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--  作者：admin --  发布时间：2013/1/30 11:28:24 --  成龙为什么攻击美国？Why Did Jackie Chan Body Slam America? 成龙在银屏上以“拼命三郎”的形象著称──为了全球数百万粉丝，他跳出窗户，撞穿墙壁，从屋顶翻滚而下。而最近他还经常表演嘴皮子上的特技，说一些不那么讨人喜欢的话。 2012 年12月10日，成龙作为嘉宾参加香港凤凰卫视(Phoenix TV)的热门脱口秀节目“锵锵三人行”(Qiang Qiang)。节目前十五分钟讨论的是成龙的最新影片《十二生肖》(CZ12)，一切似乎都很正常，但随后话题逐渐转向这位功夫英雄的爱国言论，结果引发 了部分网民的批评之声。 “锵锵三人行”的主持人窦文涛说：“他们有一些，至少是因为比如说觉得中国现状有很多他不满意的地方，但是你老说 中国现在这么这么好，他看着你就有点不顺眼。”成龙在回答中指出，虽然中国有很多问题，尤其是腐败，但中国成为世界强国的真正成功是这十几年。“你讲贪 污，全世界──美国有没有贪污？……世界最大的贪污！” 该言论被关注中国新闻的博客“豆腐部”(Ministry of Tofu)翻译成英文后，《华盛顿邮报》(Washington Post)国际事务评论员费雪(Max Fisher)撰文评价成龙的“反美主义”，质问这位电影明星“长期拥抱美国电影市场，怎能如此直率抨击美国”。 这篇文章一出，反响可想而知，后面跟着一千多条评论，在社交媒体上也引起轩然大波，大多数是指责成龙“忘恩负义”，并发誓要联合抵制他今后的影片。这与近期韩国艺人“鸟叔”朴载相(PSY)因十年前反美演出而引发的美国公众抨击如出一辙。 然而，鸟叔的失当行为与成龙的反美言论有很大不同。鸟叔十年前还没怎么出名，年轻气盛，满腔爱国热血。成龙则找不到这种借口，他世情练达，理应知道言多必失，而且他的名气足以让自己的言论通过互联网以每一种语言传播到世界各地。 那 么，成龙为什么甘愿与美国粉丝分道扬镳，让自己好不容易在美国建立起来的声誉和形象受到影响呢？他的这种言论至少可以说是轻率的。（将其言论打上“反美主 义”的标签有些过于夸张；美国人自己，比如动作演员查克?诺里斯(Chuck Norris)，也经常抨击美国文化、社会和政府方面的各种问题，有时候说得还更难听。不过，成龙说的这番话肯定会引起美国公众的反感。） 我不敢百分之百确定这里头的原因，但愿意尝试猜上一猜。 1997 年，我写过一本书，叫做《我是成龙──我的功夫人生》(I Am Jackie Chan: My Life in Action)。这是迄今为止唯一一本由他亲口讲述自己如何从一个小人物成长为国际巨星的传记。那一年，我大部分时间都陪着成龙四处奔波，一路听他讲多姿 多彩人生的奇闻轶事：父母是逃到香港来的难民，小时候去香港的中国戏剧学院(China Drama Academy)拜于占元为师，当替身演员的艰难奋斗，以及成为国际影星的坎坷之路（但后来如火箭般一飞冲天）。 然而，在成龙丰富的人生 篇章中，自始至终贯穿着一个不变的主基调：孜孜以求地自我界定。这就是为什么他从小到大用过六个不同的名字，包括陈港生、陈元楼、陈仕龙、房仕龙（当时成 龙父亲说出一个秘密，自己家族其实姓房，在战争时期改为陈）；此外，成龙的英文名也经历了从“Paul”到“Jacky”最后到“Jackie”的过程。 这就是为什么成龙身边有一个由内部人组成的紧密小圈子，外人几乎不可能突破进去；这就是为什么成龙要求自己最亲密的朋友对自己忠诚，而他也会以忠诚相待；这就是为什么成龙在1997年前是香港最活跃的文化大使，而在香港回归大陆后，现在又转变成为新中国最热心的支持者。 成 龙这种对归属感的强烈追求是由不断发生在他身上的大大小小的抛弃、分离和背叛所造成的。成龙的父母无力抚养他，从小就把他托付给一个有权力把他“打到死” 的师傅，在戏台上经过长达十载的艰辛训练后，他师傅宣布现在已经没有他们所学技艺的用武之地，把学校关掉，去洛杉矶安度晚年，而让这帮没念过几本书的徒弟 在没有成年人看护的情况下自谋生路。 在早年的从影生涯中，成龙不断受到各种各样的羞辱和打击。在功夫巨星李小龙的阴影笼罩之下，成龙发现 自己不得不模仿李小龙的银屏形象，结果不但没有获得认可，而且生存得也十分艰难。（成龙这个艺名也有“成为李小龙”的潜台词，反映出他年轻时渴望达到李小 龙那样的成功高度。） 从“百万富翁导演”罗维的枷锁中挣脱出来之后（罗维后来声称李小龙和成龙都是自己一手带出来的），成龙创造出了让数 百万影迷为之青睐的角色定位：一个普通人和超级英雄的结合体，表面平凡无奇，实则深藏不露。这种定位让成龙在亚洲市场一炮走红，成为他那个时代影响力最大 也最叫座的天皇巨星。不过，这依然不足以让他打入美国这个全世界最大的电影市场。成龙在好莱坞推出三部作品，但都不甚理想：《杀手壕》(Big Brawl)平淡无奇，《炮弹飞车》(Cannonball Run)演得像个小丑，《威龙猛探》(Protector)容易使人误解。成龙在这些影片中的角色和剧本内容都与其能力和个性不相符合。 在闯荡好莱坞的过程中，成龙与美国电影制片商和媒体有过不少交锋，给人留下或狂妄自大、或委曲求全、或种族主义倾向的不好印象，而这种印象一旦形成，就很难被扭转过来。 1998 年的《尖峰时刻》(Rush Hour)给成龙带来了梦寐以求的成功，但拍摄这部影片的过程也印证了他对好莱坞的诸多疑虑：成龙曾经私下抱怨，和他搭档的影星克里斯?塔克(Chris Tucker)在《尖峰时刻2》和《尖峰时刻3》中分别拿到2000万美元和2500万美元的片酬，外加一部分票房提成──远远超过成龙的片酬，而塔克除 了《尖峰时刻》系列之外几乎没什么票房成功之作，而且塔克不过是在影片中动动嘴皮子，而他得拖着四十多岁的身躯在每个场景中摸爬滚打。（成龙至今依然把 《尖峰时刻》系列称为自己“最不喜欢的作品”。） 因此，成龙对美国这个国家、对美国人如何对待外国人、以及对美国的价值观是有点意见的。 在这种背景下，结合他毕生追求的“组织认可”，成龙给自己贴上新中国首席宣传官的标签，宣传中国正在从底层一步步崛起，正在解决各种问题，势必能够影响世 界未来等等。由此看来，他时不时脱口而出一些冒失言论也情有可原。 2004年，成龙不满支持台独的陈水扁当选总统，说台湾总统选举让人悲 哀，是个国际笑话。2009年，他号召在中国对自由加以更多限制，说太自由就会像台湾和香港一样，变得很混乱，中国人还是需要被管的。此外，他还公开支持 中国政府的审查制度。成龙的这些言论引起中国网民的一片骂声。 不过，即使说过这些话，甚至可能正是因为说过这些话，成龙在中国的星途依然熠熠生光。《十二生肖》只不过是成龙的中等水平之作而已，但开映第一周就创下票房纪录，而且持续升温，最后总票房达到1.3亿美元，成为史上第二卖座的国产影片。 在成龙四十年的从影生涯中，如果有一件事情他很擅长的话，那就是高空落地，化险为夷。

--  作者：admin --  发布时间：2013/1/30 11:28:55 --   Jackie Chan is famous for his glorious on-camera recklessness 岸 leaping out of windows, crashing through walls and tumbling from rooftops for the sake of his millions of global fans. Recently, however, he\'s made a habit of performing a somewhat less crowd-pleasing stunt: Shooting off his mouth. The latest incident occurred last week, during an otherwise mundane interview on Qiang Qiang, a popular talk show on Hong Kong-based cable net Phoenix TV. After 15 minutes spent discussing Chan\'s latest film, CZ12 (\'Chinese Zodiac\'), the conversation turned to the action hero\'s reputation for fervent nationalism, which has prompted criticism from some on the Internet. \'Chinese are dissatisfied with many things, but you always say \'China is so good.