and it is believed that the Japanese's reason and belief are inseparable from their Bushido spirit. In the book "Bushido", Nidoto Inazaki also has a detailed study and definition of Bushido itself. All that is shown in the movie is just a few bits and pieces of rotten fur.
In the end, the Japanese or Chinese elements that are randomly used in the film are really hard to laugh at. In "Tekken", the gossip boxing played by Ren Kazama's mother and his girlfriend is really bad, and Ren Kazama is still saying that I think your movements are very good. The yellow-skinned lady who plays Jun Kazama (seems to have Indian blood) is too far from the setting of the game itself, IMHO, she is too ugly. I don't know if the director thought that just looking for a yellow-skinned actor would have an oriental sensibility, or if there were differences in the aesthetic concepts of Eastern and Western people. The ability of ninjas to be invisible at will in "Ninja Assassin" seems to be a little exaggerated, which seems to be the stealth armor that distorts the light in "Crysis". The famous Japanese ninja movie "Koga Ninjutsu" has more descriptions of weird ninjutsu, but it is a legendary movie, similar to the Chinese martial arts movie flying in the sky. "Koga Ninja Post" can better satisfy the audience's freshness, and it actually serves this purpose. "Ninja Assassin" is based on modern society, not a superpower film, nor a sci-fi film. The manifestation of ninja abilities should tend to be restrained.
There are some logical problems in it. The first is that the protagonist can't be beaten to death, and he will stand up immediately after being seriously injured. Rain and Jon are like this. Secondly, from the analysis of fighting skills, both of them have made many fatal mistakes and were knocked down by their opponents. After that, the victory is basically determined, because the difference in strength between the two is too big, and this gap needs to be made up in the usual hard training-Rain and Jon not only can't be beaten to death in the movie, but they can immediately absorb experience and quickly salt fish. roll over. My deepest influence is the final battle between Rain and his master, and the two ends of the bloody battle between Jon and his father. The injuries they suffered were not too heavy, and the physical strength consumed was not too big. They even exploded in an instant, killing powerful enemies by leaps and bounds. Thinking of this, I am speechless.
I've written critically about The Mummy 3 before and thought about cultural profanity. In these two films, the director should have no blasphemous and wanton thoughts, trying to realize something to give the audience a visual enjoyment. The randomness and softness of various elements actually give people an uncomfortable feeling of chaos, and the final hybrid product does not represent the blending of cultures. The blending of cultures should be based on practical matters, with emotion as the main link, differences as the main breakthrough, and various cultural elements as secondary aids.
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