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日本,既是我们曾经切齿仇恨的对手,也是我们艳羡模仿的榜样,也是我们引以为戒的对象,更是我们永不搬家的邻居。从黑船事件、甲午战争,到主动挑起日俄战争,日中战争和太平洋战争的军国日本;从明治维新、军人夺权,到战后经历了美占时代、从美外交的政治日本;从国家主导、军工为主,到倾斜生产计划、道奇计划和“已经不是战后”的经济日本;从小津安二郎、日本电影四骑士,到岩井俊二、是枝裕和以及宫崎骏、押井守的银幕日本。关于我们东边这个菊与刀、禅与色、礼与猬、序与乱彼此矛盾错乱,却又并行不悖的国度,我们不是讲得太少,而是说得太多。
Japan is both an enemy of our hatred and incitement, as well as an example of our envy and mimicry, as well as an object to which we take precaution. It is also our neighbor who will never move. From Black Ship Incident and the Sino-Japanese War to the military Japan that took the initiative in provoking the Russo-Japanese War, the Sino-Japanese War and the Pacific War; from the Meiji Restoration, the military seized power to experience post-war political Japan from the United States and from the United States; State-led, military-oriented, to tilt the production plan, Dodge and “not the post-war” economic Japan; from Ozu Yasujiro, the Japanese film four knights, to Junji Iwai, Hiroyuki and Hayao Miyazaki, Oshii defensive The screen of Japan. With regard to the east side of this country where the chrysanthemums and knives, the zen and the colors, the rituals and the hedgehogs, the contradictions and chaos between the order and the disorder, and the parallelism run counter to each other, we speak not too little but too much.