\' Now many people on the net are displeased with you,\' said the talk show\'s host, Dou Wentao. In response, Chan pointed out that while China has many problems, particularly with corruption, its ascent into global prominence has occurred only over the last dozen years. \'If you talk about corruption, does the entire rest of the world 岸 does America have no corruption?＃America has the most corruption in the world!\' After the statement was translated into English by China-watching blog Ministry of Tofu, the Washington Post\'s Max Fisher penned a commentary on Chan\'s \'anti-Americanism,\' wondering how the star could \'square his criticism of the United States with his long embrace of the American film market.\' The article had the effect that anyone could have expected, generating over a thousand comments and a firestorm of social-media reaction, much of it decrying Chan\'s \'ingratitude\' and vowing to boycott his future creative output, in an uncanny echo of the last time a scandal erupted around an Asian pop icon\'s bashing of America. There are notable differences between PSY\'s gaffe and Chan\'s, however. PSY dropped his buzzbomb over a decade ago as a relative unknown, driven by youthful passion and the prevailing attitudes in his native country. Chan hardly has that excuse. He\'s experienced enough to know that words have power, and he\'s famous enough for his voice to carry as far as the Internet can reach, in every language in the world. So what could possibly explain Chan\'s willingness to alienate fans and risk his hard-won reputation with comments that, at the least, could be termed indiscreet? (It seems excessive to call his statement \'anti-Americanism,\' when Americans, including action stars like Chuck Norris, regularly spout far harsher charges against America\'s culture, society and government 岸 but it was certainly poorly considered.) I don\'t know for sure. But I can make a stab at guessing. Back in 1997, I wrote a book called I Am Jackie Chan: My Life in Action 岸 Chan\'s autobiography, and the first, and to this day only from-the-icon\'s-mouth accounting of his humble beginnings and rise to international stardom. I spent the better part of that year traveling with him on and off, and listening to the anecdotes of his many-colored life, from his birth to refugee parents in Hong Kong, to his Dickensian years as a foster student at Master Yu Jim Yuen\'s China Drama Academy, through his wild and woolly stuntman days, and finally his rocky (and then rocketlike) rise to global superstardom. If there was a common theme across all of these many chapters, it\'s this: Chan\'s life has been an ongoing, obsessive quest for self-definition. It\'s why by the time he was an adult, he\'d answered to a half-dozen different names, from Chan Kong Sang (\'Born in Hong Kong Chan\') to Yuen Lo (\'Yuen\'s Tower\') to Chan Sing Lung (\'Becoming the Dragon Chan\') to Fong Sing Lung (after his father let slip the secret that their true family name, obscured during wartime, was Fong); from \'Paul\' to \'Jacky\' to Jackie. It\'s why he has always surrounded himself with a tight, nearly impenetrable circle of insiders, and why loyalty 岸 to him and from him 岸 is the primary trait of all his closest relationships. And it\'s the reason why he was Hong Kong\'s most ebullient cultural ambassador before 1997 岸 and why now, after Reunification, he\'s transformed into The New China\'s most fervent public advocate. Chan\'s eagerness to belong was shaped by a history of repeated abandonments, separations and betrayals, both small and large. His parents, unable to care for him, signed him over at a tender age to a master who had the right to punish him \'even to death.