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2026

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Updated on

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2026

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Communication Studies (ii): Edward Bernays, and How To Slow Down

传播学(ii): 慢下来

写在前面:接上篇,本文和chatgpt合作完成。


Edward Bernays(1891–1995) 出生于奥地利维也纳,幼年随家人移民美国,是精神分析学创始人 Sigmund Freud 的外甥。这一血缘关系并非轶事,而是他思想形成的关键背景。Bernays 并未接受严格的学术训练,而是在新闻、宣传与政府工作中成长。一战期间,他参与美国政府的战争宣传机构,直接见证并实践了如何通过媒体与象征动员一个民主社会支持战争。战后,他将这些经验系统化,转而为企业、政府与政治力量服务,逐步将“宣传”转译为更具中性外观的“公共关系”(Public Relations),并亲手奠定了这一行业的职业结构与方法论。他一生横跨一战、两次世界大战之间、冷战初期,既是大众社会全面成型的见证者,也是主动塑造者。Bernays 并不将自己视为操纵者或阴谋家,而是自觉站在“社会工程师”的位置上,试图回答一个在他看来无法回避的问题:当大众社会不可逆地到来时,秩序应当如何被维持。

Bernays 所谓的“冷酷前提”,并不是情绪化的价值判断,而是一种结构判断。在《Propaganda》中,他反复强调,自己并不是在指责“普通人愚蠢”,而是在描述大众社会在结构层面所面临的现实条件。现代社会的信息规模远远超出个人处理能力,金融、外交、科技、法律等领域高度专业化,任何个体都不可能真正“自己想明白一切”。因此,问题并不在于人的能力,而在于结构本身决定了判断权必然被外包、被委托给中介。

在此基础上,Bernays 区分了个体理性与群体行为之间的根本差异。他继承了群体心理学的结论:个体在某些条件下可以保持理性,但一旦进入规模化群体,行为就会迅速转向情绪化、模仿化和极化,并被象征、口号和身份认同所驱动。他关心的并不是道德评价,而是现实后果——在大众规模下,群体决策更容易失控,而不是更接近真理。

这种风险在民主制度扩张之后被进一步放大。19 至 20 世纪,选举权扩大、媒体普及、城市化与工业化同步发生。Bernays 的判断是,小规模社会可以依靠习俗、熟人网络和非正式约束维持秩序,但大众社会无法依赖这种“自发秩序”。如果缺乏统一的叙事与方向,社会将陷入情绪循环、议题碎片化与动员失控的状态。

正是在这一背景下,Bernays 提出了“Invisible Government”的概念。这一概念最容易被误解为阴谋论,但他明确指出,这并不是指秘密会议、黑箱操控或某个单一组织,而是一个在大众社会中必然出现的功能层。它不是人为设计出来的,而是在结构压力下自然形成的。

Bernays 对这个“看不见的政府”的构成说得非常直接。它并不是由政客组成,而是由一整套角色网络构成:媒体编辑与议题把关人决定什么是重要新闻以及呈现的顺序、频率和角度;专家、学者和智库将价值判断包装为“专业结论”,提供中立权威的外观;公关与传播策划者设计叙事框架,连接利益方与媒体系统;意见领袖与社会象征则将抽象问题转译为可感知形象,提供可被模仿的对象。这些人不需要串谋,只需要在同一套逻辑下运作。

这一结构真正行使的权力,并不体现在法律、警察、税收或军队等传统国家工具上,而体现在对认知边界的控制上。传统政府管理行为,而 Invisible Government 管理的是议题范围、可接受的表达方式以及“合理结论”的区间。它并不直接命令人“你必须这样想”,而是确保除此之外的想法要么不可见、要么不被当作严肃选项。

在 Bernays 看来,这一结构之所以不可避免,是因为逻辑本身是闭合的:大众无法处理高度复杂的公共事务,因此判断必须被中介;中介一旦出现,就必然形成结构;这个结构要么无意识地运作,带来混乱,要么被有意识地设计,以维持秩序。Bernays 明确选择了后者。他关心的从来不是“要不要操纵”,而是“由谁操纵、依据什么原则操纵”。

