Question: Which film has the director who died later, Spring In A Small Town or Cannibal Tours?

Knowledge 1: Cannibal Tours
Cannibal Tours is a 1988 quasi-documentary film by Australian director and cinematographer Dennis O'Rourke.While it borrows heavily from ethnographic modes of representation, the film is a biting commentary on the nature of modernity.The film is also widely celebrated for its depiction of Western touristic desires and exploitation among a' tribal' people.The film follows a number of affluent European and American tourists and ecotourists as they travel from village to village along the middle Sepik River in Papua New Guinea.Most of the villages in the film are inhabited by the Iatmul people.The film shows the tourists driving hard bargains for local handcrafts such as woodcarvings and baskets, relentlessly taking photos of local people, handing out cigarettes, balloons, and perfume, viewing staged dance performances, and offering naive comments on native people living in harmony with nature.The film, too, tacks between the tourists and black- and- white photographs from the era of German colonialism of New Guinea( 1880s- 1914).With some prodding, the tourists unwittingly reveal an unattractive and pervasive ethnocentrism to O'Rourke's cameras.The tourists thus become somewhat dehumanized by the filmmaker's camera even as they themselves dehumanize and exoticize even the most mundane aspects of Sepik River life.The title of the film can be read in at least a couple of ways.At one point early in the film, a German tourist, clearly titillated, describes the bygone practice of raiding and cannibalism.He is obsessed with cannibalism, asking local men about the former practice, and snapping photos of locations where local people once practiced headhunting; other tourists also attempt to discuss the" symbolic" meaning of cannibalism.But the narrative plot of the film is to portray the tourists as the real cannibals who consume the world through their arrogance, acquisitiveness, primitivist fantasies of indigenous people, and photography( the cameras in the film double for the guns of past colonial administrators).In short, the film presents the tourists as the people driven by truly bizarre beliefs and behaviors.By contrast, the local people are represented as eminently practical and reasonable.Thus the' natives' display the rationale logic of modernity, while the Western tourists are guilty of the very irrational traits they attribute to the natives.The climax of the film is when a group of tourists, faces painted in' native fashion' by local men from one village( Tambunum), prance, dance, and assume a boxing stance to the music of Mozart.The message is clearly: we have finally succeeded in our quest for the primitive, and he is us. [SEP] Knowledge 2: Spring in a Small Town
Spring in a Small Town is a Chinese film released in 1948 and directed by Fei Mu, a director known for having great empathy for women and reflecting that in his films.The film is in black and white and its screenwriter is Li Tianji.The film was produced and funded by Wenhua Film Company, which was facing a great financial deficit while producing this film.In order to solve the financial problem, Wenhua decided to produce this film under a low budget.Therefore, the film was made with a minimalist plot and setting which required only five characters.The original print of the film is today kept at the China Film Archive. [SEP] Knowledge 3: Fei Mu
Fei Mu( October 10, 1906 — January 31, 1951), also romanised as Fey Mou, was a Chinese film director of the pre-Communist era.His" Spring in a Small Town"( 1948) was declared the greatest Chinese film ever made by the Hong Kong Film Critics Society. [SEP] Knowledge 4: Dennis O'Rourke
Dennis O'Rourke( 14 August 1945 – 15 June 2013) was an Australian documentary filmmaker.
Knowledge 1: Cannibal Tours
Cannibal Tours is a 1988 quasi-documentary film by Australian director and cinematographer Dennis O'Rourke.While it borrows heavily from ethnographic modes of representation, the film is a biting commentary on the nature of modernity.The film is also widely celebrated for its depiction of Western touristic desires and exploitation among a' tribal' people.The film follows a number of affluent European and American tourists and ecotourists as they travel from village to village along the middle Sepik River in Papua New Guinea.Most of the villages in the film are inhabited by the Iatmul people.The film shows the tourists driving hard bargains for local handcrafts such as woodcarvings and baskets, relentlessly taking photos of local people, handing out cigarettes, balloons, and perfume, viewing staged dance performances, and offering naive comments on native people living in harmony with nature.The film, too, tacks between the tourists and black- and- white photographs from the era of German colonialism of New Guinea( 1880s- 1914).With some prodding, the tourists unwittingly reveal an unattractive and pervasive ethnocentrism to O'Rourke's cameras.The tourists thus become somewhat dehumanized by the filmmaker's camera even as they themselves dehumanize and exoticize even the most mundane aspects of Sepik River life.The title of the film can be read in at least a couple of ways.At one point early in the film, a German tourist, clearly titillated, describes the bygone practice of raiding and cannibalism.He is obsessed with cannibalism, asking local men about the former practice, and snapping photos of locations where local people once practiced headhunting; other tourists also attempt to discuss the" symbolic" meaning of cannibalism.But the narrative plot of the film is to portray the tourists as the real cannibals who consume the world through their arrogance, acquisitiveness, primitivist fantasies of indigenous people, and photography( the cameras in the film double for the guns of past colonial administrators).In short, the film presents the tourists as the people driven by truly bizarre beliefs and behaviors.By contrast, the local people are represented as eminently practical and reasonable.Thus the' natives' display the rationale logic of modernity, while the Western tourists are guilty of the very irrational traits they attribute to the natives.The climax of the film is when a group of tourists, faces painted in' native fashion' by local men from one village( Tambunum), prance, dance, and assume a boxing stance to the music of Mozart.The message is clearly: we have finally succeeded in our quest for the primitive, and he is us. [SEP] Knowledge 2: Springtime in a Small Town
Springtime in a Small Town is a 2002 Chinese film directed by Tian Zhuangzhuang.The film is a remake of director Fei Mu's 1948 film and its original screenwriter is Li Tianji( Chinese: 李天濟; pinyin: Lǐ Tiānjì)," Spring in a Small Town".Though the two movies are referred to by different English titles, they share the same title in Chinese." Springtime in a Small Town" marks the return of Tian Zhuangzhuang to the director's chair, following a nearly nine- year absence since his last film," The Blue Kite"( 1993).It was funded by several production companies from China( Beijing Film Studio, Beijing Rosart Film), France( Orly Films, Paradis Films), and the Netherlands( Fortissimo Films).Unlike" Kite", which deployed a large cast, spanned decades, and carried a political message," Springtime" is a small intimate chamber- piece. [SEP] Knowledge 3: Fei Mu
Fei Mu( October 10, 1906 — January 31, 1951), also romanised as Fey Mou, was a Chinese film director of the pre-Communist era.His" Spring in a Small Town"( 1948) was declared the greatest Chinese film ever made by the Hong Kong Film Critics Society. [SEP] Knowledge 4: Dennis O'Rourke
Dennis O'Rourke( 14 August 1945 – 15 June 2013) was an Australian documentary filmmaker.
