Wednesday, January 18, 2012

Burn in hell, you pusillanimous shitwicks

Fuck you. Just fuck you and your ancestors.

Warning/disclaimer/whatever: to the average person, my rage will seem incommensurate to the subject matter at hand, which is censorship. But you have to understand: this shit is INSTITUTIONAL. (Fuck you for silently condescending on my usage of all-caps; it's NECESSARY HERE.) It's so ingrained that an entire generation of Chinese -- whom leaders look toward to be "soft culture ambassadors" or some shit like that -- think there's a certain way to do things, a "correct" way, and that that "correct" way is the way the "authorities" -- the history-writers of the Party -- want it. This type of mindset -- leading to institutionalized self-censorship in all its vile and sordid butchery of art and true creativity -- is going to murder this society. It will MURDER the Chinese people. And if you knew that, you too would be extremely angry, possibly even angrier than I am right now.

This article from Global Times explains exactly why Chinese film and TV suck, and why Flowers of War, as I wrote previously, could have been better:

What Qiu encountered is familiar to almost every writer in China. Faced with sometimes ambiguous regulations that are often blamed for stifling artistic creativity, some writers give up, some put up a fight, but most seem to cooperate.

I'm going to make myself very clear here. By "cooperate," what the writer really means is eat a heap of shit. A massive heap of rancid, shit-smelling, blood-streamed stool. From the rotten asshole of a Fang Binxing-like shit-eater.

COOPERATE? Here's how Wang Qiu "cooperated" (the anecdote below is about a proposed scene in a TV miniseries):

Both the Kuomintang and Japanese soldiers were weary of fighting when they agreed to a one-hour truce to bury the bodies of their comrades.

"The truce was made out of respect for the dead. Japanese soldiers treated their dead with perhaps even more dignity than we did ours," Qiu Dui, writer of the TV series Zhongguo Yuanzhengjun (Chinese Expeditionary Force), said of his motive for writing the scene set during the WWII.

"The authorities said it was humanitarianism without principle and unnecessary, and asked me to cut it," said Qiu, who was caught in a dilemma. He didn't want to cut the historically accurate scene because he felt it shed some humane light on the story, but if he didn't follow instructions, he knew his screenplay would never be approved.

"So I added an explanation for the truce, saying it was done for tactical purposes so the Chinese army could withdraw to safety," said Qiu. The revision worked and the altered scene was approved.

He changed history so that it would look like the Chinese soldiers were outwitting the Japanese, eschewing the much better scene -- both in terms of art and historical accuracy -- in which viewers might have gotten the faintest idea that perhaps not all Japanese soldiers were heartless homicidal pathological psychotic raping devils.

China's victim mentality -- its need to self-flagellate -- never reveals itself quite like in its art depicting World War II.

To that, I say: Stop it. Just fucking stop. I want you to grow up so fucking bad that here I am cursing into a FUCKING BLOGGER INTERFACE, and you JUST WON'T GROW UP. Why? Why why why?

So fuck you, General Administration of Press and Publications. If I ever meet one of you chickenshits, punches will fly.


Anonymous said...

Your gripe is probably with SARFT, not GAPP.

The Tao said...

That TOO.