湘女萧萧
王书琪
一.导演、演员介绍
1.导演
《湘女萧萧》的导演之一谢飞是中国“第四代导演”的领军人物之一,也是北京电影学院的教授,学院派导演的代表人物。
谢飞,1942年出生于革命圣地陕西延安,1960年考入北京电影学院导演系,1965年底毕业并留校任教。但不久后“文革”爆发,电影学院停办,谢飞的电影事业也几近停滞。1976年,“文革”结束,政治界拨乱反正,文艺界百废待兴,谢飞至此才开始真正走上他的电影导演与电影教育之路。这两条路贯穿着他的一生,互为补充、互为促进,成为中国电影事业发展的一个缩影。
在电影导演方面,他坚持创作,获奖无数。1988年,他凭借《湘女萧萧》获法国第4届蒙彼利埃电影节金熊猫奖以及西班牙第26届圣塞巴斯蒂安国际电影节堂吉诃德奖;1990年,其执导的剧情片《本命年》获第13届百花奖最佳故事片奖、德国第40届柏林国际电影节银熊奖;1993年,其执导的《香魂女》获德国第43届柏林国际电影节金熊奖;1995年,其执导的剧情片《黑骏马》获加拿大第19届蒙特利尔国际电影节最佳导演奖……由于其在电影上的杰出贡献,他于2013年获得第四届中国电影导演协会杰出贡献导演奖,于2018年获得WeLink国际电影节终身成就奖,可谓实至名归(谢飞,尹鸿,2019)。
在电影教育方面,他先后担任北京电影学院导演系主任、副院长等职,他把中年后的大部分时间都投入到电影教育中,形成了自己的一套教育主张,摸索出了一条科学的教育之路。他强调创作实践的重要性,呼吁青年学生要具有国际交流意识。2001年,他推动策划了北京电影学院国际学生影视作品展,至今已举办十几届,成为亚洲较有影响力的国际学生电影节。
谢飞在多年的创作实践和教育实践中形成了其独特的个人风格和美学特色,他关注和同情女性命运,并思考家国命运,“他的悲剧意识中总是蕴含着温情和宽容,执著地流露出一线理想光芒”,他是一位真正的“儒者”(倪震,2006)。
2.演员
《湘女萧萧》的主演娜仁花是中国内地演员、导演、制作人,她于1962年出生于内蒙古锡林浩特市,蒙古族人,本科就读于北京电影学院表演系,后赴德雷斯顿大学进修导演专业。
娜仁花是表演科班出身,有丰富的表演经历。1976年,14岁的她因出演电影《战地黄花》而开始演艺生涯;1987年凭借电影《湘女萧萧》获第7届中国电影金鸡奖最佳女主角提名;1995年,与谢飞导演再次合作主演了影片《黑骏马》,这也是娜仁花第一次主演自己本民族题材的电影;2009年凭借电影《额吉》获得第14届华表奖优秀女演员奖和第28届金鸡奖最佳女演员奖。
【参考文献】
百度百科.娜仁花[DB/OL]. [2020-09-28].https://baike.baidu.com/item/娜仁花/22988
谢飞,尹鸿,2019.电影需要进入人性层面:对话谢飞[J].当代电影(11):22-31.
倪震,2006.谢飞:一个儒者的电影人生[J].当代电影(02):24-28.
