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It is another year of Hainan Island International Film Festival and another year of master class.

The first guest of the master class of the 3rd Hainan Island International Film Festival this time is the famous director Wang Xiaoshuai.

In this game called "Movies are a gaze at time."In the master class, what kind of stories and experiences will the little handsome director share for us?

What kind of "sharp" questions will young directors ask? The answers are all in the following.

■ (Director Bai Xue [Over the Spring]): Dear guests, media friends and audience friends, hello everyone!

Welcome to the master class of the 3rd Hainan Island International Film Festival.

I’m Bai Xue, and I’m glad to have the opportunity to meet you in the beautiful Sanya today.

Since the first Hainan Island International Film Festival, master filmmakers at home and abroad have been invited to share their film creation techniques and uncover the secrets behind the film every year.Exchange stories and experiences with young directors on the scene.

This year is the third year of the master class of Hainan Island International Film Festival. We welcome the film director Wang Xiaoshuai for the first activity of this master class.

Director Wang Xiaoshuai has been in the film for more than 20 years and directedThirteen feature filmsHe has been shortlisted in the main competitions of three major international film festivals in Europe for many times and won many awards.

From the first film in 1993 [Days of Winter and Spring], director Wang Xiaoshuai discovered the secret of the film.

Whether it’s [17-year-old bike] or [I’m 11], until the nearest [Forever].

He combs the time and stares at it in his works.

In the film directed by Xiao Shuai, there is his unique personal life imprint, such as carving and tracing the third-line memory.

By reviewing these memories, he re-wrote the history in which this memory lived.

Next, let’s share a glimpse of the film world directed by Wang Xiaoshuai with a short film.

Next, let’s give the warmest applause to the speaker of today’s master class-Director Wang Xiaoshuai.

Director Shuai said hello to everyone first.

Wang Xiaoshuai:Hello everyone! I didn’t expect so many people to be so grand. I’ll try my best to support me by the edge of the snow and talk to you more.

■: Director Xiao Shuai and I should call you Uncle Shi.

Because my teacher is Mr. Wang Rui, the teacher of the director department of Grade 03, and I am a classmate of your class.

I’m actually very nervous today, but I think it’s more about asking an elder. Let’s ask you questions together.

In fact, your first two films[Days of Winter and Spring]and[Extremely cold]They are all about artists. What prompted you to shoot them at that time?

Wang Xiaoshuai:This topic has been asked since the beginning of filming, and it has been talked many times.

The audience here today are all new audiences or listeners. I don’t know much about them, so I will repeat them a little.

After graduating from the Film Academy in 1989, China was still assigned at that stage.

As soon as you graduate, you will be assigned to a film factory, and then you will slowly practice and work in the film factory.

Then it is possible to direct a film many years later, which is still such a tradition.

So I was assigned after graduation.Fujian Film Studio.

I found that after I arrived in Fujian, the situation was not as good as I expected.

Because at that time, when China films reached that stage, the fifth generation was born.

The path of their growth is from small factories, and factories like Guangxi Factory and Xiying Factory stand out from the encirclement.

Directed their films that have been very classic so far.

So after I arrived in Fujian, I thought it was possible to follow the path they had taken again.

Because Fujian factory is also a small factory, in those days, people who made movies were all targeted and planned economy.

Therefore, the Fujian factory had an index for one year at that time, which meant that the film factory was allowed to make one film a year.

If you get good grades or have a lot of money or something, you may apply for the second part.

Therefore, although I was full of confidence after I went there, I felt that I had learned something from the Film Academy. I was young and had a passion for movies, so I could shoot there.

But it’s still young to think about it now, and the idea is too simple, because although there are not many people in a film studio, it only has one indicator that it cherishes every year.

Then how can it trust a young man who just graduated?

Although the fifth generation had this history at that time, it stayed for a while, followed the internship and made notes.

But later, I still couldn’t do it. I thought it might delay my youth, and then I sneaked back to Beijing alone.

After sneaking back to Beijing, I actually think of it as the first generation of drifting north. I have lived and studied in Beijing for ten years. Once I leave, I will be an outsider.

There is no place for you in such a huge Beijing.

So at that time, I thought there was no reason for me to return to Beijing. It seemed that someone was looking at you with a strange eye. You didn’t go to Fujian, so why did you come back?

In my heart, I felt that I wanted to stay in Beijing as an excuse, as if I didn’t stay here, so what should I do to prove my value, so I went back to thinking about movies.

I had two choices.

One is that I haven’t painted since I graduated from the middle school attached to the Central Academy of Fine Arts, and I can start again.draw picturesPainting was very popular at that time.

But I think what I love most is actuallyfilmSo I thought about going back to the movie.

Only if I have a movie in my hand can I prove an ID card for staying in Beijing.

It’s like Xiao Gui in [17-year-old bicycle] coming to town. I have a bicycle, and I have tools to eat before I can stay here.

How to start this first step? I have nothing, no shelter, no food, no money, just one shoulder.

What I found were our recent classmates who used to be in the Film Academy or friends who started to play in Beijing, as well as the continuous friendship between Liu Xiaodong and Yu Hong when they were in the attached middle school. My eyes can only go here as far as possible.

I have no ability to see farther through these friends.

So just take the nearest person from Liu Xiaodong and Yu Hong.

Just like when we painted, we said to be a model, you are our model, I will paint you, and I will shoot you. This was the most original idea at that time.

Just because they are painters, and then they are close to my life, the life in the middle school attached to the Academy of Fine Arts is vivid, and the first [Days of Winter and Spring] is opened.

Then I wanted to solve many regrets left by the first film, so I opened the second film, Extreme Cold.

At that time, my eyes couldn’t see through it, because the money, strength and surrounding resources were not enough for me to make a movie that seemed to be very formal.

So at that time, I said, OK, let’s do manual workshops like the new wave, and after a little work, we started the second part.

And the second part just heard a real thing that happened in 1994:

A action art killed himself, which had a great influence and spread.

Then, combined with my own mood at that time, I felt very depressed, and combined with my own mood, I made another [extremely cold].

Therefore, it is very coincidental that these two films are related to art, that is, to their own growth experience.

At the same time, it is also related to the farthest distance you can reach.

Then at that time, I thought to myself, when we filmed [the days of winter and spring], we also filmed [the extreme cold].

I often ask myself, some close friends ask me, are we calling it making a movie?

Because many students in our class love movies, they will be very excited to see the studio of this real movie.

There are elevators, lights and cameras. I think this is a movie.

And we doubted ourselves when there was nothing.

Then I also asked myself over and over again at that time, giving myself hints over and over again:

However, we may not have such a large scale, such good equipment, and no professional team to support.

But after all, I pressed the switch with the camera and turned the film, and my subject was trying to interpret my ideas and scripts, so I think this is called.shoot a film.

Just to a different extent.

Then our film is called a film of muttering, which means talking to yourself, asking yourself, and doubting yourself.

Then, at that time, you might think that you are individuals, and that you always take yourself out as if you were talking about something. This is not a movie.

In our traditional cognition, the film director and the author are behind the camera, that is, pointing the camera at the outside and shooting outside, shooting workers, peasants and soldiers, shooting society and shooting these things. This is called a film.

In particular, China’s past tradition is not allowed to take out the heart of a creator.

It means that the first time we met, I thought it was okay.

I couldn’t shoot it, so I turned the camera around to shoot myself and regarded myself as a member of this society.

I am also living, and I am also living.I have my own thoughts, and I have my own difficulties.

Under such circumstances, I began to make my own independent film.

■　After listening to it, I felt that there was something that really touched me.

I believe that every young director has a strong energy in his heart when he makes his first work, and he has to shoot that energy.

I remember reading the story of extreme cold in a magazine when I was in high school.

I actually envy that era. I was in 1984 and I was too young in the 1990 s.

But what we have actually experienced is the stage from university to early 2000 after the reform and opening up.

In fact, the whole society has tended to be stable, and I think China in the 1990s is actually a particularly fascinating period.

Wang Xiaoshuai:Right. We used to have a book calledOur eightiesWhat Acheng recalled, it evoked feelings including my own.

I think these people born in the middle or early sixties are really lucky, rare and lucky.

When our youth just began to grow, China just entered the stage of reform and opening up.

When I was young and ignorant, when my values and outlook on life began to have a little idea, I just experienced the whole decade of the 1980 s.

Nowadays, many people in that era recall the decade of the 1980s with emotion.

It is said that this may be the best golden decade in China.

In this decade, some of our elders are more mature and older than us. Some people have entered the society, are already exporting their things, and are already creating their own things.

And we are actually following behind, so we are not lucky not to be left behind by this decade.

And this decade is the past. The whole education in China came from Eastern Europe, Europe and the former Soviet Union.

In that decade, the information and ideology of Europe, Western Europe or the United States began to come in, breaking the simple dualistic ideology of Eastern Europe and the former Soviet Union at that time.

Therefore, the ten years when we were studying happened to be in contact with both sides, making ourselves look at the world like a child who just opened his eyes.

Everything broke out at that moment, so we experienced this.

After we graduated, we entered the nineties, and as you said, it tended to be flat.

However, the gap is still relatively slow, and all the enthusiasm in the 1980s, all the thoughts at that time, and all the very free and unrestrained passions at that time are still there.

Bit by bit, it has been flowing until the end of the 1990s, just in time for myself to start filming in the early 1990s.

So those things that were saved in my mind, those impulses in adolescence, those so-called self-thoughts and anger all broke out at that time.

At the same time, catching up with the society really allows all this to happen and express. I am very lucky to have experienced these two times myself.

■　: Maybe the creators who grew up in different times actually influenced you by the times.

You are also influencing some young people behind you through your works.

There is a very important period in your works.Third-line construction.

I believe that I may be a little strange to post-90 s or post-00 s or even me now.

I’m also going to look at some background information before [Green Red] today.

I’d like to hear from you what has shaped you in this growing process.

What do you want to share about this growing experience?

Wang Xiaoshuai:All people who have experienced the third line, regardless of the first generation, the second generation and the third generation, have a common emotional cohesion.

Just think we arethree linesWhen it comes to third-line people, many big structures come out.

For example, the biggest confusion of third-line people is the loss of their sense of hometown.

They left their hometown and parachuted to a place. They probably thought they could go back in a few years, but they didn’t expect to go back all their lives. The next generation was there, and so was the next generation.

In this case, the third-line person has a special emotional password.

This emotional code is linked to each other, and everyone knows about that history from food and living habits.

However, this emotional password basically exists only in the third-line people, and others don’t understand what the third-line people say to others.

Even in Guizhou, when you leave our factory and go to Guizhou, they will feel "They are those people.",after a long time even they feel very poor, only exists in this folk saying.

But when I was growing up, my parents were also third-line, and I also experienced this confusion.

I don’t know where I come from or where I belong.

In this process, I gradually became unconvinced.

That is to say, many third-line people don’t say that they have had such an experience since they began to go out slowly in the mid-1980 s, because they feel that this experience is not good for their future development.

There is also the whole information and the national level, because we all know the educated youth, the Great Northern Wilderness and the Xinjiang Corps, and we all know the big plates that have changed since the founding of the People’s Republic of China in China.

But only the third line, because it is a military enterprise, was confidential at that time.

Many of our factories have no names but code names, so a large number of tens of millions of people are not mentioned there.

So when I came out, I had a feeling in my hearta burning desire.

I want to tell others that we are from that place, that we came from there, and that so many people are still there now, and they are still experiencing a very, very special life that others don’t understand, and even after others know it, it will be incredible.

I want to express it, so this is after I was lucky enough to be a director, picked up the camera and made these movies.

In fact, deep down in my heart, I said that one day I must put something about the third line in the movie.

During the period, it has been repeated many times, and it has failed to go, and it has failed many times.

Until 2003, at that time, it was actually ten years since I first made a movie.

At that time, our top management said that China’s films were changed from a business unit to an enterprise, and then they were connected to the market and made films with things from the market.

At that time, it seemed to give me a turning point. Now you can make movies and embrace the market and this reform.

I think since I have this premise, I will do it, so I will take out the ideas and scripts that I have accumulated for many years.

At that time, [Green Red] was originally called [Good Wish], and I came based on Augustus’ feature Bergman [Best Wish] (often translated as [Good Betrayal]).

I said that this is actually what I expected so many people to go for the whole third-line branch. I really hope to give them a blessing and give them a really good wish.

I shot it at that time.

Moreover, it was very difficult at that time. I went to Guiyang several times, and I saw that the surrounding area was changing. All the buildings were rising, the roads were under construction, and all the factories were changing. I was very anxious.

At that time, China films didn’t have a good industrial system and good technical support as they do now. At that time, they didn’t.

I think if I don’t shoot it again, I won’t be able to shoot it at all, and it will be completely erased from my life, memory and the earth.