Knowledge 1: Cannibal Tours
Cannibal Tours is a 1988 quasi-documentary film by Australian director and cinematographer Dennis O'Rourke.While it borrows heavily from ethnographic modes of representation, the film is a biting commentary on the nature of modernity.The film is also widely celebrated for its depiction of Western touristic desires and exploitation among a' tribal' people.The film follows a number of affluent European and American tourists and ecotourists as they travel from village to village along the middle Sepik River in Papua New Guinea.Most of the villages in the film are inhabited by the Iatmul people.The film shows the tourists driving hard bargains for local handcrafts such as woodcarvings and baskets, relentlessly taking photos of local people, handing out cigarettes, balloons, and perfume, viewing staged dance performances, and offering naive comments on native people living in harmony with nature.The film, too, tacks between the tourists and black- and- white photographs from the era of German colonialism of New Guinea( 1880s- 1914).With some prodding, the tourists unwittingly reveal an unattractive and pervasive ethnocentrism to O'Rourke's cameras.The tourists thus become somewhat dehumanized by the filmmaker's camera even as they themselves dehumanize and exoticize even the most mundane aspects of Sepik River life.The title of the film can be read in at least a couple of ways.At one point early in the film, a German tourist, clearly titillated, describes the bygone practice of raiding and cannibalism.He is obsessed with cannibalism, asking local men about the former practice, and snapping photos of locations where local people once practiced headhunting; other tourists also attempt to discuss the" symbolic" meaning of cannibalism.But the narrative plot of the film is to portray the tourists as the real cannibals who consume the world through their arrogance, acquisitiveness, primitivist fantasies of indigenous people, and photography( the cameras in the film double for the guns of past colonial administrators).In short, the film presents the tourists as the people driven by truly bizarre beliefs and behaviors.By contrast, the local people are represented as eminently practical and reasonable.Thus the' natives' display the rationale logic of modernity, while the Western tourists are guilty of the very irrational traits they attribute to the natives.The climax of the film is when a group of tourists, faces painted in' native fashion' by local men from one village( Tambunum), prance, dance, and assume a boxing stance to the music of Mozart.The message is clearly: we have finally succeeded in our quest for the primitive, and he is us. [SEP] Knowledge 2: Springtime in a Small Town
Springtime in a Small Town is a 2002 Chinese film directed by Tian Zhuangzhuang.The film is a remake of director Fei Mu's 1948 film and its original screenwriter is Li Tianji( Chinese: 李天濟; pinyin: Lǐ Tiānjì)," Spring in a Small Town".Though the two movies are referred to by different English titles, they share the same title in Chinese." Springtime in a Small Town" marks the return of Tian Zhuangzhuang to the director's chair, following a nearly nine- year absence since his last film," The Blue Kite"( 1993).It was funded by several production companies from China( Beijing Film Studio, Beijing Rosart Film), France( Orly Films, Paradis Films), and the Netherlands( Fortissimo Films).Unlike" Kite", which deployed a large cast, spanned decades, and carried a political message," Springtime" is a small intimate chamber- piece. [SEP] Knowledge 3: Dennis O'Rourke
Dennis O'Rourke( 14 August 1945 – 15 June 2013) was an Australian documentary filmmaker. [SEP] Knowledge 4: Spring in a Small Town
Spring in a Small Town is a Chinese film released in 1948 and directed by Fei Mu, a director known for having great empathy for women and reflecting that in his films.The film is in black and white and its screenwriter is Li Tianji.The film was produced and funded by Wenhua Film Company, which was facing a great financial deficit while producing this film.In order to solve the financial problem, Wenhua decided to produce this film under a low budget.Therefore, the film was made with a minimalist plot and setting which required only five characters.The original print of the film is today kept at the China Film Archive.

Answer: Cannibal Tours