二.电影梗概
故事发生在湘西边远山村杨家坳,电影一开始描绘了12岁的萧萧出嫁的场景。萧萧稚气未脱,天真活泼,坐在花轿里还吵着要撒尿,她睁着好奇的眼睛看着周围的一切,对自己的未来充满懵懂。萧萧只觉得婚礼是一个好玩的游戏,当了妻子的她也充满了孩子气。一开始她并没有感觉到痛苦,能吃饱穿暖,和她的小丈夫姐弟相称,相处融洽,甚至感到有些满足。她白天带着她的小丈夫玩,晚上要哄他睡觉,还要帮婆婆洗衣喂猪。
但是这种平淡满足的生活并没有持续很久。6年后,进入青春期的萧萧胸部开始发育,婆婆给她裹上了缠胸布。在一个夏夜,她听到公公和长工们谈论“女学生”的新鲜事儿,内心有一些波动,也向往女学生的生活。但公公听到她想做女学生后满脸阴沉,她马上改口表示自己不愿意做“女学生”,压制住心中那刚刚燃起的求新思辨的火花。
萧萧家有个长工叫花狗,身强体壮,幽默风趣,他喜欢萧萧,经常唱山歌给萧萧听,萧萧虽然表面嫌弃,但内心也喜欢他。一天,萧萧带春官出去玩,突然天下起了暴雨,萧萧带着春官去附近的碾坊躲雨,看周围无人便在碾坊中换起了衣服。这时,花狗闯了进来,花狗支开了春官,和萧萧大胆相爱了。
此后,他们常常幽会,尝到爱情滋味的萧萧充满了幸福。但幸福并不长久。萧萧怀孕了。她和花狗都很慌张,她想让花狗带她逃去城里,但花狗残忍地拒绝了。这时正巧村中寡妇巧秀娘与铁匠被捉了奸,按照族规,铁匠被打断了双腿,巧秀娘被沉了潭。目睹了捉奸、沉潭全过程的萧萧对自己的未来命运充满了担忧,而此时花狗却因惧怕惩罚独自逃走。萧萧又伤心又愤恨,为打掉胎儿,她使劲捶打自己的肚子,吞食香灰,都无济于事。走投无路的萧萧连夜逃跑了,但又被了抓回来,关进了库房。
此时,萧萧面临着被沉潭或被发卖的悲惨境地。后来因为父亲的怜爱,再加上族人的迷信,她逃过了死劫,住在家里。后来萧萧生了个男孩,为家族增添了男丁,她和她的儿子也被接纳为家中的成员。10年过后,春官变成一个新潮的学生,不能接受萧萧,外出求学,而萧萧那颗曾经炽热的心已被旧的生活习俗磨蚀得冷漠麻木,不久,她也像她当年的婆婆一样,为自己10岁的儿子娶来了个大媳妇。
【参考文献】
百度百科.《湘女萧萧》[DB/OL]. [2020-09-28].https://baike.baidu.com/item/湘女萧萧/8631917?fr=aladdin
三.相关获奖、报刊评价情况、颁奖辞和获奖评价
相关获奖
(未检索到报刊评价情况和颁奖辞)
【参考文献】
百度百科.《湘女萧萧》[DB/OL]. [2020-09-28].https://baike.baidu.com/item/湘女萧萧/8631917?fr=aladdin
四.评论文献综述
沈从文对于传统妇女贞洁观有不同看法,他的看法更民间、更自由,体现出他对人性的自由宽容的理解,如他散文小说中对妓女的看法,本质上是中国传统民间文化和传统礼教的差异。
电影《湘女萧萧》由谢飞、乌兰执导,于1986年在中国大陆上映,1988年在美国上映,是“第一部在全美发行的中国影片”(黎明,1988)。该电影由作家张弦根据沈从文1929年的短篇小说《萧萧》改编而成。电影基本忠实于原著,将传统叙事手法与现代审美观念相结合,围绕着萧萧短暂的青春和无法主宰的命运,揭露了封建伦理道德对人性的摧残,同时反思了中国民族精神的劣根性(小荷,1986),可以说是一次成功的文学作品的电影改编(晓瑶,1986;仲呈祥,饶曙光,1986)。
电影从“性”这个人性特殊的领域着手,通过表现性压抑,揭露封建礼教对人性的吞噬、毁灭。全片围绕着萧萧“性欲的萌动—觉醒—爆发—泯灭”这心理活动线(谢飞,乌兰,1986),既有对其抑制不住的蓬勃青春和人性闪光的赞美和歌颂,也有对其沉沦于封建礼教、扼杀人性的哀痛与谴责。电影如此浓墨重彩地表现性、将性置于如此重要的地位在当时颇受争议,很多人惊呼其“败坏道德”“污染心灵”。但正如导演谢飞所言,“性不仅仅是个生理问题,它关系着道德、文化、社会、心理诸多重大范畴,关系着我们民族精神与灵魂的构成”(谢飞,乌兰,1986),该片在表现人物性心理时不仅仅停留在物质层面,更是深入人物精神世界去探究“潜藏于人物性心理中的文化内涵及其积淀”,从而“从文化关照中反思人心”(仲呈祥,饶曙光,1986)。