So I gritted my teeth,I find that I bite my teeth every time I make a movie, and I’m so stupid that I want to make it happen.

■: Movies have a very special function, which can record the characteristics of an era.

I think among many films, the narrative films at that time actually solidified that era.

Do you think that in your personal memory and the memory of the public, what you just said, for example, the third-line construction may be a relatively unexpanded memory.

How do you think you can find the point to communicate with the public in this process?

Wang Xiaoshuai:This is also my repeated question in making movies, and it is often mentioned.

You have to find the common ground, empathy and so on. I think it is the most basic bottom line for the success of the film, but I think sometimes you can’t find it, or it is very special.

I think of it as aSpecial filmShoot.

Movies like the third line were made at the beginning, including now. When you mention it, you will also question why you are always working on the third line. There will not be many people watching it.

I can only ignore this matter, I can only say that this matter is what I want to say, this history and this reality is what I want to express, and I have to say it.

Because I watched my parents go from a young man in his late twenties to a strange place.

I’ve been there all my life, putting my youth there, and then throwing my major aside, so I’ll live forever.

So I think people like my parents are everywhere. Our neighbors and classmates’ parents were all senior intellectuals at that time.

If they stay in places like Shanghai and Beijing, they may be able to play a better technological advantage, but after they get there, it will be very beneficial to the western region and their construction.

But it has a certain influence on their personal growth and the display of their talents, so I watched them grow old.

Now many people have died, and they are buried in the local area.

Therefore, I feel that I can’t live without such a period of history.

At that time, I also looked around. Among the tens of millions of third-line people, if I was a director, I was the only one.

If I don’t talk about it, there is no way to talk about it. Besides, I just said three. Why did I say three? Because it was not a phased thing at that time.

There are stages of educated youth. Of course, many of them have stayed in the local area, married and have children, but some of them have returned to the city after a stage.

Third-line people are not phased, they are continuous, and the first generation, the second generation and the third generation are so continuous.

Don’t say three movies, I can continue if it is possible now.

Because our generation has become fathers and their children are growing up, when I went to communicate with them, I found that filming them is also a completely new understanding of the third line.

Now you ask him where you are from, and 100% of these grandchildren who are teenagers now look at you with their eyes fixed on you.

After you asked this question in the past, he couldn’t answer it at all. His eyes were looking for his parents and his grandparents to confirm how to answer this question. I will do it again when I have the chance.

■　I find this particularly interesting.

Because I was also a very small social group when I spent the Spring Festival, that is, cross-border schoolchildren.

When I ask them where they are from, their eyes will indeed dodge. I think every individual is branded with an era.

So I think in this issue, it is both personal and contemporary.

So maybe the characters you wrote lived in the background of that era.

So he will definitely bring out the whole big thing.

Talk about your recent new works.[Forever and ever]This work is actually a very time span, a span of thirty years.

It is said to be the first part of your homeland trilogy. How do you define homeland in this movie?

Wang Xiaoshuai:After the third line was finished, the biggest problem was in front of me.

I’m going down. Yes.How to createBecause I can keep an impulse to make a movie when I was at the beginning, when I was the youngest, or I will make a movie with impulsive and exciting themes.

I can cut in from any level of this society.

But slowly with the passage of time, my age grew up little by little.

After everything and seeing everything, I think I may still need to put my eyes down.

I still want to have a chance to talk about the history beyond the third line and all that we have experienced in Chinese and ordinary Chinese.

Otherwise, I may not be so young at a certain level in a certain section, and my eyes can be set farther, unlike at first I can only see my close relatives and friends.

Now I can see farther and think farther, so I decided to do the next trilogy.

Of course, call.Home trilogyThe words are also about the concept of Chinese, our hometown, our land and our identity.

These are the experiences of ordinary people in Chinese.

Maybe young people don’t know much about it now, but from the forties, fifties and sixties, these people grew up in this way, and everyone bears the brand of the times.

■: Including me, I am equal to my parents who came to Shenzhen in the early 1990s.

So when I arrived in Shenzhen at the age of six, I was a little skeptical when I asked where I was from.

Wang Xiaoshuai:I don’t agree with them when they say home country. I don’t have so many feelings about home country. I just said that I still focus on our ordinary family.

Because I think that individuals form a family, and the family will eventually become a country, which is the most basic cell and element.

So I focused on them.

Although it seems to be described as a big history and epic by others, in fact, it still doesn’t leave me the earliest. I am staring at a few people and a group of people to express it like this.

Moreover, this expression is really going to break away from the third line. Although I still run a factory, I didn’t emphasize that it is the third line.

Because I know what I saw, in fact, many, many similar things happened in China besides the Third Line.

For example, our steel works in Baotou and Shanghai Steel Works in Wuhan, in fact, there are many people supporting the whole country, and they also left their hometown to live in a new place.

This kind of environment was magnified by me and I continued to pay attention to it.

About [Forever], the main thing is the loss of children or family planning. If we only talk about it for a while, in fact, there are such movies in China.

Those who have lost their independence and are looking for children, but I don’t think this is enough. It may not be enough for me to make such a thing again.

I need to enlarge it. I have ambition to enlarge it to the historical background of China until now to see how our ordinary Chinese survived and how it survived.

This ambition has promoted this[Forever and ever].

In 2015, I heard a news. I was fine in my room that day. I don’t know where a news voice came from, saying that family planning had stopped. Now I can have two children and three children, and it’s over.

It seems that such a simple news has not stirred up any waves in the society, and there is no response.

But I was stupid in my room at that time. Can this thing be changed? Can it be changed?

We have been used to it for decades, and suddenly it changed. At that time, I was reminded that this matter should be mentioned.

■: I am very much looking forward to the second part of your home works.

Many of you here today are young creators, and I believe that one of you will want to know more about your creative path.

At the very beginning of your creation, of course, sometimes you may start from your personal experience.

But maybe slowly you will change from the first person to the third person to see the world.

I really want to know the origin of your creative process, and sometimes what motivates you to move forward.

Wang Xiaoshuai:From a conceptual point of view, I always feel that we should keep a particularly sensitive, fragile and soft heart, because only in this way can you feel all the changes that have taken place in this society.

If you are tough, if you do something, and you don’t care and think about anything, you may miss something that touches you or touches you.

So I think to make such a movie, we must first have a very soft heart to touch and feel, feel those anger, thank those unfairness, and thank these ordinary people for their helpless or very helpless eyes.

These things will touch you, and then you can find out how to get close to them, how to cut in from their point of view, and think about this problem.

In addition to these basic things, you have to pay attention to reality, that is to say, you are aware of everything that happens in this reality.

Originally, we relied on newspapers and TV, and now we even rely on Tik Tok or even some short videos or some friends to spread.

These things will remind you, and they will find you a possible exact point to go in. Maybe you have a big direction, and you have to find the exact point of the story, just like I did [Forever].

I was stupid when I heard the news. It was a moment. Without this news point, you might have lost your feelings about Chinese’s policy from the late 1970s to the 1980s and our life style was like fish in water.

I feel that everything is normal, and when it comes to an abrupt end, you find that it is a thing, which may touch your anger, thinking, reflection and creative impulse.

■: I think that in many cases, especially after you have experienced China movies, there are actually several specific different stages.

Then your work is equivalent to actually expressing concern for individuals, especially now, after all, movies have a commercial attribute.

Do you think you will sometimes think about how to balance it, or do you think this problem need not be considered from this angle?

Wang Xiaoshuai:This kind of thing is also asked the most, and many people who are engaged in this film will also think a lot.

However, I think this aspect of the problem should actually be considered by switching the angle of the point of thinking to it.

It is not unified.

For example, from the perspective of creation, you create this type of film or a little bit of film that you think is a little thoughtful or a little personal. In fact, you do it from this perspective.

Then you don’t need to make it think about the question you just asked.

If I really think about this issue from the perspective of a film industry, then it must take into account the industrial side of the film, the market side of the film, including the actors.

After I play this role, he will also think about what role I want to change next, and everyone will solve the problem from everyone’s point of view.

And I don’t think it is necessary to put the balance on the director. For example, if a director is very successful in business, I think he should be congratulated. He has something very sensitive to do this.

Some people may not be successful at the box office, but they express themselves well, so they should continue. This is what I think we should face together with the problem of film diversity.

So it is difficult for me to answer this question when asked.

That is to say, do I have a little industrial background, or do I have a little film foundation? I believe so.

But I have more interests and more energy to focus on the things I just paid attention to. I can’t waste my time and energy.

From my point of view, when making such a movie, I have been asking myself, just like when I made my first movie, whether it is worth it, whether it needs to exist, which is what I have been asking.

But after this process, I have accumulated such a confidence bit by bit, that is, it must be needed, and such a film must not disappear in China’s film version.

Besides, I think it will definitely turn over in the end, so I am enjoying the process of making such a movie, and I see that it will be taken seriously in the future.

Because a cultural level, an artistic level, or a national level, its culture is valued and the degree to which art is valued.

If it has been in a very low situation, it is actually not good for the whole nation, so if you take a long-term view of it, it will definitely turn over in the future. This is my confidence.

■　I have a feeling that when [Spring Festival] was shown at Osaka Film Festival, many people in the audience were unexpected. I didn’t expect that there were many white-haired old ladies and gentlemen.

I had a feeling at that time that the audience needed to be cultivated.

In fact, as creators, it is actually to lead the audience to a more connotative content level and have a more aesthetic audio-visual feeling through our works.

I think I was particularly happy when you said that just now. I think now, in fact, more and more young directors are still making many excellent films of different types.

I think it is a very lucky thing for the audience and a very happy thing for the creator.

Wang Xiaoshuai:When we look at it carefully, it seems that the big block is rich and good, but in fact there are many meaningful things under it that have never been broken, passed down and done.

The portrait hereDirector Liang MingIn fact, I have been doing it all the time, including your movies. These things have been passed down and have always been the most important thing.

Moreover, when it is exported, it is actually the most vital output, not organized, but naturally received by others.

One more thing, you feel that some of our films have been seen by others in some foreign film festivals or screens.

I think one thing is also true. This kind of movie may not be as popular as we thought. Why is it seen by others? Besides, young people are not necessarily very young. It’s a joke.

Their life is too lonely. On the other hand, there is such an activity when they come to the cinema. It is a great comfort for them to get together in the cinema.

He can’t have other entertainment activities, so the film is preserved and needed.

This is also the fundamental reason why I think everyone is missing the cinema and calling for actually going to the cinema to watch movies.

There may be too many recreational activities in Chinese, and he thinks it doesn’t matter a little, but they are lonely in Europe and America, so cinemas will be taken seriously.

Of course, I don’t want people in China to be so lonely and lonely, but on the other hand, if there is no cinema one day and these things disappear too quickly.

When you need all this, it’s a pity that it disappears.

In fact, giving it a space for each of us, each ticket and each movie is actually protecting it, and it is a process that urges us not to be too lonely in the future.

■ : that’s very good. I think in the present era, when I look back at some of your works.

When I looked at Green Red again today, I suddenly felt that that era seemed to be particularly far away from me.

Because we have changed so fast in the past twenty years.

What do you think is the most influential factor for you in these twenty years?

Or do you think that in fact, no matter what changes in technology in this era, it doesn’t have much impact on you?

Wang Xiaoshuai:I am trying to slow myself down by this.

I know everyone in society is chasing after me now.timestillChasechangeHowever, I am a person who is particularly afraid that the old things will be gone after the change is over, and I am quite conservative.

It’s a pity. Can these things stay? Don’t change too fast.

Now, when Chinese was able to go abroad in the 1980s, we looked up and saw that others were fresh. After several decades, if you go out again, you will laugh at others’ backwardness.

But don’t forget that people were already very advanced at that time. You entered the Grand View Garden with Granny Liu. Now we are laughing at others because of the rapid change. In fact, I think we should be on the contrary, and we should be wary of this rapid development.

In fact, I don’t know whether it is really beneficial to each of us, because I belong to the middle generation now.

These fast things like mobile phones come in every day, and I’m always afraid that the people before boarding the plane will tell me to scan the health code, and I’ll be finished. I said if I can’t sweep this out, I’ll be finished, and then I’ll go into the hotel to sweep this and that.

A lot of assistants helped me with it, which has collapsed for me.

Then others can imagine, because we saw an old lady in her nineties on the Internet who had to pay medical insurance by credit card instead of cash.

We must think about the whole country. We are proudly developing, but it is really cruel to cut off the tradition.

I really, really don’t like to cut off all the transitions cruelly and make all the space disappear.

I have an antipathy. Sometimes I go out to buy things, and I am very shy for a while.

I dare not look people in the eye. I asked if I could give cash. I think it’s a shame that I take out cash to buy cigarettes or alcohol now.