\' Then, after putting Chan through a decade of harsh training for stardom on the Chinese opera stage, his teacher announced that there was no longer a market for such skills, shut down the school and retired to Los Angeles, leaving his students to fend for themselves with minimal book learning and no adult supervision. His early film years were marked by repeated humiliation and disappointment. Living in the shadow of the late, great Bruce Lee, Chan found himself forced to emulate Lee\'s stoic screen image, with unconvincing and financially disastrous results. (Even the nom d\'ecran Chan chose for himself, \'Becoming the Dragon,\' reflects Chan\'s youthful aspirations to rise to Lee\'s heights.) Breaking free from the clutches of Lo Wei, the \'millionaire director\' who would later claim both Lee and Chan as proteges, Chan created the persona that would endear him to millions: Both Everyman and Ubermensch, an ordinary joe with extraordinary abilities hidden beneath his plain surface. But while it served him well in Asia, where he became the biggest and most bankable star of his generation, it did nothing to break him through to the world\'s largest movie market, the U.S. The forays Chan made into Hollywood 岸 the dull \'Big Brawl,\' the clownish \'Cannonball Run\' films, the misguided \'Protector\' 岸 again forced him into roles and contexts that were ill-suited for his abilities and personality. And Chan\'s youthful interactions with American studio execs and members of the U.S. media during that run, which ranged from dismissive to condescending to straight-up racist, gave him a bad taste that he has never quite been able to wash away. In 1998, \'Rush Hour\' gave Chan the American success he\'d long been seeking. But his experience on the film also confirmed many of his suspicions about Hollywood: He has privately expressed resentment over the fact that his costar Chris Tucker\'s paycheck for the Rush Hour sequels 岸 $20 million and $25 million plus a portion of the gross for RH 2 and 3 respectively 岸 far outstripped what he was paid, even though Tucker has had almost no box-office success outside the RH trilogy, and even though Tucker risked little more than a case of drymouth, while Chan put his fortysomething body on the line in every other scene. (He still refers to the \'Rush Hour\' films as his \'least favorite movies.\') So Chan has a bit of bitterness about America, how it treats foreigners, its sense of value and its sense of values. Combine that with his lifelong desire to be an acknowledged and appreciated member of his \'home team\' 岸 channeled into a self-appointed role as chief evangelist for The New China, a place that is lifting itself up by its bootstraps, that\'s fixing its problems and that\'s poised to shape the future of the world 岸 and you get a formula for unpredictable blurts of an impolitic nature. In 2004, Chan called the election that gave independence advocate Chen Shui-Bian the presidency of Taiwan \'pathetic\' and an \'international joke.\' In 2009, he called for greater restriction of freedoms on China, pointing to Taiwan and Hong Kong as examples of the \'chaos\' that occurs when the people are not \'controlled.\' He has expressed support for China\'s censorship policies, unleashing angry responses from Chinese Internet users. And yet, despite, or maybe because of his verbal eruptions, Chan\'s star in China continues to rise. CZ12, by most accounts a mediocre addition to Chan\'s canon, had a record opening weekend and continued to soar, ultimately becoming China\'s second-highest-grossing domestic film ever, with over $130 million in total box office. If there\'s one thing that Jackie Chan has learned how to do in four decades of action, it\'s falling on his feet.