这也引出了他在书中最冷的一层立场。Bernays 多次暗示,透明本身并不会自动带来理性,反而可能引发恐慌、极化与系统瘫痪。因此,在他看来,完全意义上的“公众自决”是一种危险的幻想,民主必须被工程化,才能在大众社会中运作。

这套逻辑真正令人不安的地方,并不在于它是否“邪恶”,而在于它的解释力极强、与现代社会高度匹配,并且在实践中反复奏效。这正是冷战心理战、当代政治传播以及平台算法推荐体系,几乎天然站在 Bernays 这一侧的原因。

一句话压缩总结就是:Invisible Government 指的是在大众社会中,决定人们“如何看世界”的那一层结构。它不需要额外的合法性,因为它先一步决定了,什么会被当成合法的问题、值得被认真讨论的问题。


Bernays 的核心判断是:systematic + engineering”的舆论操作方式,并未消失,而是在当代被平台算法完整继承并自动化。他设计的是一套“舆论工程的原理图”,而今天的平台系统则将这套原理转化为可实时运行、可规模扩展的技术系统。人没有变,社会结构也没有本质变化,变化的只是执行层——从人手工操作,升级为机器持续运行。

在 Bernays 的体系中,第一步始终是议题选择。公众并不是被直接告知“该怎么想”,而是被限定在一个已经被筛选过的讨论范围内。今天,这一功能由热搜榜、推荐流和趋势榜单完成。平台并不输出结论,只是不断决定“什么值得被看见”。而那些未被推送、未被呈现的内容,在公共层面几乎等同于不存在。

第二个关键结构是第三方权威机制。Bernays 明确指出,公众不会信任直接的利益相关者,而会信任“看起来中立”的声音。因此,专家、学者、记者、意见领袖被用来为既定叙事提供可信外壳。今天,这一逻辑以更高效的形式存在于认证账号、数据话语、研究结论和内容创作者体系中。人们并非信任平台,而是信任那些被平台选中、被标注为“可信”的中介。

第三个层面是情绪优先于事实。Bernays 从不指望事实本身驱动公众行为,他强调真正具有动员力的是恐惧、愤怒、羞耻、认同与道德优越感。算法时代,这一原则被彻底量化。点击率、转发率和停留时间不断证明:最容易被传播的不是信息,而是情绪结构。算法并不判断真假,只放大那些最容易触发反应的内容。

随后是重复与节奏的控制。当同一叙事在不同账号、不同角度、不同时间节点反复出现时,它会逐渐被感知为“社会共识”。这一效果并不依赖说服,而依赖暴露频率。Bernays 当年需要协调编辑和媒体节奏,而今天,算法可以在毫秒级完成这种重复分发。

真正决定性的一步,是 Bernays 所说的 engineering(工程化)。他将公众意见视为可以被设计、测试和调试的对象,只是受限于当时的工具条件。而今天,A/B 测试、行为反馈和实时优化,使公众意见真正进入工程系统:被测量、被比较、被持续优化。舆论不再是“被引导的结果”,而是“被调参的过程”。

在这一结构下,Bernays 所描述的 Invisible Government(看不见的政府) 发生了形态转移。过去,它由编辑、专家和公关人员构成;今天,它体现为推荐算法、排序规则和分发机制。它不通过命令统治,而是通过不断把人推向“认知阻力最小的路径”来塑造共识。

最后需要强调的是:平台是否“邪恶”并不是关键。真正继承 Bernays 的,并不是某种主观动机,而是它们所处的结构位置。它们的核心功能不是宣传某个立场,而是持续优化“什么更容易被相信、被转发、被站队”。在这一点上,Bernays 发明的是方法论,算法完成的是去人为化与规模化。


算法与“真正的公众理性”是否能够共存,结论并不模糊:在现有平台结构下,二者无法共存;只有在结构被彻底改变的前提下,才存在理论上的可能性。当前的问题并不是算法“做得不够好”,而是它们被设计来优化的目标,与公众理性所依赖的条件在结构上相互冲突。

要讨论这个问题,首先必须明确什么是“公众理性”。在政治传播与公共讨论的意义上,公众理性并不等同于“人人聪明”,而至少包含四个条件:判断具有延迟性,而非即时情绪反应;关键信息不被系统性遮蔽,具备基本的信息对称;不同立场之间仍然存在可理解、可翻译的空间;情绪噪音不主导公共判断。换言之,公众理性并不是要求个体更理性,而是要求系统不惩罚理性行为。