People are brushing the QR code and it will pass, but I just bite my teeth and think, even if I am laughed at by others, I want cash.

That is, I have become that kind of person, and I always want to slow everything down. Now I am thinking about the slow life, and I am slowly putting this psychology behind me.

After I got there, I laughed at myself and boldly said that I would give you cash. The old man still has cash for you. I am also overcoming my psychology in this process.

In fact, it is possible that all this will be brought into your own works in future film creation, which is also a kind of thinking and a kind of thinking about the modernization process.

Moderator: As a director, people often ask what is the most important thing as a director.

I personally think that how to look at the world may be the director’s longest personal practice.

Do you think the theme is important in so many creative processes?

This is actually a relatively strong confusion of mine recently. You just mentioned that when creating the original origin of a thing, many of them are actually very emotional.

Even force yourself to capture it with very emotional things, but you may immediately enter a technical link.

How to put emotional things on someone with movie skills to tell this feeling.

At this time, I am personally confused, and sometimes I am not sure what the theme is.

But when this thing doesn’t exist, when it can’t be said.

It seems that it is difficult to communicate this thing with collaborators, such as writers and others.

So what do you think of the theme as a director?

Wang Xiaoshuai:When we were training since childhood, the theme was repeatedly emphasized in writing and composition.

And I was really confused by this in the whole process.

I will never get high marks if my composition is written by the teacher or not.

And the theme is very clear and vivid, and the teacher will get high marks, so I am also very confused.

But my feeling is that this theme is a Chinese theme.

I think this theme can be translated into your attitude. You are facing a thing, a person and a story, or what kind of attitude and angle do you enter this thing you want to express?

For example, the same thing, which now needs to tackle poverty, may be entered from the perspective of propaganda, so what is its theme to look at this problem.

Similarly, such a rural area needs to get rid of poverty. If you enter from the perspective of an ordinary person, or the director enters from another oblique angle, your angle and attitude are more important than this theme.

Because you have an angle and this attitude, what you want to show will naturally appear.

Therefore, the theme is a relatively vague concept. In fact, I have never set a theme first in the process of creation, never.

The [winter and spring days] is a despair, confusion and loss, which seems very gloomy, that’s all.

There is no theme, but after this angle comes in, everyone will interpret it. In fact, there are no movies in the back, including "Forever".

I just write with my head closed, so does May. After we finish writing, we will see if everything is necessary and correct.

We put it together, because our angle is there, and it naturally presents itself. I won’t go ahead with the theme.

■　I am so happy that I can finally put down the stone in my heart.

I think when the film is made, there are many things that the audience themselves have their own experiences to say.

If the theme is unique, there is no need to present it in movies.

Thank you very much for sharing.

There are still four young directors under the stage today. Let’s invite them to come on stage and talk with you about the confusion in creation.

They are the director of [that roaring youth], director Han Tian;

Director of [Hannan Summer] directed by Han Shuai;

The director of [Landing Life] respectfully directs;

Director Liang Ming of [Under the Sun], let’s give a round of applause to the directors.

Liang Ming:You talked very well just now. I have accumulated some questions I want to ask the director below.

Director Bai Xue has asked everything, especially the theme, and I am particularly confused.

I want to listen to director Xiao Shuai to share your memories of the first time you went to the film festival.

What did you feel when you first went to the film festival?

Wang Xiaoshuai:There are too many stories.

Now our team is growing stronger and stronger. At that time, no one really came. The first premiere of [Days of Winter and Spring] was in Vancouver.

I was very excited when they asked me to go, but I couldn’t get my passport because I had to go back to Fujian to get it.

Getting a passport in Fujian is the most difficult place in China. I couldn’t do it, so I missed it.

They feel very sorry.

At the Los Angeles Film Festival, they thought they had found a fresh air, so they came to Beijing to meet us, but I couldn’t tell them.

He said that it seems that there are still a few months to go to the Los Angeles Film Festival. We will find a way for you, send you an invitation letter for relatives, finally get a passport, and then go.

I had a bad image when I went abroad for the first time. I got angry at that time, so I took the wrong medicine in a hurry. I took a sulfanilamide medicine, and my body was intolerant of sulfanilamide.

I don’t know if it’s dangerous. If I put it down, my whole mouth will swell into a monster, like a pig, and my blisters will crumble, so I’ll get there.

I was in a terrible mood at that time. I went to meet the audience for the first time, and my hair was long and there was no money.

Because we went to the film festival at that time, there was an advantage. People would give us money. People from China would give you a meal ticket of several euros, and the bus would give you some money.

Each of us will get a little money, and this money will live there. In this case, I went to the Los Angeles Film Festival. Now that I think about it, I want to find a guy who is particularly ugly.

Liang Ming: Thank you, director!

Jingran: You just mentioned that many works of each creator are actually related to personal experience, and movies are also for empathy.

Your film festival has gone so far, and you have gone to film festivals in different countries. Does regionality have an impact on empathy?

Wang Xiaoshuai:Just like you, when you go to the film festival, you will always meet your movies that you particularly like.

You will always meet that person who meets your eyes, ignores you and walks away, which means he may be just so-so.

I often meet you. It’s better to like your movies.

I think there will be a little bit of cultural difference between all regions.

For example, when I went to the Japanese film festival, I found that they were actually more enthusiastic than those in Europe and America. This is very strange. Everyone looks the same and has the feeling of an Asian cultural circle.

Then when you get to northern Europe, you may be almost there. People don’t have the habit of talking to you with great enthusiasm.

When you come to Spain or Italy, you will feel that many people like your movies. They seem to be very enthusiastic, and you feel very strange.

They find out whether they like it or not. I analyze that they are sometimes too lonely, and they are very excited when they go to the cinema to see foreign movies.

■　I remember when my film was shown in Toronto, people were laughing all the time.

It seems that those places are not laughing places, but they are all laughing, and the laughter is different.

Wang Xiaoshuai:Cultural differences.

■　The audience’s mentality seems to be particularly relaxed, and when our country directs, it will feel that I am looking at something.

I can’t show too much emotion when I come to see you. I think they are particularly relaxed when they watch movies.

Wang Xiaoshuai:When you just came out, it was the best time. They were all good and liked everything.

Now if I want to put it out, I’m nervous.

Because there is less possibility of being forgiven, his critical eyes are more critical.

I joked that when I won the prize, the original films would win the film festival prize, and the young people who felt very good would give an award.

If you shoot a few more films, people will start to look at you. You have already shot five or six films, so it will be difficult.

So young changes also matter.

So I’m under the most pressure now. My knowledge of movies is the same.

When I went to the film festival, it suddenly dawned on me. When I was in Cannes, it suddenly dawned on me that movies were so lofty and sacred.

Then I regretted it. I finished when they let you go in the red carpet. In the process, this one was not filmed well, that one was not completed, and that one was almost strong. I just regretted it.

Such a big screen, all dressed in evening dresses, these people are old gentlemen or professionals sitting there. You are one of the 20 films in the world. Let me see what you made.

At that time, I knew that movies should never be joking, and we were often scolded.

If you experience these things with real awe and seriousness, you can stand up, or you will lose people.

Han Shuai: As it happens, the hero of my debut novel is the little kid who plays Du Jiang in Forever, and first hero in this play.

When he first met me, he said I thought I would be elected, because the second director I collaborated with should also be Xiao Shuai.

He is a very clever child.

Actually, I want to ask, you have made many movies related to teenagers and directed many young actors.

I wonder if you have a unique way in directing young actors.

Especially when they can’t perform according to our established wishes, what will you do at this time?

Wang Xiaoshuai:Now that I recall all the processes, I will never seriously tell them about the drama.

As long as you squat down and talk to him, he listens carefully. When he ponders, how can he know what that means? It’s impossible.

So I have to play with them, because the performances that children can output are not given by adult professional actors, which is too natural.

As long as you let them play and relax, they can always achieve what you catch. Don’t be serious.

Often, when the assistant director of the scene is anxious to go over and talk to them seriously, I quickly say don’t say anything, we will accompany them and give them time.

You talk too much, I don’t even know what you’re talking about. He’s suddenly acting like that, which is scary, so just give him time, young child.

Han Tian: This is a question that I have been thinking about recently. Before I came to the forum, I saw [See Nara] directed by Pengfei. I liked it very much and it touched me a lot.

There may be a problem for our young directors, that is to say, when you go to a wider world from your particularly limited personal experience, when you want to make that effort, it seems that sometimes you feel a little uncertain or have no grasp.

Because before the films directed by Xiao Shuai, such as the earliest [winter and spring days] and [extreme cold] are the stories of people around you.

When I arrived at [the girl with the shoulder pole], I suddenly discovered a bigger world, and then I went back to my previous experience, the third-line story.

It’s such a broad expression of China’s contemporary history again. I don’t know if you ever felt that kind of confusion or how to overcome it when you went from your own experience to the bigger world at those stages.

Wang Xiaoshuai:I have asked myself about this matter, and my own answer to myself is that everything goes with the flow.

Your age, your experience to what extent, you were interested in it at that time, there is no problem.

You suddenly see that another director or another place in the world has come up with a very powerful thing. It’s no use worrying again, just be yourself.

Because I think time is the most important thing, and time is too powerful.

When you are filming, if you are in your twenties and thirties, it is unrealistic for you to think beyond a person of fifty.

So I think I should put myself in every process of my life, even if it is small.

Because there are many large-scale films that have achieved good results, but there are many trivial small films that are also very powerful. They are also very impactful and moving forward.

soDo what in what time period?.

For example, when you are 40 years old, it is true that when you look back at yourself or face a 30-year-old person, there are many things that cannot be communicated in words.

Only when you are forty years old will you suddenly care about that thing.

So we make our movie, and this movie is very happy, and we will minimize our pressure.

Of course, we have the responsibility, but you can be grateful for the pressure in that area.

There is no pressure on your next film, so that you can put yourself into real and pure creation and move up bit by bit until you are 50 years old.

For example, when I was forty years old, I didn’t dare to do [Forever]. At that time, I didn’t have that opportunity, and the society didn’t change to that time.

But just then, it was possible to deconstruct the film according to your 50-year-old view of the world, otherwise you couldn’t do that.

So time is a really, really good thing.

Han Tian: Thank you!

■　I remember asking the teacher a particularly stupid question when I graduated from college.

Teacher, how can I have life experience, because I felt at that time why all the stories I thought were so stupid.

But I was particularly anxious to have life experience. I didn’t know how ridiculous that sentence was until I finished writing this story and filmed it, including after I got married and gave birth to a child myself.

Then I think that every creator will have a group of like-minded creators.

In this process, in fact, everyone’s life experience is growing up with this work.

So I especially want to know about your time with the main creative, especially the director and some important partners.

What kind of way did you work with them and when you might choose some collaborators at first?

What kind of criteria do you use? I think this may also be of great help to young directors.

Is how to choose people, how to choose partners.

Wang Xiaoshuai:Many of my film collaborators, for example, most of our photographers are calledDi WuHe didn’t graduate from the Film Academy. He just made a few films for further study, which was also caused by the special environment and conditions I mentioned just now.

I wanted to make a movie at that time, and I said no, I was in a hotel, and I changed hotels every day at that time.

I’ll sneak in when a bed is empty in the film crew, and I’ll sneak out when people leave in the morning.

There is a bunk in the group bed, which costs ten yuan. I’ll buy a bunk to sleep in.

I fought guerrilla warfare like this every day in Beijing, and then I thought I couldn’t go on like this, and everyone would laugh at me.

Then I said that when I was filming, I called my old classmates and friends, and people thought I was crazy. What did you shoot?

I don’t know, it doesn’t matter if I don’t know, so we’ll shoot.

Then say how much money there is, and I say no, not a penny, then you are joking.

I said how much does it cost to make a movie now? Some people say that at least 800,000 yuan, that 800,000 yuan was the standard film cost of the film factory at that time. I said it was impossible.

Another one, it’s still the same. Whoever promised me absurdly is cooperating with me.

I can’t, because I don’t have the conditions,Director Liu Jie.That’s the man at that time.

I can’t find one, and I can’t find one. He came that year, and one person became two, and he began to move forward.

We didn’t have the conditions to choose people at that time.Actors like Liu Xiaodong and Yu Hong.Shoot what? I want to help you.

Because if you care about making movies, you can throw a few blocks away from us, and we will become people of different classes, and we will not be friends.

So encourage me to shoot quickly, otherwise these friends will not be able to be.

Introduce that this is the director, this is the painter, and this is from the Fujian factory. After all, it is a particularly primitive impulse to do this.

If the shooting at that time [the day of winter and spring] was incredible, I will tell you two nights.

It’s incredible that there are too many things. We don’t have much time to talk about this occasion.

