A heated discussion among Chinese filmmakers about Japanese films, particularly war-themed ones, highlights a perceived contrast in storytelling styles. While appreciating the technical skill and spirit displayed in Japanese works like 山本五十六 and 啊!海军, the discussion reveals a frustration with a perceived lack of grand narratives within Japanese cinema. This article explores the potential reasons behind this perceived difference, suggesting that the focus may not be on epic scope, but rather on nuanced character development and a unique cultural perspective.
The recent exchange among Chinese filmmakers, including the "super genius" and his colleagues, reflects a common sentiment within the industry. They admired the Japanese films 山本五十六 and 啊!海军, praising their technical aspects and the apparent "spirit" of the Japanese, referencing the concept of Bushido. However, a sense of frustration emerged regarding the perceived lack of grand narrative, a feeling echoed in the repeated exclamation: "We can't seem to make something like that!"
This perceived difference in storytelling approach raises several questions. Is it a genuine lack of grand narrative in Japanese cinema, or is it a misinterpretation stemming from differing cultural values and priorities? Japanese cinema often prioritizes character-driven narratives, exploring the internal struggles and motivations of individuals within a specific context, rather than focusing solely on broad historical events. This nuanced approach might not resonate with those seeking sweeping historical epics.
The reference to "Bushido" as "political" highlights a critical point. The discussion suggests a cultural difference in interpreting historical context. Japanese narratives might focus on the complexities of individual choices within a larger historical framework, without necessarily resorting to a simplistic "grand narrative" that emphasizes external conflict and sweeping victory or defeat. The concept of Bushido, rather than being a purely martial ideal, could be interpreted as a deeply personal philosophy that shapes individual actions within a specific social and political landscape.
Furthermore, the filmmakers' reaction to their own perceived limitations – "we are also the Combined Fleet!" – reveals a desire for a similar level of cinematic impact. This desire to create a comparable grand narrative stems from a need to portray a similar sense of national pride and resolve on the screen.
Ultimately, the discussion reveals a need for a deeper understanding of cultural differences in storytelling. The perceived "small-mindedness" of Japanese narratives might not stem from a lack of ambition, but rather from a different approach to storytelling. Japanese cinema might excel in exploring the intricacies of human experience within a given context, while Chinese cinema might prioritize broader, more sweeping narratives that emphasize national pride and historical significance. The key takeaway is that diverse storytelling styles exist, and each has its own unique value. The true measure of a film's success lies not in its adherence to a pre-defined notion of grand narrative, but in its ability to engage, provoke, and resonate with audiences on a deeper level.
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