与之相对,平台算法的真实目标函数并非“提升公共判断质量”,而是最大化参与度、停留时间与行为可预测性。在这一目标函数下,算法会自然筛选并放大高情绪强度、快速可理解、立场鲜明、易于站队的内容形式。而公众理性恰恰具有相反特征:它节奏缓慢、结构复杂、结论暧昧,并且要求更高的认知成本。这并非算法偏差,而是一个清晰的工程结果——在当前目标函数中,理性是一种劣势策略。

一个常见的误解是认为“更聪明的算法”可以解决这一问题。但关键不在算法的聪明程度,而在于算法只能优化被量化、被即时反馈的指标。公众理性最重要的维度往往是长期的、反事实的、不可即时验证的,例如一个判断是否在多年后仍然成立,是否降低了社会极化,是否增强了跨群体理解。这些指标无法进入实时反馈回路,因此在算法系统中几乎是不可见的。算法并非拒绝理性,而是结构性地“看不见”理性。

从这个角度看,算法时代并没有背离 Edward Bernays 的逻辑,而是对其进行了升级。在 Bernays 的时代,操纵共识依赖编辑、专家、公关人员与节奏控制;而算法完成了两次关键跃迁:一是将舆论工程自动化,二是将情绪反馈实时化。即便平台在主观上保持中立,只要它持续优化参与度,就会反复“发现”情绪比理性更有效。这不是阴谋,而是强化学习的自然结果。

因此,算法与公众理性的共存,只有在结构发生改变的前提下才可能。首先,算法的目标函数必须被重写,引入延迟评价、长期稳定性与去极化等指标,使理性不再在系统中自动吃亏。其次,系统必须有意识地引入“人工摩擦”,例如延迟转发、降低情绪内容的传播速度、强制暴露对立观点。公众理性需要“慢”,而慢本身在工程上是可行的,只是与商业效率直接冲突。最后,部分判断权必须回到人类制度之中,包括编辑判断、公共机构以及非市场化的议题设置。理性不是靠算法自觉产生的,而是依赖制度保护。

Preface: Continuing from the previous piece. This article was co-written with ChatGPT.


Edward Bernays (1891–1995) was born in Vienna, Austria, and emigrated to the United States with his family at a young age. He was the nephew of Sigmund Freud, the founder of psychoanalysis. This familial connection is not a mere anecdote but a crucial background to the formation of his thinking. Bernays did not receive rigorous academic training; instead, he developed through work in journalism, propaganda, and government. During World War I, he participated in U.S. government war-propaganda efforts, directly witnessing and practicing how a democratic society could be mobilized to support war through media and symbolism. After the war, he systematized these experiences and went on to serve corporations, governments, and political forces, gradually translating “propaganda” into the more neutral-sounding term “public relations,” while personally laying the professional structure and methodology of the field. His life spanned World War I, the interwar period, and the early Cold War. He was both a witness to the full formation of mass society and an active shaper of it. Bernays did not see himself as a manipulator or conspirator; rather, he consciously positioned himself as a “social engineer,” attempting to answer what he regarded as an unavoidable question: once mass society arrives irreversibly, how is order to be maintained?

What Bernays called his “cold premise” was not an emotional value judgment but a structural one. In Propaganda, he repeatedly emphasized that he was not accusing “ordinary people” of stupidity, but describing the structural conditions confronting mass society. The scale of information in modern life far exceeds any individual’s capacity to process it; finance, diplomacy, technology, and law are all highly specialized domains, and no individual can realistically “figure everything out” alone. The problem, therefore, is not human ability but the fact that structure itself determines that judgment must be outsourced and delegated to intermediaries.

On this basis, Bernays drew a fundamental distinction between individual rationality and collective behavior. Drawing directly on crowd psychology, he held that while individuals may remain rational under certain conditions, once they enter large-scale groups their behavior rapidly becomes emotional, imitative, and polarized, driven by symbols, slogans, and identity. His concern was not moral evaluation but practical consequence: at scale, collective decision-making is more likely to spiral out of control than to converge on truth.