Liang Ming: Director Xiao Shuai’s [Forever] photography director was from South Korea. He filmed [Crying], and later it was also done by an editor in Thailand. What opportunity made you think of cooperating with them?

Wang Xiaoshuai:This question is very good, if it is very straightforward, it is also because of change.

I want to change it. The original one is too familiar. I want to change it a little. When I changed it, I found that I really couldn’t find it because everyone was busy.

Everyone who knows the name is very busy.

There was a photographer who I won’t name. It was very good, so I went to him and decided. As a result, when we were about to set up a group, we suddenly called and said we couldn’t go. There was another film.

At this time, as soon as we discuss with the producer and stamp our feet, we will let our eyes go out and look abroad.

So we have looked for a lot abroad, and in fact we have already taken this step.

This is also the case with editors. I am too busy to give you a complete cut of your film, but I need a time.

I don’t want to cut it in a few days before we discuss it. I need a long process.

So we also found a lot of people, and then we found this editor, who was also very interested.

They have a great advantage, such as KIM coming here early after taking this job, he wants to see the scenery with you, he wants to discuss it with you, and he wants to figure out how to shoot it with you.

Generally, a photographer may have to come one week in advance, and he will come two months in advance, so he will spend all his time here, and so will the editor. He has decided to put aside all his work and do all this.

This is an experience that we have lost for a long time. Everyone is very busy, and there are many cases where one person leads an assistant. They also completely return to the most memorable creative way of the film, so it is also very interesting.

moreverMayShe is our screenwriter.

I don’t know what your future will be like. If it’s the same as before, I know that after this thing comes, I will do it in an all-round way, and there won’t be several books and tasks to write there. This is a very lucky point for us.

It shows that as long as we do this, it will actually ignite the inner fire of these people, and so will the actors.

After Yongmei came, she volunteered to experience life and learn to weave fishing nets at the seaside. She said that I didn’t catch all the plays here.

After Jingchun came here, everything was blocked, and I wouldn’t leave the film crew just because I wanted to have an activity. Our film crew didn’t leave, and we stayed there with or without a play.

Even other actors, obviously there is no play for a week, they will not leave, they will be on the scene and will not leave.

In this case, it is actually very rare. In such an impetuous environment, there are still such a group of people who can stay together and return to the most primitive way of making movies. This is a very lucky point.

Liang Ming: Is it expensive to communicate with Korean photographers?

Wang Xiaoshuai:The cost of communication is also a little bit. KIM is very funny. When asked if he can speak English, he said yes.

As a result, after we made a video, we found that I couldn’t understand a word of English he said. He knew a lot of words, but his Korean pronunciation was completely incomprehensible.

I found that he didn’t know much about what I said, so we were looking for a translator, and the translator we were looking for was very strict.

First of all, he should like this translation, then he should like to listen to what this translation says, and it is difficult to find such a person at last.

Then I chatted every day, but in fact, at the end of the day, in the previous preparatory process, it had nothing to do with the language.

It’s already a physical action, a feeling.

Then, after he caught this, I was very surprised at the scene. I clearly said that I would shoot like this, and his team put the machine there according to his method, and the small rocker arm got up.

I said what I wanted it for, and he ignored me, so he did. At the beginning, I said yes, let him play first, because he has been here for several months.

He suddenly came up with such enthusiasm that if you don’t follow his lead, there will be a gap in his heart, so he did it until he gave up.

Because he had to put that thing back and forth in a small space every time, I waited for him to do so and finally surrendered.

That is to say, light, very little light, don’t hit the light, he patted his chest.

As a result, he was lighting up all the time after filming, so I turned it off for him. I couldn’t talk and then turned it off.

All you have to do is turn it off. It’s fun.

In fact, sometimes in the whole communication process, a director doesn’t tell a lot, but this venue is here.

Everyone knows what happened to this matter.

At their age, such as Jing Chun and Yongmei, his common sense is there for our story, so he can do it.

Like the last grave-sweeping scene, I don’t know how to do it. It’s not that I don’t know how to do it. I can’t tell them how to do it.

I said that the machine was here, and he didn’t even know that we had built a grave in front of us. Then he put up a sign and said, Look for it, nothing, just sweep the grave without saying a word.

Everyone has experienced it, everyone knows what you are going to say, and I have no special requirements. In the end, they cried so hard that they didn’t stop.

Finally, he rushed over and said that the actor stopped asking directly in front of the machine and stopped.

If you have a scene, don’t destroy it, and don’t over-press the director’s intention, theme or anything.

Instead, you quit and let this gas field make this air automatically generate more vivid.

Han Tian: Do you have a lot of improvisation elements in the movie or are they all designed?

Wang Xiaoshuai:I feel more and more like doing scripts.sturdy.

When I was young, I didn’t have a script and had half of it. Later, I felt that the script was not important, because it was really a workshop at that time.

You can improvise, everyone has short time and short films, but I find it more and more.

At this time in Cannes, when the big screen in Venice comes out, you can’t improvise.

There are not many Wong Kar-wai in the world, so I can’t do it. I want to do the script well. This is my experience.

Because this is a foundation for confidence, with the script, you can dispatch at random when you arrive at the scene, and you can judge according to that space.

Because I once said,How a director feels at first.It’s very important, it’s very important for life, for yourself, for your heart and for your feelings about the world.

After that, it is.selectYou have to choose what to do, what direction you have to choose, and when all this happens, you have to judge yourself.

For example, your judgment is very important when the actors are finished or the script is written to this extent, or when you are at the scene and many people ask you how you are.

That’s when I found that the director had a strong sense,Director’s judgmentIt’s very accurate, but some people can’t, some people are in a fog, and the actors don’t know what’s going on after acting a hundred times. None of this works.

I think judgment is very important, and then it is necessary toThere is a smell.

If the most advanced thing in your movie is that you can shoot out the air and the taste, it will be great if you can shoot out the curry flavor in Indian movies or the taste of the sea breeze blowing on the surface in Japan.

Like Hou Xiaoxian’s early taste, it goes down to the top.attitudeWhat I just said is not the theme but your attitude.

What’s your attitude towards your movies, your characters, the fate of these people, your country, your society, your nation and your values?

Attitude is the last thing. If you have everything, you will be nothing if your attitude collapses.

Jingran: Sometimes actors are people after all. In fact, the best charm of the scene is the chemical reaction.

But that kind of chemical reaction can only be created in position. What do you suggest, director and actor?

Wang Xiaoshuai:I’m also an actor. I seldom talk to him about reason and drama from beginning to end. I won’t do that.

Because I think he will die there, and there will be no spark of chemical reaction in the future.

The director is a very powerful position in that position. You don’t say anything, and you are watched by the actors.

So I think it’s strange for some directors to lose their temper at the scene, and it’s unnecessary, because you have been so important.

If you lose your temper again, the whole group will collapse and the actors will collapse.

In fact, you can’t get better. Sometimes if he is wrong, he is already very sensitive when he is wrong.

I often don’t look at him, I ignore him, I don’t say anything, they say I don’t know, and I subconsciously say you have a habit.

If it’s not done properly, if this short clip is wrong, you will come over and you will cross when you get to the actor.

When someone is waiting for you to speak, you cross over. Once around, the actor knows what you want to say, but if you don’t say it, it will form his own pressure.

Plus, you should cherish every word of yourself, because you are too important, and everything you say is one.

　　CCTV News:On September 4th, 2016, the performance of Hangzhou g20 Summit "Most Remembering Hangzhou" was staged in Yuehu Scenic Area of West Lake. Beautiful music, graceful dance, bright lights and the natural beauty of the West Lake made a perfect performance. Zhang Yimou, the general director of the party, described the performance as "the success of all, the success of the whole team and the success of China" in an interview with CCTV news new media immediately after the performance.

　　As a highlight of the party, Swan Lake, which perfectly combines ballet classic repertoire with 3D holographic projection technology and even Putin has never seen it, has undoubtedly become the focus of attention and curiosity of the audience. How many swans are there? Why is there no prince? Where did the geese suddenly appear?

　△ "Swan Lake" performance live screen　

　　A few days ago, Huang Hui, director of the holographic video of the party, and Tao Wenting, one of the three directors of Swan Lake, accepted an exclusive interview with CCTV news new media and revealed the little-known details behind the performance.

　　The original plan revealed that swans had flown in the air.

　　Tao Wenting told CCTV reporters that in the original plan, "Swan Lake" was not performed on water.

　　Last December, at the beginning of the program of Swan Lake. Zhao Ming, the executive director of the party, had planned to let the swans "fly" over the lake. The director group also designed a luminous dance skirt for the swans, which made the swans in the air and the reflection in the water form a starry visual experience.

　△ luminous dance skirt

　△ Executive Director Zhao Ming demonstrated the choreography.　

　　This scheme was recognized by many people at that time. However, it was later suggested that building the Weiya frame on the Su Causeway on such a large scale would bring irreparable harm to the cultural relics of the West Lake and the surrounding ecology. Therefore, the director group urgently stopped all programs related to air projects in the party.

　△ Zhang Yimou discussed the revision of the program with the director group.

　　The aerial version of Swan Lake ran aground, but this program, which shows the cultural exchange and integration between China and foreign countries, can’t be without it. In the discussion between Zhang Yimou and the director group again and again, swans landed on the water from the air and added scientific and technological elements — — 3D holographic projection.

　　The task is clear, the water dance is the responsibility of the director group, and the holographic work falls on Huang Hui.

　　The multimedia visual design of the party reveals the mystery of "holographic swan"

　　As the overall multimedia visual design of the party, Huang Hui was responsible for making all the images of Swan Lake.

　　The name of the holographic projection technical specification should be "virtual imaging technology". He told CCTV journalists that if we want to explain its principle in a popular way, some of them are similar to film screening. It’s just that the curtain of the cinema is replaced with a fully transparent film inclined at 45 degrees — — Holographic film; The projector has also been replaced by an LED screen under the film.

　　Many people may still remember that the Chinese style song "Shu Embroidery" performed by singer Chris Lee in the Spring Festival Evening of 2015 is an example of the application of holographic projection technology to the stage.

　　Unlike the stage of the Spring Festival Evening, this performance will be completed on the open West Lake, and the difficulty will almost increase geometrically.

　△2015 Spring Festival Evening Program "Shu Embroidery"

　　Huang Hui introduced that the previous performances were all performed indoors, mainly because the indoor light is controllable, and the darker the surrounding light is during holographic projection, the better the effect will be.

　　The original intention of the design of Swan Lake on the water is to let the audience enjoy the blend of foreign ballet and the lakes and mountains of China, and the surrounding lights must not be turned off.

　△ The holographic film is reflected in front of the actor.　

　　In addition, the holographic film used in general indoor performances will be completely damaged within a few hours if it works on the West Lake full of water vapor, and the performance cannot be guaranteed.

　　Huang Hui’s vision team can only improve the picture quality on the low-precision outdoor film, and make adjustments to the sharpness, chroma and saturation of the picture again and again.

△ Holographic image seen in sunlight

　　The recording of holographic images was not so smooth, and the imaging team traveled to Shanghai and Hangzhou three times to complete the previous recording work.

　　Because of the professional habits of ballet dancers, dancing always involves a set of coherent movements in one breath, while video recording requires the actors to interpret each movement separately. The audience finally saw a short 6-point holographic picture on the stage, and the actors filmed it for 3 days and 3 nights. Later, the team produced more than 100 virtual "swans".

　△ The actor is recording holographic images.　

　△ holographic image scheme that failed to meet the audience　

　　The later matting, editing and rendering took three months. At the request of director Zhang Yimou, the later team constantly revised the picture. Huang Hui told reporters that after each revision, it takes more than ten hours to render a film.

　　What is even harder is the ballet dancers. After each modification, they have to re-arrange according to the picture on the spot, and then practice to dance exactly the same as the picture.

　△ Actors should ensure that they are exactly the same as the blue villain.　

　　How many swans are there?

　　The audience who have seen the performance will be curious. How many real swans are there on the stage? The answers of Tao Wenting and Huang Hui are obviously different.

　　She told CCTV reporters that after the water plan was formulated, the original aerial version of the actor was not a professional ballet dancer. Therefore, it became a top priority at that time to look for "excellent ballet dancers who can represent China".

　　It was June, and the domestic colleges and universities ushered in the summer vacation one after another. The director group traveled to many places in one day, and finally selected the current ballet dancers before the holiday of the ballet department of Beijing Dance Academy. In the end, these 24 geese and 2 swans formed the lineup presented in the final performance.

　△ Actors of Ballet Department of Beijing Dance Academy

　　It is noteworthy that Sun Yimeng, one of the leading dancers of the "Big Swan", is now an actor of the Finnish National Ballet. In June this year, he won the gold medal in Helsinki International Ballet Competition, one of the four major events in ballet.

