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作为一部中国背景式的好莱坞标准化大制作影片,《黄石的孩子》原本是存在着双重化的困境倾向的:一种是满足于目前由于次贷危机而整体经济面临衰退的美国商业化市场的需要;另一种则是满足于身处奥运年而电影市场经济日见红火的中国观众的口味。再加上东西方文化本身的巨大势差和某些惯性的思维,因此,制作拍摄上映这样的影片是承担着很大程度的风险。《黄石的孩子》比较有效的整合了面向两端的叙事策略——“救赎”的叙事和我自身之命名为“意义的叙事”.
As a Chinese background-style Hollywood standardized production movie, “Yellowstone's Child” originally had the dual tendency of predicament: one is to satisfy the current global economic downturn due to the subprime mortgage crisis in the U.S. commercial market Need; and the other is to satisfy the tastes of Chinese audiences who are in the boom of the movie market economy during the Olympic Games. Coupled with the great potential of Eastern and Western cultures and some inertial thinking, creating a film such as this shows a large degree of risk. “Yellowstone's Children” more effectively integrates the narrative strategy facing both ends - the narrative of “Redemption” and my own name as “the narrative of meaning”.