因此,电影更深刻的意义在于,通过萧萧个人的命运来反思民族文化的命运,自觉承担着“再造民族魂”的时代使命(谢飞,乌兰,1986)。影片在情节安排上是一个环形结构,从电影开始时萧萧作为童养媳嫁给春官,到电影结束时萧萧作为婆婆为自己的儿子娶了童养媳,萧萧的命运似陷入一个“怪圈”的轮回,“她既是悲剧命运的承受者,又是新悲剧的酿造者”(小荷,1986)。这样一种恶性循环也暗示了中国几千年来停滞不前的内在原因——“吃人”的封建文化在人们灵魂深处代代相承、世世相袭,形成一种“超稳定结构的封闭性心态”,造成了民族历史的惯性和惰性(仲呈祥,饶曙光,1986)。正是这一深层的意蕴,使得本片从单纯的描摹个人命运上升到了文化反思的哲学高度,富有哲理,催人深省。
在艺术风格上,本片基本延续了原著的艺术风格,“运用电影手段把‘美文学’《萧萧》基本成功地再创造为‘美电影’《湘女萧萧》”(仲呈祥,饶曙光,1986)。和同样反映畸形婚配的《两家妇女》相比,《湘女萧萧》更加含蓄、温情,“以低吟浅唱的沉缓调子宣叙着麻木循环着的悲剧”(小荷,1986)。但与原作不同的是,本片加入了鲁迅式的国民性剖析和80年代社会思想运动的反思成果。因此,如果说原作对萧萧命运的描绘是一幅山水画,空灵而混沌,那么电影的描绘则更像是一幅油画,理性而深刻(李天福,孔优优,2007)。
在电影技巧上,本片“追求没有技巧的技巧表现,推崇掩藏技巧的艺术技巧”(谢飞,乌兰,1986)。本片的摄影师傅靖生同时也是著名的画家,他在拍摄过程中充分发挥了视觉造型的才能,突出了内景和外景造型上的色调对比,将苍翠明丽的湘西梯田、郁郁葱葱的青山绿水与层层灰瓦笼罩下的封闭房屋形成对照,从视觉上暗示了封建礼教对人自然天性的压抑。除此之外,影片中多次出现的周而复始旋转的石磨的造型也为各家称道,该造型生动形象地表现出“萧萧们”周而复始的人生,也承载着历史的惯性与惰性(李天福,孔优优,2007;小荷,1986;仲呈祥,饶曙光,1986)。
当然,影片在某些情节安排和艺术表现上也有一些争议和不足。其中最大的争议在于影片的结尾,萧萧没有像巧秀娘一样被沉潭或者被发卖,而是被婆家接受和宽容,有人认为这种改编太草率,是在“和稀泥”,试图将沈从文笔下的古朴湘西与80年代的启蒙思潮融合在一起(李天福,孔优优,2007;小荷,1986)。也有人赞同这样的结尾,认为“‘宽恕’是影片中最为精彩、深刻的一笔”(彭加瑾,1986),“‘沉潭’深刻,‘宽容’亦深刻”(仲呈祥,饶曙光,1986),这种宽容就像一把“软刀子”,让“萧萧们”在不知不觉中屈服、麻木,从一个被压迫者成为一个压迫者,陷入命运怪圈的轮回中,看似脉脉温情的“宽容”其实更揭露了封建道德杀人不见血的残酷本质。在艺术表现上,影片的一个明显的不足之处在于忽视了梦境,沈从文的原作有弗洛伊德精神分析的元素,两次通过“白日梦”来展现萧萧内心最隐秘的追求,但电影却忽视了这一特色,少了点韵味(晓瑶,1986;仲呈祥,饶曙光,1986)。
【参考文献】
黎明,1988.《湘女萧萧》由美商购买在全美发行[J].电影评介(04):39.
李天福,孔优优,2007.人生或若一盏沙漏——电影《湘女萧萧》的深度解读[J].电影文学(13):59-60.
彭加瑾,1986.解开人生命运圈的谜——看影片《湘女萧萧》[J].电影评介(11):8.
山骥,1986.人性的哀歌——看《湘女萧萧》札记[J].电影新作(06):89-90.
小荷,1986.宣叙另一种悲剧《湘女萧萧》座谈综述[J].电影艺术(12):18-19.
晓瑶,1986.影片《湘女萧萧》座谈纪要[J].当代电影(06):101.