　

　 △ Sun Yimeng (left) and Tao Wenting jpg

　　The "Four Little Swan Dances" in the classic "Swan Lake" is performed by four actors holding hands and jumping together, which requires uniform movements and consistent steps. Generally, only the best actors in the ballet can complete it. The difficulty of dancing is that as long as one of the four dancers does not coordinate with other dancers, it will lead to the deformation and even fall of the four dancers.

　△ "Four Little" in Classic Dance Drama

　　In this performance, the "Twenty-four Little" performed by the girl from Beiwu was not forced or smooth at all, and the difficulty of training can be imagined. Tao Wenting said that every time she rehearses, she will record herself with her mobile phone and record everyone’s problems. After the rehearsal, I communicated with the actors one by one. "Almost every movement can be accurate to centimeters."

　△ In the party, 24 cygnets danced hand in hand.

　　The swan has it. Where’s the prince?

　　The audience who have seen the ballet Swan Lake will be deeply impressed by the love story between the prince and the swan princess. Why is there no prince in the Hangzhou version of Swan Lake?

　△ Prince and Princess in Traditional Swan Lake Plays　

　　There are special reasons why the "two" swans are used instead of the prince and princess. Tao Wenting told reporters that the form of the prince and princess is deeply rooted in the hearts of the people, but this performance is not a re-interpretation of the original version, but should be placed in the context of the G20 meeting. In contrast, the setting of the two big swans can better reflect innovation and the balanced, inclusive and harmonious relationship among participating countries.

　　The steel stage is too slippery to stand on.

　　Before the formal rehearsal, when Tao Wenting first came to the West Lake performance venue, the stage was not completely immersed in the water. She deliberately wet her pointe shoes with the lake and tried to jump for a while. Although it can’t be compared with professional dance floor, it’s not impossible to dance at all.

　　But when the "swans" really went into the water to rehearse, the problem appeared. Because the stage has to rise and fall in the water with different performances, the stage covered with drainage holes is like a sieve, and every time it rises again, it will pick up a layer of moss in the lake. Walking on such a stage will slip, let alone dancing.

　△ Steel plate stage without anti-slip treatment

　　At this time, the director group thought of the principle of plastic runway. What if the stage was also covered with similar granular plastic? Tao Wenting told CCTV news new media that if rubber particles are laid on the stage, the anti-skid problem can indeed be solved. But many sliding steps in ballet dance will definitely be affected.

　△ After treatment, the stage surface is covered with particles.　

　　Therefore, the staff responsible for stage construction tried to break the plastic particles several times before laying them. After two times of painting, the problem of slipping was basically solved.

　　Dance shoes soften when exposed to water.

　　At the same time as the stage slip, there is also the problem of dancing shoes.

　　The actors who went into the water to rehearse found that pointe shoes soon became soft after soaking in water, and could not stand on his toes at all. According to Tao Wenting, the front end of pointe shoes is not filled with hard objects such as wood blocks, as everyone thinks. The main materials that make up the shoe body are only ribbons, burlap and paste. Therefore, water is almost the natural enemy of pointe shoes.

　△ Ordinary pointe shoes that is bad when it meets water 　

　　After testing almost all the dance shoes on the market, the director team found an imported dance shoe that can stand on the tip of the water. They plan that if each actor is provided with three pairs of such dancing shoes, they should be able to wear them until the day of the official performance if they are only used in important drills.

　　However, after the crew bought all the dancing shoes in the brand market, they couldn’t guarantee each person a pair. However, it takes half a year to customize dance shoes from American manufacturers, and the existing pairs of shoes can’t last until the official performance no matter how carefully they are calculated.

　　In desperation, the director group asked Li Jianqing, an expert in ballet shoes of the Central Ballet Company, for help.

　　By "dissecting" imported dance shoes, he gradually introduced the materials and production processes needed for this kind of dance shoes. After several pairs of sample shoes were well received, the special dance shoes were finally put into mass production, and finally 168 pairs of waterproof pointe shoes were provided for the actors.

　△ Waterproof pointe shoes made in Li Jianqing

　　"I have no strength in the middle of the jump."

　　The actors were dumbfounded at the first rehearsal in the water and couldn’t jump at all! Although the performance was staggered, even the normal level of stage performance could not be achieved, let alone surpassed.

　　Some dancers even told Tao Wenting, "I have no strength at all when I jump to the middle. I really want to kneel on the spot."

　

　△ The actors hid in the water behind the stage.

　△ The actors rehearse in the water.

　　What should we do? The director group thought of weight-bearing training — — Tie sandbags. "This will definitely not work!" The teachers of Beiwu are anxious as soon as they hear sandbags. The leg shape of ballet dancers is very important. Long-term load-bearing will make the leg shape out of shape, so it is absolutely impossible to tie sandbags.

　　"There is no way but to let the actors rehearse in the water as much as possible." Tao Wenting said that the water level during training often reaches the actor’s ankle, far exceeding the height of 3 cm in the actual performance. Although I feel sorry for the actor, I can only improve the actor’s physical fitness and skills with such high-intensity training.

　△ The water level used in rehearsal is much higher than 3cm.

　　Compared with dancing in the water, it is not easy to move the movements on the stage.

　　　From the audience’s point of view, it is difficult to find that the moving stage of Swan Lake is only about 1 meter deep. The "two" big swans are going to complete such actions as jumping and misplacing on such a stage.

　

　△ Actors practice on a one-meter wide stage.

　　What the audience doesn’t know is that the holographic projection film is in front of the two actors, and moving a little forward will break the extremely fragile film. Behind the actors is a 1-meter-high baffle, and the other 24 actors are hiding in the water behind the baffle. The actors on the stage will fall into the water if they move a little later.

　　In addition, when dancing on the active stage, the actors should predict the inertia caused by the start and stop of the stage, so as to ensure that they are in perfect harmony with the holographic image and will not be worn out. (CCTV journalist Luo Wei)

　[News Watch More]

　　Huang Hui, a cutting-edge visual director and visual artist.

　　He used to be the holographic multimedia director of AsiaInfo Summit in 2014, the visual design of China Pavilion of Milan Expo in 2015, and the holographic video director of cultural performance of G20 Summit in Hangzhou in 2016.

　　Tao Wenting was born in Wuhan in 1989. He has participated in the creation and performance of many award-winning plays in China.

　　At the age of 11, he began to study dance in the Dance Department of PLA Art College. Since 2006, he has joined the Lanzhou Military Region Combat Art Troupe as an actor. From 2010 to 2014, she studied modern dance choreography in Beijing Dance Academy. Since 2015, he has been studying for a full-time graduate student in dance choreography at PLA Art College.

　　In September this year, the programs "Swan Lake" and "Unforgettable Jasmine", which she participated in the creation and arrangement, appeared in the world at the G20 Hangzhou Summit.

　　What is holographic projection technology?

　　Holographic projection technology, also known as virtual imaging technology, is a technology that uses the principles of interference and diffraction to record and reproduce the real three-dimensional image of the object. It first records the light wave information of the object by using the interference principle, making it a hologram, and then reproduces the light wave information of the object by using the diffraction principle, so that the image is displayed.

　　In the CCTV Spring Festival Evening in 2015, the Chinese style song "Shu Embroidery" performed by singer Chris Lee is an example of the application of holographic projection technology to the stage.

　　Cctv newsAccording to @ Meteorology Beijing News, today is the first day of May 9th, but the weather is still quite cold. Beijing Meteorological Observatory released at 11: 00 on January 27, 2023: This afternoon, it was sunny, and the north wind was 3-4 (gust 6-7) and turned to the south wind, with the highest temperature of 2 C; It is sunny at night, and the south turns to the north wind, and the lowest temperature is MINUS 9℃.In the gale blue warning,Today, the north wind is strong, and the wind-cold effect is remarkable. Please pay attention to wind and cold when going out and arrange your return trip in advance. Dry things, pay attention to prevent fire and carbon monoxide poisoning.

　　Return weather in Spring Festival travel rush in 2023

　　In the late Spring Festival holiday, the weather in BeijingMainly sunny to cloudy.There is still weak cold air activity;26 toDuring the day on the 27th.There are three or four northerly winds,The gust is about six.The mountain gusts are seven or eight; From the fifth day to the sixth day, the highest temperature during the day is 1℃, and the lowest temperature at night is MINUS 9℃. The overall temperature is on the rise, but it is still low, and it is often accompanied by north wind bursts, and it feels cold. Pay attention to wind and cold protection and traffic safety when going out.

　　Friends with travel needs

　　Please pay attention when traveling.Windproof and cold proofandtraffic safety

　　fastshareTo friends around you.

　　Just a heads-up

　　Xinhua News Agency Kunming New Media Special Telegram on August 10Title: The post-90s minesweeper died, and netizens called it "Minefield Qiu Shaoyun"

　　Xinhua News Agency "China Network" reporters Shi Chao, Yang Jing, Zhao Peng

　　On the border between China and Vietnam, the scorching sun scorched the earth, and the grass and trees on the Flint Pingshan were wilting.

　　On June 4, Cheng Junhui, a class of minesweeper soldiers from the third team of the Yunnan Military Region, went to the Sino-Vietnamese border minefield in Funing, Yunnan as usual in "armor". "Beep beep…" When the search reached the mountainside, the mine detector in his hand detected the tripping lightning fuse.

　　Wearing 14 kilograms of protective clothing, he endured the high temperature of nearly 40 degrees Celsius, knelt on one knee, holding his breath… Cheng Junhui successfully eliminated the fuse. But at this moment, the boulder under his feet suddenly collapsed, Cheng Junhui unfortunately fell to the bottom of the valley more than 30 meters deep, and his young life was forever frozen framed at the age of 22.

　　It didn’t take long for Cheng Junhui’s sacrifice in mine clearance to attract the attention of netizens. Many netizens lamented his sacrifice, paid tribute to him, and hoped that he would go well. Cheng Junhui, for his spirit of devoting himself to mine clearance regardless of personal safety, was called "Qiu Shaoyun in the minefield" by netizens.

　　Defender of the people

　　Cheng Junhui’s family joined the army in three generations. He grew up listening to the stories of his parents’ military generation, and planted the seeds of serving the country in the army very early in his heart. In 2012, Cheng Junhui became a soldier as he wished.

　　"Clearing mines for the people and enhancing the glory of the military flag," Cheng Junhui wrote in his diary.

　　After less than four years in the army and only two years in the party, he used his actions to fulfill the oath he had made.

　　The Sino-Vietnamese border minefield still has many minefields and minefields, and a large number of mines, artillery shells and other explosives remain. It is a dangerous mixed minefield, known as the "death zone". With the opening and development of the border area, the hidden dangers of mines that have not been eliminated have become increasingly prominent.

　　In early 2015, the Yunnan Military Region received the third major mine clearance mission on the Sino-Vietnamese border, and the battle immediately "started." After learning the news, Cheng Junhui, who was participating in field training, was the first to submit an application to the organization.

　　"Landmines don’t recognize people, so you have to weigh it carefully!" "You are the only child in the family, what if there is an accident with your parents?" Relatives and friends have dissuaded, but Cheng Junhui, who has made up his mind, is unmoved.

　　"I know he wasn’t impulsive," said Xu Maojun, an engineer company instructor in a brigade. Cheng Junhui also submitted an application during the last peacekeeping mine clearance, but it was not possible due to the number of people. "Cheng Junhui is the training leader of the company, and we didn’t want to let him go. But considering his strong will, the organization approved his application."

　　"To clear the frontier of landmines and safeguard the happy life of the people." Cheng Junhui took this creed to heart.

　　Tu Shouhua, a villager in the Zhonghe Group in Miaoba Village, Tianpeng Town, Funing County, had his right leg broken by a landmine 20 years ago. He hates landmines very much.

　　"There are landmines in the land fort behind my house, and livestock have been killed, but there are no signs, so it is not included in the plan of the army to clear the mines." Tu Shouhua said that he found the army leader to ask for the removal of landmines on the mountain. At this time, a soldier took the initiative to step forward to survey the minefield. He later learned that the soldier was Cheng Junhui.

　　For minesweepers, going to a minefield without information represents a significant risk.

　　"Cheng Junhui led the team to completely remove the thunder from the minefield of the bunker. In the future, I will toast him with a glass of wine every year on his memorial day." Tu Shouhua said movingly.

　　A kind-hearted "warm man"

　　In Cheng Junhui’s hometown in Chongqing’s longevity district, his father, Cheng Zhiyue, looked at the plums and chickens under the trees and said sadly: "I can’t wait for Junhui to come back to eat again."

