Question: Do both directors of films Spring In A Small Town and Cannibal Tours have the same nationality?

<P0-S0> The film is in black and white and its screenwriter is Li Tianji. <P0-S1> The film was produced and funded by Wenhua Film Company, which was facing a great financial deficit while producing this film. <P0-S2> In order to solve the financial problem, Wenhua decided to produce this film under a low budget. <P0-S3> Therefore, the film was made with a minimalist plot and setting which required only five characters. <P0-S4> The original print of the film is today kept at the China Film Archive. <P0-S5> 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. <SEP> <P1-S0> His" Spring in a Small Town"( 1948) was declared the greatest Chinese film ever made by the Hong Kong Film Critics Society. <P1-S1> Fei Mu( October 10, 1906 — January 31, 1951), also romanised as Fey Mou, was a Chinese film director of the pre-Communist era. <SEP> <P2-S0> Mr. Right is a 2009 British film directed by David Morris and Jacqui Morris. <P2-S1> The jointly- made gay- themed film is the debut for both directors. <SEP> <P3-S0> Poland Spring is a brand of bottled water, produced in Poland, Maine, named after the original natural spring in the town of Poland, Maine it was drawn from. <P3-S1> Today it is a subsidiary of Nestlé and sold in the United States. <P3-S2> The spring was first exploited commercially in 1859 by Hiram Ricker, owner of a nearby inn. <P3-S3> Contemporary demand is so great the brand ’s water is derived from multiple sources in the state of Maine including Poland Spring and Garden Spring in Poland, Maine, Clear Spring in Hollis, Evergreen Spring in Fryeburg, Spruce Spring in Pierce Pond Township, White Cedar Spring in Dallas Plantation, and Bradbury Spring in Kingfield. <P3-S4> Poland Spring was the top- selling spring water brand in America in 2006. <P3-S5> In 2007, the Poland Spring brand adopted a bottle using 30% less plastic, as did the other Nestlé Waters North America brands. <SEP> <P4-S0> The film is also widely celebrated for its depiction of Western touristic desires and exploitation among a' tribal' people. <P4-S1> 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. <P4-S2> Most of the villages in the film are inhabited by the Iatmul people. <P4-S3> 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. <P4-S4> Cannibal Tours is a 1988 quasi-documentary film by Australian director and cinematographer Dennis O'Rourke. <P4-S5> The film, too, tacks between the tourists and black- and- white photographs from the era of German colonialism of New Guinea( 1880s- 1914). <P4-S6> With some prodding, the tourists unwittingly reveal an unattractive and pervasive ethnocentrism to O'Rourke's cameras. <P4-S7> 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. <P4-S8> At one point early in the film, a German tourist, clearly titillated, describes the bygone practice of raiding and cannibalism. <P4-S9> 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. <P4-S10> 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). <P4-S11> In short, the film presents the tourists as the people driven by truly bizarre beliefs and behaviors. <P4-S12> By contrast, the local people are represented as eminently practical and reasonable. <P4-S13> 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. <SEP> <P5-S0> Dennis O'Rourke( 14 August 1945 – 15 June 2013) was an Australian documentary filmmaker.