谢飞,乌兰,1986.《湘女萧萧》创作随想[J].电影新作(06):85-88.
仲呈祥,饶曙光,1986.从文化反思中观照人心——《湘女萧萧》印象记[J].当代电影(06):62-67.
五.跨文化知识点
1.童娶婚及其背后的宗法观念
童娶婚是中国古代社会畸形婚配形态之一,指一个未成年男性娶一个比他大很多岁的女性或成年女子作为妻子,在童娶婚中,男性被称为“小女婿”,女性被称为“大妻子”,即“童养媳”。萧萧便是作为童养媳嫁到杨家坳的。童娶婚制大概起源于元宋,元朝后已非常普遍,直到民国初年还普遍存在,沈从文1929年创作《萧萧》时湘西的童娶婚风气还未完全消失。童养媳的原生家庭一般比较贫困,养不起孩子或者为了获得男方聘礼将女儿“卖”给男方作为童养媳。就像萧萧一样,童养媳嫁到婆家后一般与丈夫姐弟相称,相当于丈夫的半个保姆,等丈夫成年后再圆房(刘秀美,2011)。
从电影中可以看出,童娶婚制度对当事人双方并没有太大好处,萧萧的天性被扼杀,屈服于命运的安排,丈夫春官小时候懵懵懂懂,长大后不能接受萧萧,外出求学以逃避。但这种看似荒唐可笑的婚姻制度背后有深刻的伦理道德根源。在宗法社会中,家族利益至上,符合家族利益的,就是合乎道德的,个人的意志、幸福是被忽略的。童娶婚一方面符合家族的经济利益,娶个会劳动的儿媳妇能够为家族增添新的劳动力;另一方面也符合家族传宗接代的要求,孟子曰“不孝有三,无后为大”,早早为儿子娶媳妇,虽不能保证必然“有后”,但至少降低了“无后”的风险。可以看出,宗法制度下的婚姻关系,主要是为了保障家族利益,“其实质是一种个人对家族尽义务的婚姻”(陈亦愚,2010)。但这种宗法观念下的婚姻制度在新文化运动和五四运动期间遭到猛烈抨击,沈从文便对这种扼杀人性的陋习进行了“温和的批判”(姬杰峰,2008)。
2.人性与女性解放
影片的开头有一行字——“我只造希腊小庙,这种庙供奉的是人性”,这是选自沈从文《习作选集代序》中的一句话(转引自刘秀美,2011)。无论是原作《萧萧》还是电影《湘女萧萧》,关注的都是“人性”——那或闪光或阴暗,或激情澎湃或麻木不仁的复杂的人性。沈从文所强调的人性,呼应了周作人提出的“人的文学”的主张,这也是五四运动时期文学的一个核心概念。
周作人的“人学”主张提到了中国的妇女问题,其在《妇女问题与东方文明等》中说道:“妇女问题是全人类的问题,不单是关于女性的问题”,“中国妇女运动之不发达实由女子之缺少自觉”(转引自刘秀美,2011),当十八、十九世纪欧美女权运动如火如荼进行时,中国女性还处在水深火热之中,因此呼吁“妇女解放”,使更多女性觉醒。沈从文在北大旁听过周作人的课,也阅读过他的作品,因此受到其思想的影响。周作人的《妇女问题与东方文明等》发表同年,沈从文写成了《萧萧》,可以说《萧萧》是周作人“人学”观点的实践。在原作《萧萧》和电影《湘女萧萧》中,都提到了“女学生”这一群体,“女学生”代表着新思想,追求自由和解放,但乡民在提到“女学生”时都带着嘲讽和鄙夷,更突出了传统风俗的惰性之大,以及女性解放的阻力之大。
3.湘西文化所暗示的桃花源文化
【参考文献】
陈亦愚,2010.从影片《湘女萧萧》和《良家妇女》看童娶婚的文化意蕴[J].戏剧文学(11):93-95.
姬杰峰,2008.一个城乡文化对峙的文本——读《萧萧》[J].电影评介,2008(17):104+107.
刘秀美,2011.民俗与人情——论沈从文《萧萧》[J].中山大学学报(社会科学版),51(06):33-39.
六.讨论题
1.你喜欢萧萧这个角色吗?你觉得她值得同情吗?
2.本片的结尾争议很大(参考“评论文献综述”),你如何看待本片的结尾?你认为这是一个悲剧还是喜剧?
