DATE

6/25/25

TIME

1:39 AM

LOCATION

Oakland, CA

A Revisit to Cultural Revolution: Preface

十年文革:前言

#1:该如何合理的理解这个事件,又该如何讲述这个事件,我思考了很久。窥探这段过去总带着一种站在暗处偷偷揭人伤疤的意味:我没经历过,我也没管伤疤想不想被揭,我只是觉得需要被看到、需要被揭开,至少我需要。我需要理解,我想要理解,我不可能不理解。

今年之前,我似乎都没有认真的考虑过我从哪里来这个问题,但我一直反复思考我为什么在这里这个问题。我为什么在这里?为什么不在家里?为什么所有人都想让我待在这里?好像只有我一人不想。这是为什么?似乎问题的更重要之处不是我为什么非得在这,而是我为什么不能在那。

从主观的角度来说,答案很明显:我讨厌那个地方,我就没喜欢过除开和我有直接接触的、很小一个范围的半径里的交往人群。即便是这个人群里,让我真正感到自在的人们也是很小一部分,并且在逐渐消散。而出开这个小半径的所有事情,都让我感到恶心反胃,不想知道、不得不知道,一直睁一只眼闭一只眼。所有的clue就在手边了、也并不想把它们拼起来,得个结论。既然结论不是我想要的,那就别得出了。

但人生的母题之所以被称为母题,是因为它是避不开的。我猜我出生的时候这些题目就都默默地埋在我的未来了,只有我解决这些母题的时候,我才能真正的走到下一阶段。既然逃不过,那就干翻它吧。

在中国上班的时候,我总是因为“处理不好人际关系“而被各种投诉的同时,也有很多帮我说话的人。我并没有不会处理人际关系,我是无法处理。不管怎么做,都是错的,或者都是对的。跟我的行为无关,跟我的主观意愿无关,跟我的intention无关,完全在于接受方。我根本没有办法不让人产生想法、误会,其他时候却是不管我怎么说、怎么做,都不会被误会。两者的不同是云泥之别,其实没有误会,误会都是刻意。

那时候我理解了,那躲不过,就碾压它吧。到现在也是我的座右铭,目前为止、works fine。


#2:既然我要碾压,就只能全情投入了。事实上,我很享受对任何复杂事件的全情投入,虽然目前来看,还只限于我的能力可以理解的范围内的复杂事件。这样的事件牵扯的因素往往较多,因素与因素之间相互作用,点连成线、线连成网,牵一发动全身。观测时往往开始只能了解到事情的一角,或是事件里信息密度、接受被作用力最大的点,反过来分析周边环境、其他因素、前行的历史原因等等,才能慢慢展开事情全貌。这个过程往往耗时耗力,还不能一直推进,需要不断的停下来,marinate, self-correct。文章与文章之间的留白我都在思考,产生新的理解、想法、方式、策略,来tackle这个命题。

发现的过程也是自我暴露的过程,书写的文字也只是我的观点和视角,which actually tells you who I am more than who they are。这彩蛋过程,往往在我返回过去读自己写的东西时候才能了解到,也是很有趣的自省的方式。或者到这个年纪,说实话无法自省了,顶多对自己说句”喔,我是这样的,我知道了”,改进什么的,恐怕已经不如完全的embrace自己的特质,把特质发挥到极致来的有效。

既然绕不过,那就碾压它吧。


#3:成为美国人的过程让人感到很困惑。我总觉得我还刚来,但转眼也快15年了。中间离开了又回来,回来了又离开,反反复复。好像人生中其他事情也是如此,反反复复,总以为可以绕开,其实绕不开。现在我逐渐接受,who am I kidding? 除了这里,我没有其他地方可去。不管想不想承认,这个地方已经对我产生了极大的改变,这种改变是不可逆的,虽然当时的我并不知道。我年纪太小,我不知道,这个决定意味着什么。只不过是去看看,只不过是逃离一下,只不过是读个书,只不过是试试不同的东西、几乎所有东西,只不过是离开几年,变成十几年。