　　In his father’s eyes, Cheng Junhui has always been a filial and sensible child. In February this year, Junhui sent home a brand of toothpaste that the local government condolences to. "He said he is not used to it. We all know that he wants to let his family use good things!"

　　Later, Cheng Zhiyue went to the place where Cheng Junhui died. He learned from the captain that Cheng Junhui sacrificed himself when he took the initiative to work in the most dangerous area. "This child’s temper is like this, thinking more for others and less for himself," Cheng Zhiyue said.

　　"Junhui is a kind-hearted’warm man ‘." Li Siyang, the monitor of the fourth class of mine clearance, told reporters that while working in the Lijiawan minefield in April this year, he fainted from heatstroke and fell to the ground. Cheng Junhui left the kettle to him, and one person set medicine and exploded under the high temperature. When the comrades brought water to the operation point, they found that Cheng Junhui, who was almost collapsed and his lips were white, was chewing on grass roots and leaves to draw water.

　　Step by step on the minefield, in the face of life and death, Cheng Junhui cherishes the friendship of comrades as much as he cherishes life.

　　Comrade-in-arms Li Shuming couldn’t forget that the smoking grenade had fallen to the ground, and it was Cheng Junhui who used his body to build a "retaining wall" for him; Comrade-in-arms Yang Zhenghai couldn’t forget that the minesweeper rolled into the bushes under the 70-meter steep slope, and it was Cheng Junhui who took the initiative to drag the minesweeper down the slope and said, "I have experience, next time I’ll go first"; Comrade-in-arms Mao Pan couldn’t forget that the mountain was about to collapse during the demining operation, and it was Cheng Junhui who risked his life and returned to the minefield to rescue him…

　　Pioneer of the Life and Death Minefield

　　"The dead body of the horse will not look back, and the fine martial arts will be the vanguard of mine sweeping," Cheng Junhui wrote on the application to participate in mine sweeping. Three and a half years in the army, more than a thousand days of fine martial arts. Cheng Junhui’s military career is the process of using fine martial arts to create a blood totem.

　　In the demining field of life and death, it is necessary to have excellent skills to "arm wrestle" with the god of death, the mine. In order to simulate the real demining process, Cheng Junhui and his comrades often put on 14 kilograms of protective gear in high temperatures and practice mine detection, lying down, soil removal, and demining. Each action must be repeated hundreds of times. Because the mine detection needle pokes the rubber shoe similar to the rubber shell of the mine, he pokes the rubber shoe with the mine detection needle every day to find the feel, and his rubber shoe is covered with dense small holes.

　　Sometimes there was no thunder in the queue, and Cheng Junhui would also leave his heart torn in the diary: "I didn’t dig out a single thunder, and I was a little lost in my heart, but sooner or later I will improve…"

　　Danger is everywhere in the demining field of life and death. The high temperature is extremely hot, the rain and fog are frequent, and the poisonous insects attack people… Every inch the minesweeper advances, there is a little more danger. The minesweeper should detect the suspicious area one by one with a lightning needle, and the distance between each needle should not exceed 3-4 cm.

　　The soldiers put on heavy protective suits for demining operations in hot weather many times. Sometimes the insects and ants got into the protective suits, causing the soldiers to sting and palpitate. But Cheng Junhui always endured until the demining task was successfully completed. Dancing with the god of death, he knew that when demining, he must be focused on nothing, otherwise if he is not careful, there is a risk of casualties from the mine. After the mission, his body was wet from the inside out, and his close-fitting clothes could even wring out water, and part of his skin turned red to purple and began to fall off.

　　Since participating in the demining mission, Cheng Junhui has worked for a total of 130 days and about 910 hours, delivering 3.2 tons of mine clearance blasters, removing more than 120 mines, grenades and other explosives, making him a recognized demining expert in the team.

　　Now, the minefield swept by Cheng Junhui has regained its green color, and the herding flute and cowbell are echoing in the mountains. One user solemnly wrote: "Salute to the heroes! Because of your existence, we have a peaceful and happy life!" And his iron-like responsibility also inspired his comrades to continue to fight in the "death zone".

　　Wenzhou Net News This year is the first year to implement the spirit of the 19th National Congress of the Communist Party of China, and it is also a crucial year for the 13th Five-Year Plan. In order to implement the decision-making arrangements of provinces, cities and counties to expand effective investment, fully promote the development layout of "One Belt, Two Cities and Five Groups", further optimize the investment structure and enhance the level of economic growth, Yongjia County issued the "Breakthrough Year of Project Construction and Implementation Plan for Expanding Effective Investment Action", which was launched yesterday.

　　In recent years, Yongjia County Party Committee and county government have always adhered to the concept of "project is king", and continued to carry out actions such as project construction to expand effective investment, "bimonthly attack" and "breakthrough year of project construction", and planned and laid out a number of large and good projects that lay a foundation, manage the long-term and increase the stamina. Effective investment showed a "double promotion" trend of expanding scale and excellent structure, maintaining double-digit growth for eight consecutive years, which was the economic and social development of the county.

　　Last year, Yongjia County’s economic and social development showed a good trend of steady progress and good progress. The annual GDP reached 39 billion yuan, a year-on-year increase of 9%; The general public budget revenue was 3.16 billion yuan, an increase of 7.5% in the same caliber; The total retail sales of consumer goods in the whole society was 17.6 billion yuan, an increase of 12%; The total export volume was 4.8 billion yuan, an increase of 11.3%; The per capita disposable income of urban and rural residents reached 41,765 yuan and 20,267 yuan, increasing by 9.2% and 10.2% respectively, and successfully ranked among the top five similar counties in the province and the top 30 counties in the province with development potential.

　　This year, Yongjia County plans to increase its investment in fixed assets and industry by more than 12% for the whole year. The investment in transportation and high-tech industries will increase by more than 15% each, the investment in ecological environment and public facilities will increase by more than 12%, and private investment will increase by more than 10%. Taking the development layout of "One Belt, Two Cities and Five Groups" as the general engine, we will firmly grasp the three development tipping points of "the development of the same city on both sides of Oujiang River", "the establishment of Yongjia high-speed railway station in Hangzhou and Wenzhou" and "the construction of ecological leisure industrial belt in the western part of the world", and accelerate the construction of key blocks such as Nanxi New District, Sanjiang Business District, Wenzhou North High-speed Railway New City and the western ecological leisure industrial belt.

　　In order to ensure that the investment in fixed assets will continue to lead the city, Yongjia County has carried out the action of "pulling out nails and clearing obstacles" in an all-round way, implemented the "six links" mechanism of joint examination and approval, joint assessment (evaluation), joint reconnaissance, joint map review, joint surveying and mapping and joint acceptance of investment projects, and implemented the action of "running at most once" in investment project examination and approval. The County Commission for Discipline Inspection, the County Performance Appraisal Office, the County General Assembly War Office, and the four major lead units adhere to the combination of coordinated services and supervision and inspection, and strengthen the supervision and inspection of key construction projects, industrial investment projects, housing security projects, and land element security projects.

　　Grasp the breakthrough with the strongest momentum, thoroughly implement the system of leading cadres contacting key projects and the "project manager responsibility system", and comprehensively form a tough atmosphere of working in the front line, fighting in the fire line, working hard and catching up with learning, and forming an overall promotion trend with key breakthroughs.

　　Take the most practical measures to push forward the inverted construction period and wall chart operation, accurately assess, strictly reward and punish, promote with high standards, high efficiency and high quality, accelerate the formation of a vivid construction situation of "tower cranes in full swing", and strive to create a new speed and a new model for Yongjia construction.

　　We will carry out the "Year of Improving Business Environment" with the best environment, strengthen the guarantee of factors, pay close attention to the improvement of services, ensure "zero distance" of services, "zero obstacles" of construction and "zero legacy" of problems, and truly realize the rapid progress and early effectiveness of the project.

　　Yongjia County Vocational Education Center Phase I Project

　　Construction content: The project is located in Ruolong Village, Sanjiang Business District, Yongjia County, with a total land area of 340.7 mu, including 120 classes and 6,000 secondary vocational students. The total construction area is 171,225 square meters, of which the aboveground construction area is 156,867 square meters, the underground construction area is 14,358 square meters, and the ancillary facilities such as greening, fire fighting, water supply and drainage, and electricity, etc. The total investment of the project is 969.82 million yuan.

　　Construction significance: the completion of the project is the need to accelerate the integration and upgrading of vocational education resources in Yongjia County, which is conducive to further strengthening and expanding vocational education in Yongjia County; Providing more outstanding talents for enterprises and effectively improving their scientific and technological innovation ability will help Yongjia County to accelerate the adjustment of economic structure and the transformation of development mode, and promote the social and economic development of Yongjia County.

　　Construction period: from 2018 to 2021, it is planned to complete the investment of 200 million yuan in 2018, and start construction in March. The pile foundation project will be completed within this year, and 20% of the main building project will be completed.

　　Project owner: Sanjiang Business District, Yongjia County.

　　S333(49 Provincial Highway) Yongjia Bridge to Bridge Head Reconstruction Project

　　General situation of the project: The project starts from Lu ‘ao Village in Qiaoxia Town, passes through Mei ‘ao, Dongwan and Zhutu, uses the old road to reach the end point of Qiaotou Town, and connects with Wenxi section of Qingtian in S333 (provincial highway 49), with a total length of 21.6 kilometers. The four-lane first-class highway has a design speed of 80km/h and a subgrade width of 24.5m, including 1,666m /4 bridges, 4,688/6 tunnels, 1 interchange and 1 ordinary service station, with a total investment of 1.921 billion yuan.

　　Construction significance: the project will play an important role in reforming and perfecting the national, provincial and regional trunk highway networks and promoting the coordinated development of transportation. After the completion of the project, the traffic links between Yongjia and Wenzhou will be further strengthened, and it takes only 15 minutes to get from Yongjia Qiaotou to Wenzhou, which is of great significance for Yongjia County to improve the regional road network structure, form an internal and external traffic pattern, and promote the county’s economic and social development.

　　Construction period: from 2018 to 2022, it is planned to complete the investment of 150 million yuan in 2018 to control the construction of the project and complete the demolition of 20,000 square meters.

　　Project owner: Yongjia County Works Bureau.

　　Construction Project of Xibin East Road and Xibin West Road in Qiaotou Town

　　Construction content: The project is located on both banks of Guxi River in Qiaotou Town, starting from Qiaodong Street in the south and reaching Baiyun Ring Road in Licun in the north. The length of Xibin East Road is about 6,375.6 meters, and that of Xibin West Road is about 6,472.6 meters, with a red line width of 16 meters and a design speed of 30 kilometers per hour. Including roads, bridges, water supply and drainage, lighting, transportation facilities and other ancillary works, the total investment of the project is about 550 million yuan.

　　Construction significance: The project is a major livelihood project in Qiaotou Town and an important part of the main road network in Qiaotou Town, which is of positive significance for effectively alleviating the whole traffic congestion in Qiaotou Town, supporting the land development and utilization in Qiaotou Town, improving the road network structure of Qiaotou Town and promoting regional group linkage.

　　Construction period: from 2017 to 2020, it is planned to complete the investment of 20 million yuan in 2018, and start construction in April, and complete the subgrade project by 20%.

　　Project Owner: Construction Headquarters of Guxi River Comprehensive Treatment Project in Qiaotou Town.

　　Regulation project of estuaries of Epuxi and Xiatangxi in Yongjia County

　　Construction content: The total length of the two main river courses, Epuxi and Xiatangxi, is 3.56 kilometers, including 2.1 kilometers for Epuxi and 1.46 kilometers for Xiatangxi. The main construction contents include river dredging and widening, dike revetment, building reconstruction, etc. The total investment of the project is about 144 million yuan.

　　Construction Significance: The construction of the project is the requirement of implementing the "Five Waters Governance" in Zhejiang Province, the construction of beautiful water towns in southern Zhejiang Province and the Comprehensive Management Plan of Santang Basin in Yongjia County, and it is the requirement of stabilizing the river shoreline, ensuring the safety of flood control and drainage, improving the water ecological environment, and building a beautiful Yongjia and beautiful county.

　　Construction period: from 2018 to 2019, it is planned to complete the investment of 60 million yuan in 2018, and complete the basic work of underwater foundation, retaining wall revetment for 2.5 kilometers and some landscape greening.

　　Project owner: Yongjia County Works Bureau.

　　Construction Project of Small and Micro Park for Luofu Process Equipment Industry in Oubei

　　Construction content: The project is located in Luofu Village, Oubei Street, Yongjia County, with a total land area of about 37.9 mu and a total construction area of about 47,500 square meters. The main construction contents include 12 factories, 1 dormitory and 1 R&D center, with a total investment of about 208 million yuan.