These risks were further amplified as democratic institutions expanded. From the nineteenth to the twentieth century, suffrage broadened, mass media spread, and urbanization and industrialization advanced simultaneously. Bernays argued that small-scale societies could rely on custom, familiarity, and informal constraints to maintain order, but mass societies could not depend on such “spontaneous order.” Without a unifying narrative and direction, society would fall into emotional cycles, fragmented agendas, and uncontrolled mobilization.

It was against this background that Bernays introduced the concept of the “Invisible Government.” This concept is easily mistaken for a conspiracy theory, but he made clear that it did not refer to secret meetings, black-box manipulation, or a single organization. Rather, it described a functional layer that inevitably emerges in mass society—not something deliberately designed, but something formed under structural pressure.

Bernays spoke very directly about the composition of this “invisible government.” It is not made up of politicians, but of a network of roles: media editors and gatekeepers who decide what counts as important news and how it is ordered, timed, and framed; experts, scholars, and think tanks that package value judgments as “professional conclusions,” providing the appearance of neutral authority; public-relations professionals and communications strategists who design narrative frameworks and connect interests with media systems; and opinion leaders and social symbols that translate abstract issues into perceptible images and offer models for imitation. These actors do not need to conspire; they only need to operate according to the same logic.

The power exercised by this structure does not lie in traditional state instruments such as law, police, taxation, or the military, but in control over the boundaries of cognition. Traditional government regulates behavior; the Invisible Government regulates the range of issues, acceptable modes of expression, and the spectrum of “reasonable” conclusions. It does not command, “You must think this way,” but ensures that alternative ideas are either invisible or not treated as serious options.

In Bernays’s view, this structure is unavoidable because its logic is closed: the public cannot process highly complex affairs; judgment must therefore be mediated; once mediation exists, it inevitably forms a structure; and that structure will either operate unconsciously, producing chaos, or be consciously designed to maintain order. Bernays clearly chose the latter. His concern was never whether manipulation should occur, but who should carry it out and according to what principles.

This leads to one of the coldest layers of his position. Throughout his writing, Bernays repeatedly suggested that transparency does not automatically produce rationality; it may instead generate panic, polarization, and systemic paralysis. For him, fully realized “public self-determination” was a dangerous illusion, and democracy had to be engineered in order to function within mass society.

What makes this logic genuinely unsettling is not whether it is “evil,” but its explanatory power, its close fit with modern social conditions, and its repeated effectiveness in practice. This is why Cold War psychological warfare, contemporary political communication, and platform-based algorithmic recommendation systems all align almost naturally with Bernays’s framework.

In compressed form: the Invisible Government refers to the layer of structure in mass society that determines how people see the world. It requires no additional legitimacy, because it decides in advance what counts as a legitimate question—what is worthy of serious discussion.

Bernays’s core judgment was that the systematic and engineering-based management of public opinion has not disappeared; it has been fully inherited and automated by contemporary platform algorithms. He designed a blueprint for “opinion engineering,” while today’s platforms have converted that blueprint into technical systems capable of real-time operation and massive scale. Human beings have not changed, nor has social structure in any fundamental sense; what has changed is the execution layer—from manual human operation to continuously running machines.

Within Bernays’s framework, the first step is always agenda selection. The public is not told directly what to think; it is confined within a pre-filtered range of discussion. Today, this function is performed by trending lists, recommendation feeds, and ranking systems. Platforms do not issue conclusions; they continually decide what is worth being seen. Content that is not pushed or displayed effectively ceases to exist at the public level.

The second key structure is third-party authority. Bernays emphasized that the public does not trust direct stakeholders, but trusts voices that appear neutral. Experts, scholars, journalists, and opinion leaders are therefore used to provide a credible shell for a given narrative. Today, this logic operates more efficiently through verified accounts, data-driven rhetoric, research findings, and creator ecosystems. People do not trust platforms themselves; they trust the intermediaries selected and labeled as “credible” by platforms.

The third layer is the priority of emotion over fact. Bernays never expected facts alone to drive public behavior; he stressed that fear, anger, shame, identity, and moral superiority are the true forces of mobilization. In the algorithmic era, this principle has been fully quantified. Click-through rates, shares, and dwell time consistently demonstrate that what spreads most easily is not information, but emotional structure. Algorithms do not judge truth; they amplify whatever most readily triggers reaction.

