【影評】《內景唐人街》《內景唐人街》是一部改編自榮獲2020年美國國家圖書(shū)獎的同名暢銷(xiāo)小說(shuō)的電視劇，由游朝凱精心打造，以獨特的視角展現了唐人街的日常生活與犯罪網(wǎng)絡(luò )。這部作品為我們提供了一個(gè)深入了解華人社區的窗口，同時(shí)也揭示了人性的復雜與多元。主角威利斯·吳，一個(gè)在唐人街的小房間里過(guò)著(zhù)平凡生活的普通亞洲人，他的日常生活看似平淡無(wú)奇，但他內心深處卻懷揣著(zhù)對成為功夫大俠的渴望。這個(gè)角色刻畫(huà)得生動(dòng)而真實(shí)，他的熱情和堅韌在人們眼中閃爍，讓人們看到了他內心的力量?！秲染疤迫私帧返墓适聡@著(zhù)吳展開(kāi)，他無(wú)意間成為一場(chǎng)犯罪的目擊者，這個(gè)事件改變了他對唐人街的認知，也讓他逐漸解開(kāi)了隱藏在繁華背后的犯罪網(wǎng)絡(luò )。在這個(gè)過(guò)程中，吳經(jīng)歷了許多挑戰和困難，但他從未放棄，他勇敢地面對生活的挑戰，追求自己的夢(mèng)想。電視劇不僅僅是一部描繪犯罪和暴力的作品，更是一部深入挖掘人性、情感和夢(mèng)想的作品。它讓我們看到了一個(gè)看似平凡的人如何在生活的壓力和挑戰中，找到了自己的價(jià)值和力量。這部劇的劇情設計緊湊而引人入勝，每一個(gè)細節都充滿(mǎn)了懸疑和驚險。同時(shí)，它也深入地探討了人性的復雜性和多樣性，以及我們在面對生活的挑戰時(shí)，如何找到自己的價(jià)值和力量?？偟膩?lái)說(shuō)，《內景唐人街》是一部充滿(mǎn)懸疑、情感和驚險的電視劇。它將帶領(lǐng)觀(guān)眾深入到一個(gè)看似平靜卻充滿(mǎn)暗流的社區，見(jiàn)證一個(gè)普通人如何勇敢地面對生活的挑戰，追求自己的夢(mèng)想。這部劇將讓觀(guān)眾對唐人街有更深的理解和認識，同時(shí)也對人性、夢(mèng)想和勇氣有更深的思考。在視覺(jué)效果方面，《內景唐人街》也做得非常出色。通過(guò)使用p標簽來(lái)描述電視劇的視覺(jué)效果，我們可以更好地展示出它的特點(diǎn)和優(yōu)點(diǎn)。電視劇中的場(chǎng)景設計非常細致入微，每個(gè)場(chǎng)景都充滿(mǎn)了生活的氣息和文化的韻味。同時(shí)，電視劇的攝影技術(shù)也非常精湛，通過(guò)運用不同的光線(xiàn)和角度，來(lái)表現人物的內心世界和情感變化。另外，《內景唐人街》的音效和配樂(lè )也非常出色。音效師通過(guò)運用不同的音效來(lái)營(yíng)造不同的氛圍和情感，比如在表現緊張刺激的場(chǎng)景時(shí)，音效師會(huì )運用大量的背景噪音和音效來(lái)增強觀(guān)眾的緊張感和刺激感。而配樂(lè )則更加注重情感的表達，通過(guò)不同的音樂(lè )風(fēng)格和旋律來(lái)表現不同的情感和場(chǎng)景?？偟膩?lái)說(shuō)，《內景唐人街》是一部非常值得觀(guān)看的電視劇。它不僅具有出色的劇情設計和視覺(jué)效果，還有出色的音效和配樂(lè )。如果你喜歡犯罪題材的電視劇，那么這部劇絕對不會(huì )讓你失望。我強烈推薦大家去觀(guān)看這部電視劇，相信你會(huì )從中得到很多啟示和感動(dòng)。

Jimmy O. Yang Was Stuck Playing Asian Stereotypes. Then Everything Changed. - The Atlantic

亞特蘭大對歐陽(yáng)的采訪(fǎng)，包括他的移民、好萊塢、脫口秀經(jīng)歷，和父親的關(guān)系，還聊到其他亞裔演員。

讀下來(lái)確實(shí)覺(jué)得歐陽(yáng)和這個(gè)角色很適配，歐陽(yáng)爸爸看起來(lái)也很幽默， Jimmy always asks me to be more serious about acting and take some classes,” Ouyang wrote by email. “Yet I think I am too old to learn any new tricks and prefer to be a Nepo Daddy!”

部分摘要

It was a small guest role, but he saw it as an opportunity. During his first day on set, although he had only two lines, he asked Mike Judge, one of the show’s creators, whether his character should speak with a Mandarin accent or a Cantonese one. Judge was stumped. “I just said, ‘Oh, well, which one’s more natural to you?’” Judge told me. Yang, who’d grown up in Hong Kong, worried that a Cantonese accent was too generic; American viewers might recognize it from Bruce Lee or Jackie Chan movies. Because Mandarin is more standard for official and professional contexts, it can sound more formal, and Yang thought this made sense for an ambitious immigrant like Jian-Yang. Judge told me that he now doesn’t remember which accent Yang chose; “I was just glad he was paying that much attention,” he said.

his own view of what makes for “good” representation seems somewhat different. He doesn’t think there’s anything inherently wrong with an Asian character who has a thick accent, and he doesn’t think breaking down stereotypes requires playing a kind of character audiences have never seen before. He’d be interested in a role that seemed like an Asian cliché—say, a mathematician—if it surprised him. “Is there some more interesting angle about the man?” he said. “Or is it just super one-dimensional: ‘Here’s an Asian guy good at math’?” The question he asks himself about each character now is simple: “Is it human?”

Charles Yu’s novel is structured like a screenplay, with stage directions full of character descriptions and lyrical digressions. Yu, who is also an executive producer, told me that he wrote the book in part to untangle his anxieties about the way cultural depictions of Asian people have influenced his perception of himself. “Like, Is this face lovable?” he said. “Do we deserve to be characters, let alone main characters?” He wanted the mechanics of Willis’s world to reflect Hollywood’s narrow logic about race.

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