　　Construction Significance: After the completion of the project, a small and micro enterprise pioneer park with high land use efficiency, prominent leading industries, complete functions and standardized management services will be formed. It is an incubator for high-quality enterprises and a cradle for the growth of small and micro enterprises. It is estimated that the output value will exceed 500 million yuan and the tax revenue will be nearly 50 million yuan within three years, which will inject new impetus into the revitalization of the real economy in Oubei.

　　Construction period: from 2018 to 2019, it is planned to complete the investment of 60 million yuan in 2018, complete the basic project, and strive for the top of the factory building.

　　Project owner: Yongjia Financial Investment Co., Ltd.

　　Yongjia Xunzhai-Bridge Lower Section Project of Anji-Dongtou Highway

　　Construction content: The project starts from Shiran Village, Xunzhai Town, Yongjia County, connects with Tanwu Highway, and ends at Yangwan Village, Qiaoxia Town, connecting with Provincial Highway 49, with a total length of 31.1 kilometers. The Qianshan connecting line is about 2.3 kilometers at the same time. The starting point to the back of the temple adopts the second-class highway standard, and the back of the temple to the end is based on the first-class highway standard, with a total investment of about 2.091 billion yuan.

　　Construction Significance: The project plays an important role in improving the provincial trunk network in Zhejiang Province, improving the service level of the road network and promoting the economic and social development of the areas along the line. When the project is completed and opened to traffic, it not only opens the longitudinal passage in the western mountainous area of Yongjia County, but also connects the 49 provincial highway (S333) and the Yong ‘an line, which is of great significance to the construction of a modern highway network in Yongjia County extending in all directions.

　　Construction period: from 2018 to 2021, it is planned to complete the construction of controlled projects such as tunnels and bridges with an investment of 150 million yuan in 2018.

　　Project owner: Yongjia County Works Bureau.

　　PPP Project of Sanjiang Standard Dike Project in Oubei, Yongjia County

　　Construction content: The project is the pioneering and basic project for the development and construction of Sanjiang Business District, and it is a key construction project in the province. The project is located in Sanjiang Street, Yongjia County. The main construction contents include the construction of standard dikes of about 4,344 meters, the reconstruction of three sluices, and the flood control standard once every 50 years, with a total investment of 756 million yuan.

　　Construction significance: The construction of the project is the need to resist disasters, protect people’s lives and property safety, and the realistic demand for the construction of urban infrastructure in Sanjiang New Town and the improvement of the development level along the river. It is of great significance to create a beautiful waterfront landscape environment in Sanjiang Business District, enhance urban taste and promote the coordinated development of regional economy and society.

　　Construction period: from 2018 to 2021, it is planned to complete the investment of 150 million yuan in 2018, complete the PPP bidding and infrastructure construction.

　　Project owner: Sanjiang Business District, Yongjia County.

　　Yunding Forest Leisure Holiday Health Project in Nanxi, Zhejiang Province

　　Construction content: The project is located in Yanmenxia and Pantang Village, Yantan Town, with a planned total land area of about 15,000 mu. It is operated in the form of village-enterprise cooperation, mainly including "One Heart, One Belt and Four Districts", namely, tourist distribution center, forest highway landscape belt and ecological holiday health zone, forest movement development zone, forest oxygen bar experience zone and forest leisure tourism zone, with a total investment of about 1.5 billion yuan.

　　Significance of construction: nanxi river is rich in tourism resources, especially beautiful forest resources hidden between mountains and rivers, and streams and waterfalls are scattered all over the place, which has unique advantages in developing and constructing forest leisure and health-care industry. The construction of the project is of great significance to enhance the reception capacity of nanxi river’s tourism services and promote villagers’ income.

　　Construction period: from 2018 to 2023, it is planned to complete the foundation construction with an investment of 140 million yuan in 2018.

　　Project owner: Zhejiang Nanxi Yunding Leisure Resort Co., Ltd.

　　Source: Wenzhou Daily

　　Xinhua News Agency, Beijing, October 26th: Witness the splendid record of the grand event — — Scanning the Highlights of the Party’s 19th National Congress News Publicity Report

　　Xinhua News Agency reporters Huang Xiaoxi, Cui Jing and Zhu Jichai.

　　On October 25th, the 19th CPC The Politburo Standing Committee (PSC) met with Chinese and foreign journalists covering the 19th CPC National Congress in the Great Hall of the People. This is a reporter interviewing and shooting. Xinhua News Agency reporter Yin Gang photo

　　"This time, many journalists and friends came, many of whom came from afar. Everyone has made a lot of full reports on the meeting, which has aroused widespread concern all over the world. "

　　On 25th, when the new CPC The Politburo Standing Committee (PSC) met with Chinese and foreign journalists, the Supreme Leader General Secretary expressed his heartfelt thanks to the journalists with a warm opening speech.

　　The 19th National Congress of the Communist Party of China is a very important meeting held at the decisive stage of building a well-off society in an all-round way in China and the critical period of Socialism with Chinese characteristics’s development. The domestic and foreign media paid close attention to it and more than 3,000 Chinese and foreign journalists came to cover it.

　　Witness the grand event and record the glory. Guided by the report of the 19th National Congress of the Communist Party of China, journalists comprehensively and accurately publicize the new conclusions, new features, new goals and new requirements put forward in the report, and objectively and fairly reflect the historic changes and achievements in China. The grand, warm, bright and creative news reports outline the features of the Communist Party of China (CPC)’s times, show China’s open and confident attitude, and inspire the majestic power of contemporary Chinese sons and daughters to forge ahead.

　　Attention: Chinese and foreign media focus on the "blueprint of the 19th National Congress"

　　On October 18th, The 19th National Congress of the Communist Party of China opened in the Great Hall of the People. This is a reporter interviewing. Xinhua News Agency reporter Chen Jianli photo

　　On October 18th, Beijing, the Great Hall of the People, the eyes of the whole country gathered here.

　　At this historic moment, hundreds of millions of people pay attention to the grand opening ceremony of the 19th National Congress of the Communist Party of China and the report of the 19th National Congress, which is the political declaration and action program of the Communist Party of China (CPC), through various channels, such as live television, portals and mobile phones.

　　"Socialism with Chinese characteristics has entered a new era", "Socialism with Chinese characteristics Thought in a New Era" and "The main contradiction in our society has been transformed into the contradiction between the people’s growing need for a better life and the unbalanced development" … … Firm and powerful words, marking the position of the times and indicating the direction of progress; "Always take people’s yearning for a better life as the goal of struggle", "Building a community of human destiny and building a world of lasting peace, universal security, common prosperity, openness, tolerance, cleanliness and beauty" … … Warm words show the Communist Party of China (CPC)’s mind and responsibility.

　　In the meeting, warm applause sounded from time to time. Outside the venue, people can see images and read words from various terminals almost at the first time. From the western border to the coast of the East China Sea, from fields to urban streets, from factories and schools to barracks posts … … The grand and warm scene and the touching strong voice of the times have made the whole country surging with great concern, joy and longing.

　　Looking around the world, Xinhua News Agency’s live coverage of the 19th National Congress, which was launched simultaneously on social media platforms such as Facebook and YouTube, attracted a lot of clicks from netizens around the world. Netizens from the United States, South Africa, Pakistan, the Philippines and other countries expressed their expectation that China would bring more "dividends" to the world after the 19th National Congress.

　　For this great moment, the main media of the central government made a good report on the opening of the 19th National Congress with the strongest lineup, the best planning, the most capable editing team and the most adequate technical support. Through live broadcast, on-site connection, on-site interpretation, rolling broadcast of pictures and texts, etc., the event was fully covered and presented in a panoramic way.

　　Shortly after the opening ceremony of the 19th National Congress, Chinese and foreign journalists lined up at the report distribution office in the Great Hall of the People to receive the report of the 19th National Congress. Many people feel that such a report with frequent "golden sentences" and full of "dry goods" must be "full of horsepower" to interpret the report.

　　Since the opening of the 19th National Congress of the Communist Party of China, the local media at all levels have paid close attention to the report of the 19th National Congress, published editorials, comments, feature articles, expert interviews and other important articles in succession, reported the rich contents and innovative theories of the report of the 19th National Congress in an all-round and multi-dimensional way, and deeply interpreted the spiritual essence and rich connotation of the Supreme Leader’s Socialism with Chinese characteristics Thought in the new era.

　　The People’s Daily published more than 30 important commentary articles in succession, which deeply interpreted the great political, theoretical and practical significance of the 19th National Congress, and set up a column of "Report on Grassroots Delegates’ Meeting" on the front page, fully reflecting the firm support of Party representatives for the report of the 19th National Congress.

　　Xinhua News Agency’s "Xinhua All-Media Headline" publishes a "Special Report on the 19th National Congress" every day, and interviews with party representatives, experts and scholars on the new historical orientation of China’s development, the supreme leader’s Socialism with Chinese characteristics Thought in the new era, the strategic arrangement of Socialism with Chinese characteristics’s development in the new era, and the five-year exploration road of the Communist Party of China (CPC)’s own construction.

　　CCTV launched a special program "Time of the Nineteenth National Congress", inviting authoritative experts to interpret the report, and getting through the inside and outside of the meeting to show the development and changes of various places in the past five years through real-time landscape lens, "watching the development, talking about feelings and spending the Nineteenth National Congress together" … …

　　These reports with accurate analysis, vivid language, accurate grasp and authoritative content have set off an upsurge of studying the report of the 19th National Congress among the broad masses of cadres and people. Journalists who participated in the report of the 19th National Congress also said that it is our honor and pride to stand at the forefront of the historical stage and witness and report this historic event in person. We should write a wonderful chapter worthy of the times in recording this major historical event.

　　Following the footsteps of the grand event, the world entered "Beijing Time", and the spotlight of the global media once again focused on China.

　　According to incomplete statistics of 39 international mainstream media, these media published more than 400 relevant English reports from 0: 00 on the 18th to 12: 00 on the 20th.

　　While the number of reports is increasing, the international media take a more rational and objective attitude towards the brilliant achievements made by the Communist Party of China (CPC) in leading China in the past five years, pay attention to the Communist Party of China (CPC)’s beautiful blueprint for China’s future, and interpret the far-reaching influence and great significance of China’s plan and China’s wisdom on the world.

　　After the opening of the 19th National Congress, the Russian media’s coverage of China increased significantly. Today, Russian news agency, Russian newspaper, Independent and other media all published commentary articles, interpreted the report of the 19th National Congress, and spoke highly of China’s development achievements in the past five years. On the 19th, The Guardian reported the report of the 19th National Congress with two full pages and distributed comments. The report said that the report of the 19th National Congress conveyed the Communist Party of China (CPC)’s optimistic judgment on the future prospects of China and China, and showed his high confidence in China’s decisive victory in building a well-off society in an all-round way in 2020. The website of Deutsche Welle Radio said that the 19th National Congress was not only an ordinary inner-party meeting, but also a meeting with global influence.

　　Openness and Self-confidence: The Nineteenth Window for the World to Observe China.

　　On the 24th, after the successful conclusion of the 19th National Congress, the "Party Representative Channel" on the north side of the Central Hall of the Great Hall of the People welcomed 21 party representatives to meet with the media for the third time.

　　In order to provide more opportunities for journalists to get in touch with and interview delegates, the 19th National Press Center arranged the "Party Representative Channel" for the first time. On this less than 100-meter passage, 60 party representatives stood in front of the media’s "long guns and short guns" and had face-to-face exchanges with reporters on various hot issues.

　　In an interview, "self-confidence" and "confidence" are the "high-frequency words" in the party representatives’ answers. Self-confidence comes from real achievements, confidence, and clarity about the direction of progress.

　　In the eyes of Bako, an Indian journalist of China Radio International, both the people of the Communist Party of China (CPC) and China have sufficient reasons to be full of confidence in the future.

　　The attitude of openness and self-confidence is not only reflected in the "party representative channel", but also fully displayed on the media open day of the delegation.

　　From the afternoon of October 18th to 19th, 34 delegations from various provinces, autonomous regions, municipalities directly under the Central Government, central state organs, central financial system and central enterprise system discussed opening to Chinese and foreign media, attracting more than 3,200 domestic and foreign journalists to cover the scene. Compared with the 18th National Congress, the total number of reporters interviewed increased by about 20% year-on-year.

　　The reporter learned that all 34 delegations set aside more than 30 minutes to answer questions from reporters, and many delegations answered questions for about one hour. More than 180 questions raised by reporters were answered.

　　In addition to the Great Hall of the People, the 19th National Press Center in Media Hotel is another busy battlefield for journalists.

　　From October 19th to 23rd, there were 6 press conferences and 8 group interviews for party representatives in 5 days. 19 responsible persons from 17 departments and 39 party representatives from various fields were invited to attend and answer questions from reporters. The "news feast" prepared by the press center of the 19th National Congress of the Communist Party of China not only increased the number of interviews, but also made the media attach great importance to these "super open classes" and sent multiple reporters to follow up in time.

