因为玛雅人历书的页数限制原因,2012年鬼使神差地成为一个特殊的年份,末世情绪似有若无地飘荡,或轻于鸿毛,或重于帝都的雾霾。不过无论世事如何变迁,风云如何变幻,“中国电影”自有始终如一不变的特征——“搞不懂”。惟其如此,笔者才斗胆敢动笔写这篇带点魔幻现实主义色彩的荒唐文,所谓画鬼最易。恰好2012年有一个文化事件给中国人带来莫可言状的自豪感,作家莫言因以“魔幻现实主义融合了民间故事、历史与当代社会”而获得诺贝尔文学奖。离莫言最近的民间故事应该是“鬼故事集”《聊斋志异》,早在那些带着山东高密口音的文字最终被瑞典文学院认可之前,莫大师就出版过一本《学习蒲松龄》,来汇报他从民间“鬼故事”中汲取的汩汩不绝的养分。铺垫到这个份上,忽然想起另一个给中国人带来莫名其妙自豪感的李安大师在关于《少年派的奇幻漂流》接受台湾 Due to the limited number of pages in the Mayan almanac, the year 2012 has become a special year. The end of the world seems to have wandered, or lighter than the feathers, or the haze of the imperial capital. But no matter how things change, how the situation changes, “Chinese movie ” has its own unique characteristics - “do not understand ”. Only in this way, I dare to dare to write this absurd essay with a little magical realist color, the most easy to draw the ghost. Just in 2012, a cultural event brought unspeakable pride to the Chinese. Writer Mo Yan won the Nobel Prize for literature because of his combination of “folk realism, folklore, history and contemporary society.” Folk stories from Mo Yan recently should be “Ghost Story Collection ” “Strange Tales”, as early as those with a Shandong dense-key accents eventually recognized by the Swedish Academy of Arts, Master Mo published a “Pu Song ”To report on the endless nutrients he learned from folk“ ghost stories. ” Mattress to this part, suddenly remembered another to bring some inexplicable pride to the Chinese people, Master Ang Lee on the “faction drifting fantasy” accept Taiwan