skype还有,打电话需要电话卡,微信刚抄袭chatbox,我讨厌自己、人生、世界。我的双相还没被确诊。被问吃狗吗,哪来的,吃辣吗,去哪读书。到了大学还是,哪来的,学啥的,为啥学这个,之后干嘛,回国吗。突然过了某个节点,人们开始拒绝跟我说中文。不完全是别人的错,大学的时候,我几乎没怎么使用过母语,不是因为不想,是因为真的没机会。South Tahoe High School全校有2位亚洲人。Ohio很白,据说现在国际生越来越多了,但之前所有的中国人都在商学院。我学希腊神话,因为有人告诉我是水课,发现原来原来完全不是,至少对我来说不是,我完全没听过这些神话,而且荷马史诗不好读。我学心理学,全专业也没几个外国人。看书看不懂,也只能去问老师,还好老师关照有加,可能跟我有些天赋也有关。但我的天赋一直是理性的,不是直觉的。直到最近我才开始慢慢学会使用直觉,好用,直接跳到结果,中间的推演全都省略了。

我的意思是,过了某个节点,人们拒绝开始认为我是中国人。但如果我不能跟他们说我来自中国,我能说哪?我也不知道。这些天我开始慢慢了解我可能只能待在加州,而且我想做的事也许只能在这里做成,也许我这个人只有在这里才能对我自己来说make sense,不是压抑的、破碎的、迷茫的,而是外放的、全情生活、自在的、没方向也无所谓的。

现在又进入了一个新的阶段,就是连中国人也不想跟我说中文了。这到底是几个意思,我不懂。在生活中碰见的中国人,百分之百会跟我说英文,除非我强行切换回去。即便是在中文语境下认识的人,也逐渐开始不如你说英文吧。怎么着,我每天坚持中文写作和阅读就这么被浇灭热情(笑)。

我知道我说中文的时候现在逐渐有些过于不符合寻常语境,可能我整个人都没什么语境,就是脱线的。但那只是假象,我非常的下沉。沉到你看不见。你不知道你在看什么,你只看到了我让你看的。哈,这不是很有趣吗?

但另外一个想法是,是不是这些人暗恋我啊,非得知道我美国的那一面是啥样的,还是咋的。是这种跨文化、思想上的混血让人很turn on还是怎么的,别消费我。我想说啥说啥。


#4:文革的事情下次再说。今天先碎碎念。

#1:

How to reasonably understand this event, and how to tell it — I’ve thought about it for a long time. Peeking into this past always carries a sense of secretly exposing someone’s wounds from the shadows: I didn’t live through it, I didn’t ask whether the wound wanted to be uncovered, I just felt it needed to be seen, needed to be opened — at least I needed it. I need to understand. I want to understand. It’s impossible for me not to.

Before this year, I don’t think I seriously considered the question of where I come from, but I’ve always repeatedly thought about why I’m here. Why am I here? Why not at home? Why does everyone want me to stay here? As if I’m the only one who doesn’t. Why is that? Maybe the more important question isn’t why I must be here, but why I cannot be there.

From a subjective point of view, the answer is obvious: I hate that place. I never liked it — except for the very small radius of people I had direct interaction with. Even within that group, the ones who made me truly comfortable were very few, and they’re fading. Everything outside that small radius makes me feel disgusted, nauseated. I don’t want to know it, but I have to. I keep one eye open and the other closed. All the clues are already at hand, and I don’t even want to piece them together, to reach a conclusion. Since the conclusion isn’t what I want, then let’s not have a conclusion.

But the reason a life motif is called a motif is because it cannot be avoided. I guess when I was born, these questions were already silently buried in my future. Only when I solve them, can I truly enter the next phase. Since I can’t escape it, then I’ll crush it.

When I was working in China, I was constantly being complained about for “poor interpersonal skills,” while at the same time many people spoke up for me. It wasn’t that I couldn’t handle relationships — I couldn’t. No matter what I did, it was wrong. Or it was all right. It had nothing to do with my actions, nothing to do with my intentions. It was entirely up to the receiver. I had no way to prevent others from making assumptions or having misunderstandings, and other times, no matter what I said or did, I would not be misunderstood. The difference between the two is like night and day. In fact, there were no misunderstandings — the misunderstandings were deliberate.

That’s when I understood: if you can’t dodge it, crush it. That’s still my motto today. So far, works fine.