3.本片让你印象最深刻的情节或画面是什么?为什么?
4.查找资料,你认为当代中国人的婚姻观念和萧萧的时代相比发生了哪些变化?
5.你认为中国人的婚姻观念和你的国家的婚姻观念有什么不同?
Xiangnu xiaoxiao: A Melodrama from a Poetic Story
Ma Jia
Girl from Hunan(Xiāngnǔ xiāoxiāo湘女萧萧,
Chinese release: 1986; US release: 1988),
Directed by Xie Fei & Wu Lan 导演谢飞和乌兰
Xiangnu xiaoxiao is a film based on one of Shen Congwen's best short stories,“Xiaoxiao”. Usually regarded as Shen's masterpiece,“Xiaoxiao” was written in 1929,but its backdrop is set in turn⁃of⁃the⁃century western Hunan. It tells a heartbreaking story of a 12⁃year⁃old girl,Xiaoxiao,who was sold to a family,where she was married to their 2⁃year⁃old boy Chunguan. While gradually losing her patience waiting for her “toddler husband” to mature,Xiaoxiao had a love affair with a local farm laborer and soon after got pregnant. Then Xiaoxiao had to face a possible severe punishment,and even her life was in jeopardy. But the story turns out to have one of O. Henry's surprise endings. The story of Xiaoxiao refers to long⁃standing traditions and customs such as child brides,arranged marriage and brutal punishment for adultery. The film depicts the conservative though stunning pastoral environment of western Hunan,but also displays scenes of “girl students”—they could go to school and experience a certain degree offreedom,from which Xiaoxiao was forbidden. Xiangnu xiaoxiao was co⁃directed by Xie Fei and Wu Lan and released in mainland China in 1986. The film was screened at the 1987 Cannes Film Festival. In 1988,as one of the first commercial films from the People's Republic of China,it made its debut in America under the title Girl from Hunan.
Although Girl from Hunan was screened in North American cinemas in 1988,more than 30 years ago,the film is still being watched,viewed and studied,particularly in academic circles. For instance,an essay entitled “Girl from Hunan Analysis” was published in 2019,in which the author discusses hot topics such as gender issues and modernity reflected in the film. I think there are two major reasons that keep audiences enthused about the film. First of all,the film retains the theme,plot as well as the pastoral environment and exotic sentimentality of the original short story “Xiaoxiao”,which is acclaimed as Shen Congwen's masterpiece by many critics.As a result,the film has become a “best⁃selling items” in many slight different courses on Chinese culture/literature and film in western colleges. Secondly,because the multiple themes of the film have something to do with the important issues of Chinese traditions,customs,rites,folk religions,patriarchal system,civil society,female consciousness,gender bias etc.,the film has always been attractive to some critics and scholars,and even certain ordinary audiences,who are touched and would like to explore the film from different aspects.
“I only build Greek temples in which humanity is worshipped.” This epigraph shown on the screen at the very beginning of the film,is not only a strong statement about Shen Congwen's writing,but it also declares the main theme of this tale of an oppressed girl. Therefore,some reviewers treat Xiaoxiao's behavior of being willing to have sex with a local laborer as a rebellion against the inhuman custom of child marriage and the edicts of her elders. Meanwhile,others notice the kind of “happy ending” of Xiaoxiao's story and believe that Xiaoxiao's life was saved only because of “an ironic twist”; otherwise,“the oppressive tradition will continue into the next generation” (BAMPFA 1989). An audience member even quoted what an older woman said in the film,that “women are born to suffer” to show sympathy for Chinese women's suffering in the long history of feudalism (Billings 1989). A few reviewers go further and assume that the cruel death penalty of drowning adulterous women is still practised in remote villages of China even today,which indicates that during the 1980's,many Westerners still lacked knowledge of contemporary Chinese society.