Next comes control of repetition and rhythm. When the same narrative appears repeatedly across different accounts, from different angles, and at different times, it gradually comes to be perceived as “social consensus.” This effect does not rely on persuasion, but on frequency of exposure. Where Bernays once had to coordinate editors and media timing, algorithms now accomplish this repetition at the millisecond level.

The decisive step is what Bernays called engineering. He treated public opinion as something that could be designed, tested, and adjusted, limited only by the tools of his time. Today, A/B testing, behavioral feedback, and real-time optimization have fully integrated public opinion into engineering systems—measured, compared, and continuously tuned. Opinion is no longer merely the result of guidance; it becomes a process of parameter adjustment.

Within this structure, the Invisible Government undergoes a change of form. Where it once consisted of editors, experts, and public-relations professionals, it now manifests as recommendation algorithms, ranking rules, and distribution mechanisms. It governs not by command, but by continually pushing individuals toward paths of least cognitive resistance.

Finally, it must be emphasized that whether platforms are “evil” is not the key issue. What truly inherits Bernays’s legacy is not subjective intent, but structural position. The core function of platforms is not to promote a particular stance, but to optimize what is easiest to believe, to share, and to align with. In this sense, Bernays invented the methodology, and algorithms completed its depersonalization and scaling.

Whether algorithms and “genuine public reason” can coexist admits of a clear answer: under current platform structures, they cannot; only if the structure itself is fundamentally altered does coexistence become theoretically possible. The problem is not that algorithms are “not good enough,” but that the objectives they are designed to optimize structurally conflict with the conditions required for public reason.

To discuss this, public reason must first be defined. In political communication and public deliberation, public reason does not mean that “everyone is smart.” At minimum, it requires delayed judgment rather than immediate emotional response; the absence of structural concealment of key information; the continued translatability and mutual intelligibility of opposing positions; and the containment of emotional noise. In other words, public reason does not demand more rational individuals, but a system that does not punish rational behavior.

By contrast, the true objective function of platform algorithms is not to improve the quality of public judgment, but to maximize engagement, dwell time, and behavioral predictability. Under this function, algorithms naturally select and amplify content that is emotionally intense, quickly digestible, sharply positioned, and easy to take sides on. Public reason exhibits the opposite traits: it is slow, complex, ambiguous, and cognitively costly. This is not algorithmic bias but a clear engineering outcome—under current objectives, rationality is a losing strategy.

A common misconception is that “smarter algorithms” could solve this problem. The issue, however, is not algorithmic intelligence, but the fact that algorithms can only optimize what is quantifiable and immediately fed back. The most important dimensions of public reason are long-term, counterfactual, and not instantly verifiable—for example, whether a judgment remains valid years later, whether it reduces social polarization, or whether it enhances cross-group understanding. These metrics cannot enter real-time feedback loops and are therefore almost invisible to algorithmic systems. Algorithms do not reject rationality; they structurally cannot see it.

From this perspective, the algorithmic age has not departed from Edward Bernays’s logic, but upgraded it. In Bernays’s time, consensus manipulation relied on editors, experts, public-relations professionals, and rhythm control. Algorithms completed two key leaps: the automation of opinion engineering and the real-time feedback of emotion. Even if platforms remain subjectively neutral, as long as they optimize engagement, they will repeatedly “discover” that emotion outperforms rationality. This is not conspiracy, but the natural result of reinforcement learning.

Accordingly, coexistence between algorithms and public reason is possible only if structural conditions change. Algorithmic objective functions would need to be rewritten to incorporate delayed evaluation, long-term stability, and de-polarization, so that rationality is no longer automatically disadvantaged. Systems would need to deliberately introduce “friction,” such as delayed sharing, reduced propagation speed for emotional content, and forced exposure to opposing views. Public reason requires slowness; slowness is technically feasible but directly conflicts with commercial efficiency. Finally, some portion of judgment must return to human institutions—editorial judgment, public bodies, and non-market agenda setting. Rationality does not emerge from algorithmic self-discipline; it depends on institutional protection.



Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©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 2024, 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,24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。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©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 2024, 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,24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。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©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 2024, 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,24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。

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