THE FUTURE LOOKS quietly but unmistakably Asian in After Yang. It looks that way in a lot of films, and it’s usually also dystopian, dense, and grimy, lit by neon hanzi or, in one of the most famous images in Blade Runner (and movies in general), a luminous geisha smiling down on a gloomy neo–Los Angeles. Western filmmakers who have found the details of present-day eastern cities exotic enough to repurpose them and create a sense of temporal distance have, consciously or not, made those borrowed trappings a symptom of societies becoming more callous and crowded, more foreign, while centering on main characters who invariably are not. The imagination can accommodate a shift in the cultural baseline, can even find cool in it, as long as it’s understood to signify a loss of soul.
Bu hikaye New York magazine dergisinin March 14-27, 2022 sayısından alınmıştır.
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Bu hikaye New York magazine dergisinin March 14-27, 2022 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
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