#2:

Since I want to crush it, I have to go all in. In fact, I really enjoy diving into any complex event — though so far, it’s limited to events within the scope of my ability to comprehend. These events usually involve many factors, with interactions between factors, points connecting into lines, lines into webs — pulling on one part affects the whole. At the start, you usually only grasp one corner of the matter, or the point with the highest information density or external pressure. Then, by analyzing surrounding environments, other factors, and historical causes, you can slowly unfold the full picture. This process often takes time and energy, and can’t be pushed forward constantly. It needs frequent pauses to marinate, self-correct. Even the blank spaces between articles are times when I’m thinking, generating new understandings, ideas, methods, strategies — to tackle this question.

The process of discovery is also a process of self-exposure. The words I write only reflect my own perspective and views, which actually tells you who I am more than who they are. This easter egg-like process is often only revealed when I go back to read my own writing later — it’s a fun form of self-reflection. Or maybe at this age, to be honest, I can’t “self-reflect” anymore — at most I tell myself, “Oh, so that’s how I am. I get it now.” As for improvement — maybe it’s more effective to completely embrace my traits and take them to the extreme.

Since I can’t dodge it, then I’ll crush it.


#3:

The process of becoming American is confusing. I always feel like I just arrived — but it’s been almost 15 years in the blink of an eye. Left and came back, came back and left, over and over again. Seems like everything else in life is the same way: again and again, thinking I can dodge it, but I can’t. Now I’m gradually accepting: who am I kidding? Other than here, I have nowhere else to go. Whether I want to admit it or not, this place has changed me deeply. The change is irreversible, even though I didn’t know it at the time. I was too young. I didn’t know what that decision meant. Just going to take a look. Just running away for a bit. Just going to study. Just trying something different — almost everything different. Just leaving for a few years. And that turned into over a decade.

Skype still existed. Phone calls needed calling cards. WeChat had just copied Chatbox. I hated myself, life, the world. My bipolar hadn’t been diagnosed yet. People asked if I ate dog, where I was from, could I eat spicy food, where I was going to school. In college, it was still: where are you from, what are you studying, why this, what are you going to do after, going back? Then, at some point, people stopped speaking Chinese to me.

It wasn’t entirely their fault. In college, I hardly used my mother tongue. Not because I didn’t want to — I simply had no chance. South Tahoe High School had only two Asian students. Ohio was very white. I’ve heard there are more international students now, but back then, all the Chinese students were in the business school. I studied Greek mythology — someone told me it was an easy class. Turns out it wasn’t — at least not for me. I had never heard those myths. The Homeric epics were hard to read. I studied psychology. There weren’t many foreigners in that major. I couldn’t understand the readings, so I had to ask the professor. Luckily, they were supportive. Maybe I had some talent. But my talent has always been rational, not intuitive. It’s only recently that I’ve started learning how to use intuition. It’s useful. You jump straight to the result. Skip all the in-between logic.

What I mean is, at some point, people started refusing to see me as Chinese. But if I can’t tell them I’m from China — what can I say? I don’t know. Lately I’ve started realizing maybe I can only stay in California. Maybe what I want to do can only be done here. Maybe I, as a person, only make sense to myself here — not repressed, not broken, not lost, but expressive, fully living, at ease, and okay with having no direction.

Now I’ve entered a new phase: even Chinese people don’t want to speak Chinese to me anymore. What’s that supposed to mean? I don’t get it. Every Chinese person I run into speaks English to me — unless I forcibly switch. Even people I met in Chinese-speaking contexts are gradually saying: maybe just speak English. So what, my daily Chinese writing and reading gets extinguished like this? (lol)

I know when I speak Chinese now, it’s starting to sound out of context. Maybe I, as a person, just have no context. I’m disjointed. But that’s just the surface. I’m extremely grounded. So deep you can’t see. You don’t know what you’re looking at. You’re only seeing what I let you see. Ha — isn’t that fun?

But here’s another thought — maybe these people secretly have a crush on me? They just have to know what my American side is like? Is it this kind of cross-cultural, intellectual mixedness that turns people on or what? Don’t consume me. I’ll say what I want.


#4:

I’ll talk about the Cultural Revolution next time. Today is just for rambling.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。