Among the numerous film reviews of Girl from Hunan,there are three that stand out in my research. One is from Vincent Canby,a literary and film critic whose articles are frequently published in The New York Times. His review was the first,appearing in the NYT on March 4,1988,the same day as the film's premiere in New York theatres. Many other later reviews contain similar descriptions of the film as in Canby's article. In his comments on Girl from Hunan,he pointed out precisely that the film “is of more interest as a social⁃political document,or as ethnic cinema,than as art or entertainment.” He finished his review with some interesting thoughts: “In China,a long shot of a nude woman about to be drowned,and the film's frank acknowledgement that lust exists,probably seem more sensational than they do here”,which shows he is more knowledgeable about Chinese culture and society than many of his contemporaries(Canby 1988). Another review was written by Stanley Kauffmann,in which the author used his expertise as an experienced film critic to analyze the artistic features of the film: “The sound track is a rather crude post⁃sync job. But the two directors,Xie Fei and U Lan,show a skill in the use of Cinema Scope that makes the travelogue aspects of Girl from Hunan all the more impressive.”(Kauffmann 1988) This is the only review which I can find so far to talk about the weaknesses and merits of the technical skills in the film. The third article worth mention is “A Turn for the Better?—Genre and Gender in Girl from Hunan and Other Recent Mainland Chinese Films” by Chris Berry. Compared with other reviewers,the author obviously has a broad vision to examine Girl from Hunan,Red Sorghum and other comparable recent films from China by employing psychoanalytic theory. Through careful analysis,Berry divides all the relevant Chinese films into three types regarding the feudal oppression of women. It is just such another that Eugene Eoyang uses the same theory to explain how he finally chooses the term “Sonny” to translate Xiaoxiao's “toddler husband”—Didi in the article entitled “Freud in Hunan: Translating Shen Congwen's ‘Xiaoxiao’”.
It is interesting to see that though some film critics call their articles film reviews of Girl from Hunan,they seem to be talking about the characters,plots and themes in Shen Congwen's original short story “Xiaoxiao”. They seldom explore the differences between the short story and the adapted film—what is lost or what is added—and whether these changes make the film better or more suitable for current audiences. Take the article “Girl from Hunan Analysis” as an example. If we adopt the title “Xiaoxiao Analysis” as a replacement for “Girl from Hunan Analysis”,we can almost keep the article intact.
As suggested by my own review's title,“Xiangnu Xiaoxiao: A Melodrama from a Poetic Story”,the screen writer and the two directors did an excellent job of migrating a well—known poetic story into a melodrama. As a melodrama,the film tells a sad,even heartbreaking story,while also presenting a half⁃natural,half⁃patriarchal society with surprisingly melodious pastoral scenes and a sense of humor. It reminds us both of the inhumanity of the past and the imperfection of human beings at all times.
Discussion Questions
1.Give the class your opinion on the finale of the film.
2.Even if we treat the adapted film Girl from Hunan as the replacement of the original short story “Xiaoxiao”,we can still feel the unique power of the film. Use some scenes or plots in the film to explain.
3.Compare the artistic features in the film with the ones in Shen Congwen's short story.
4.In your mind,which is the most important theme expressed in the film?
References
1.Hsia,C. T. 1961 & 1971.A History of Modern Chinese Fiction. Bloomington and Indianapolis: Indiana University Press.
2.Canby,Vincent. 1988. “Film: 'Girl from Hunan'“inThe New York Times (March 4,1988). https://www.nytimes.com/1988/03/04/movies/film⁃girl⁃from⁃hunan.html?auth=login⁃google
3. Kauffmann,Stanley. 1988. “Stanley Kauffmann on Films” in The New Republic (Vol. 198,No. 13,March 28,1988).
4.BAMPFA,1989. “Girl from Hunan (Xiang nu Xiao Xiao)” in University of California,Berkeley Art Museum & Pacific Film Archive,Oct 9,1989.
https://bampfa.org/event/girl⁃hunan⁃xiang⁃nu⁃xiao⁃xiao⁃0
5. Billings,Thomas E. 1989. “A Girl from Hunan ⁃ A film review by Thomas E. Billings” in Google Groups (Oct 14,1989).
6.Berry,Chris. 1994. “A Turn for the Better?⁃Genre and Gender in Girl from Hunan and Other Recent Mainland Chinese Films” in Post Script,Fall 94⁃Spring 95,Vol.,14 September 1994.
7.Eoyang,Eugene. “Freud in Hunan: Translating Shen Congwen's ‘Xiaoxiao’” in Translation Quarterly,Issue 71,p53⁃67. 15p,March 2014.
8.Taylor,James. 2019. “Girl from Hunan Analysis” in Essay Typing (March 26,2019). https://www.essaytyping.com/the⁃girl⁃from⁃hunan⁃analysis/