中土不腐,楼诚不拆,黑我丞相皆狗带。
哎嘿。

七山墙是西雅图一家艺术电影院的名字。很老很小很有味道。
主要为同人翻译存放和日常看文用。

(重要事情请注意:攻受顺序严重钝感星人。斜线不表示攻受,不要问我谁上谁下,因为这种信息我不懂也不在意……)

每天250字左右龟速摸鱼的论文……

随便看看。


The black and white binarism in the anti-Japanese war discourse mirrors the black and white binarism in the Cultural Revolution. The patriotic fighters and agents fight against the Japanese invaders, who are often devoid of concrete personalities and identities; whilethe wise secluded intellectuals are tortured and prosecuted by the fanatic Red Guards, also faceless, demonized and violent without a cause. The interesting twist and reversal in these mirrored relationships shows the popular presentation of the Cultural Revolution. The political melodrama between a demonized "other" and an innocent self is most likely linked to the Socialist Realist representations of the pre-socialist past. The innocent protagonists, with their tragic endings displayed relentlessly and graphically in such simplified political melodramas, are victims, who trigger tears and sympathy from readers.

Of course, the most important reason for such identical and formulaic plots and representations infan fictions is that fan writers are lazy: while most of them or even their parents have no clear personal memory of the Cultural Revolution, they follow the formulae and conventions already established by early fan writers, who appropriate the images and descriptions from earlier fictional or non-fictional narratives that traces back to the Scar Literature immediately after the Cultural Revolution. Not surprisingly, many of these young fans do not have adequate knowledge of the certain historical periods that they set their stories in: Red Guards are treated not as self-organized young rebels but closer to a governmental institution; besides, most fan writers are not aware that most violent tortures happened only in the first three years of the Cultural Revolution, etc. We may argue that the representation of the Red Guards borrows from representations, literarily and visually, from various writings and films on the Cultural Revolution, but at the same time, such representation actually combines other collective villains available to fan audiences in popular media and literature, including, of course, Japanese invaders, and Nazi German in various Hollywood productions.  


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