From Tom Cruise's The Last Samurai to today's Keanu Reeves' 47 Ronin, Japanese filmmakers have been catering to Hollywood and European and American audiences in a servile and contemptuous way. Politics aside, at least in the film category, everyone thinks the pros outweigh the cons. The film itself is expected to be endowed with the function of cultural dissemination in addition to being an entertainment medium, but how can it be entertaining and entertaining, and how can it be accepted by a large number of foreign audiences instead of only domestic audiences who are already familiar with the story? People, too junior. . .
This is not a Japanese film, and the 100% English dialogue has no intention of meddling in Oscar foreign language films, but it is undoubtedly more effective for the spread of culture than the occlusion of small languages. Chinese movies have also tried the model of European and American first-line movie stars + popular mainland movie stars, but please it must not be Christian Bale and the thirteen hairpins. The trouser belt expresses the historical background of national trauma. . . There are far more than 47 ronin in China, we have the Seven Heroes of the Warring States Period, the Spring and Autumn Period and the Five Hegemons! From this perspective, our previous so-called historical films could never escape the embarrassment that Chinese people who knew the story didn't want to watch foreigners who didn't know the story. . . Please remember: if the next generation of a citizen has little interest in the history of his country, then the so-called accumulation of culture is nothing more than self-obscenity like a closed country. . .
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