　　On the second day after the opening of the conference, the first press conference was held in the press center of the 19th National Congress of the Communist Party of China, inviting CPC Central Commission for Discipline Inspection and the responsible persons of the Central Organization Department to answer questions from reporters. This is the first time that the responsible person of CPC Central Commission for Discipline Inspection attended the press conference in previous party congresses.

　　Journalists will naturally not miss such a rare opportunity. "Some senior leading cadres have been promoted before being investigated. Does it mean that there are still blind spots or loopholes in supervision?" "How to treat ‘ The tide of resignation ’ ？” … …

　　In the face of a series of "hot" and "sharp" questions, the two responsible persons answered questions with ease. Some foreign media commented that anti-corruption work and organization and personnel work are one of the topics that overseas media are most interested in. The first press conference of the 19th National Congress arranged this theme, and the introduction and response to the question were "informative" and "thirst-quenching", which was surprising.

　　Face up to the question and answer frankly. During the meeting, in the press center of the 19th National Congress, such scenes existed in every press conference and group interview. On the morning of October 26th, a special press conference was held as scheduled. At this press conference, responsible persons of relevant parties interpreted the report of the 19th National Congress and answered questions from reporters, showing the world a more mature and confident image of the Communist Party of China (CPC) with an unprecedented open attitude.

　　In the eyes of many journalists, the 19th National Press Center is a "battlefield" and a warm "home for journalists". The media interview room was set up for the first time, and the news center WeChat WeChat official account was opened for the first time. The overseas reporter registration review system and the interview representative application review system were developed for the first time. More than 40,000 information books of various versions were prepared, and nearly 1,000 tea breaks were provided every day … … The numerous "firsts" and warm and thoughtful services of the news center attracted foreign journalists’ admiration: "China enthusiastically opened the living room to the world!"

　　Overseas journalists who came to China to cover the 19th National Congress also received an "interview gift package" to experience the changes in China in the past five years. The press center of the 19th National Congress of the Communist Party of China designed a series of interview activities with the themes of Beijing’s central axis, grass-roots party building, the Forbidden City, the construction of Beijing Daxing Airport, and the coordinated development of Beijing-Tianjin-Hebei during the pre-conference peace meeting, and the registration of overseas journalists on many routes was unusually "hot".

　　Not only were foreigners allowed to interview China, but a number of foreigners with special status also entered the audience’s sight through media reports. They are foreign language experts who participated in the translation and proofreading of the report of the 19th National Congress. This is the first time that foreign experts have been invited to participate in the translation and proofreading of the foreign language version of the report of the Party Congress since the reform and opening up.

　　"Inviting foreigners to participate in the translation and proofreading of work reports at the 19th National Congress is a manifestation of high self-confidence and the Communist Party of China (CPC)’s open and transparent attitude." Arabic expert Ye Haiya said.

　　The rare experience of witnessing history has also given Helen Bentley, a foreign correspondent of Xinhua News Agency, a more intuitive understanding of the Communist Party of China (CPC). She said: "It is wonderful to witness and record China’s entry into a new era in the Great Hall of the People." Like Helen Bentley, more than 200 foreign journalists from the central media participated in the news coverage of the 19th National Congress.

　　3,068 Chinese and foreign journalists, including 1,818 journalists from Hong Kong, Macao and Taiwan and foreign media … … The news report of the 19th National Congress is a grand event of the international press. Journalists, as historical records, feel the openness and confidence of the Communist Party of China (CPC) through the "full load operation" interview activities. Reports, live broadcasts and pictures spread to the whole world through newspapers, television, radio, internet and other channels, opening a "window" for the world to understand the real China. And a series of upcoming international forums and think tank exchange activities will further effectively spread the voice of the 19th National Congress, highlighting the international significance and world influence of this historic event.

　　Keeping the right and bringing forth the new: a feast of integration and communication, and a total of "19 flavors"

　　At noon on 25th, the new CPC The Politburo Standing Committee (PSC) made its first collective appearance. Weibo, WeChat and clients of major mainstream media launched this heavy information at the first time and quickly "swiped the screen" in people’s mobile phone "friends circle".

　　It has timeliness, connotation and "face value" … … During the 19th National Congress, major central and local newspapers, radio stations, TV stations and websites opened various columns and special issues, and made full use of MV, VR, 360-degree panorama and other technologies to launch a series of media-integrated products. Through the collaborative efforts of traditional reporting methods and new media communication means, the publicity and reporting effect was enhanced, and the distance between this historic event of the 19th National Congress and the people was narrowed.

　　Subdividing the audience, the ethnology report can be "tailored" — —

　　The People’s Daily client launched the "Mind Map of the Nineteenth National Congress", presenting more than 30,000 words of reports in one map. Xinhuanet’s 360-degree interactive scene H5 product "Holographic panorama! After the launch of the report, the number of hits on the whole network reached 110 million times that day. I in the Report of the 19th National Congress, published by China Youth Daily and Zhongqing Online Media Studio, is also quite creative. After clicking on this product on the mobile phone, uploading photos, filling in relevant identity information and other operations, users can read the contents related to themselves in the report of the 19th National Congress.

　　The creative design of "taking the heart" leads the public to "like" with one heart and one mind — —

　　The micro-video "Pilot" launched by Xinhua News Agency’s all-media reporting platform, the series of micro-videos "Our Confidence" and the micro-video "China’s Red Dream" launched by People’s Daily review the glorious course and "ignite" patriotic enthusiasm; "CALL for a new era" "What is your 2050? The new era dynamic scroll tells you, and other media products are determined to struggle and look forward to a better future; Planning such as "Nineteenth Time in the Great Hall of the People" and "90 Seconds of Grand Meeting" presents the grand meeting from an innovative perspective; Public welfare interactive activities such as "Like the Nineteenth National Congress, China is strong" have driven netizens to pay attention to and "like" the Nineteenth National Congress … …

　　By October 25th, the media had launched more than 80 topics related to the 19th National Congress on Sina Weibo, with a total reading of 17.5 billion times, and related blog posts were "liked" by netizens for 3.5 billion times. # 19th National Congress # # Piloting China # # 19th National Congress Time # became the three topics that netizens read and discussed most during the meeting. At the same time, the media also conducted more than 100 live broadcasts in Weibo, with a total viewing volume of more than 120 million times, fully demonstrating the grand occasion of the 19th National Congress.

　　"These reports are novel, wonderful and interesting, which makes people dizzying." Tang Jialing, a submariner of "Jilong", is a party representative and a post-80s generation. He usually likes to browse the news with his mobile phone. He said that news reports combine the propaganda of the party’s principles and policies with social concerns, with the interests of readers, and with the interests of the public, so that people can better "enter" the 19 th National Congress.

　　Edit and edit new colors, truly record history, and make the main theme louder.

　　Through the news "feast" carefully selected by the mass media, people not only better watched the grand meeting and academic reports, but also truly saw the spirit of spontaneous congratulations from people all over the country on the victory of the 19th National Congress, the new atmosphere of the party style displayed in the simple and pragmatic meeting style, and the more open and confident images of China and the Communist Party of China (CPC) standing in the east of the world, fully realizing the great significance of the 19th National Congress to the Communist Party of China (CPC), China and the world.

　　It is worth mentioning that before the 19th National Congress, the media at all levels and all over the country created a good public opinion atmosphere for the victory of the Congress with a series of wonderful news reports.

　　The theme propaganda of "General Secretary of the Supreme Leader’s New Ideas, New Ideas and New Strategies for Governing the Country" and "Five Years of Striving for Progress" fully reflects the historic changes and achievements in various undertakings of the party and the country since the 18th National Congress of the Communist Party of China, which is inspiring and uplifting. On September 25th, a large-scale achievement exhibition of "Five Years of Striving for Progress" was unveiled in Beijing Exhibition Hall. Over the past month, this five-year brilliant exhibition has set off a wave of public viewing and media interviews.

　　From July to October, seven large-scale TV feature films, Carry out the Reform to the End, Rule of Law in China, Diplomacy of Great Powers, Inspection of the Sword, Strengthening the Army, Brilliant China and Moving Forward in Do not forget your initiative mind, were grandly launched. These feature films are unconventional, unconventional and fascinating, and have played an important role in spreading the voice of the party, spreading advanced culture and leading social thoughts.

　　When the grand opening entered the countdown stage, the columns of "19th Congress Time" and "19th Congress Representative Style" met the public through various news terminals. The national news front sent multiple reporters to the north and south of the river to record the style of the times and tell the representative style. These "grounded gas" and "dewdrop" reports reflect the big theme with small incisions, and the lens pictures and lines are filled with Chinese children’s hopes and hopes for the future.

　　Report into the mind, indulge in the era of eulogizing, and make positive energy stronger.

　　For some time, after listening to and watching all kinds of news reports, people have expressed their sincere and simple feelings through online messages: "The 19th National Congress of the Communist Party of China is an important event in the political life of the party and the country. I call for the Communist Party of China (CPC) and am proud of having a strong motherland! " "Doing my job conscientiously and contributing to the realization of the great Chinese dream will be my goal. I am full of confidence in the future of my motherland! "

1905 movie network news The annual topic of love drama movie has been officially set on October 22, the film by the director ，、、、、、、、、、 co-starring. After the release of the news, the long-awaited fans have said that they will meet at the cinema to watch the movie.

A few days ago, the film released a special feature of the actors and role posters of "Smell the Fragrance and Know the People", and the powerful actors gathered together to stage a love group portrait ukiyo-e. This special feature shows for the first time the thinking and interpretation of the characters played by the stars, allowing the audience to get a glimpse of more behind-the-scenes stories about the movie "First Incense".

In-depth interpretation of true feelings

Peng Yuyan "slapped in the face" seeks to replace the role

The "Smell the Fragrance and Know the People" cast special released this time has exposed the wonderful behind- the-scene for the first time. In a scene where "Ge Weilong" and "Qiao Qiqiao" clashed, the star Peng Yuyan took the initiative to slap the actor Ma Sichun in the opposite scene in order to better brew the characters’ emotions and resonate with the characters. The scene was shot many times, and it didn’t end until director Xu Anhua thought it had achieved the desired effect. Peng Yuyan also comforted the director: "It’s okay, it doesn’t hurt." The efforts of the creative team to present the best picture are evident.　　

In addition, the stars also try to understand the inner world of the characters and strive to empathize with the characters. Yu Feihong, the actor in the role of "Mrs. Liang", said that during the filming process, he felt the loneliness hidden under the strong appearance of "Mrs. Liang". It is the true interpretation of the actors’ feelings that makes this love drama even more moving. As the star Ma Sichun said: "It doesn’t take much reason to be moved by’First Incense ‘. I believe that the movie" First Incense "can hit the softest place in the audience’s heart.

As a much-talked-about annual love drama, the topic of the movie "The First Furnace of Incense" has been unabated. After the official announcement of the film will be released nationwide on October 22, there has been a wave of discussion on the Internet. Xu Anhua, Wang Anyi,,,, and formed a heavyweight behind-the-scenes team to work together to create an audio-visual feast. Many audiences expressed their affirmation and love for the texture of the film, saying that "you can always trust the master team" and "the picture aesthetics are so advanced", waiting to meet "The First Furnace of Incense" in the theater on time.

Oriental atmosphere aesthetics

Strength acting presents the delicate emotion of "smelling incense and knowing people"

Set in Hong Kong in the early 2000s, the film tells the story of Ge Weilong (Ma Sichun, played), a female student in Shanghai, who studied in Hong Kong and took refuge in his aunt, Mrs. Liang (Yu Feihong, played), but was used as a bait for money and sex transactions. Ge Weilong gradually became addicted to money and gold, and later was attracted by the playboy Qiao Qiqiao (Peng Yuyan, played), and eventually became a tool for his aunt, Mrs. Liang and Qiao Qiqiao to make money.

Under the blessing of the heavyweight behind-the-scenes team, the movie "First Incense" presents a highly stylized picture, and the 10 posters released this time also vividly reflect the rich oriental aesthetic atmosphere – Ge Weilong’s eyebrows are lowered, as if struggling with desire and ideal choice; Aunt Liang is at the junction of light and dark, and the vague outline and dense smoke vaguely suggest the character’s mentality; Qiao Qiqiao’s hands are folded and her eyes are closed for contemplation, and she leans against the wall to organize her hair braids. Situ Xie takes off her glasses thoughtfully… The image of each character leaps into the paper, and the strong sense of story also brings a lot of reverie space to the audience. The powerful actors use their meticulous acting skills to convey a sense of substitution.

The movie "First Incense" will be released on October 22. Please step into the cinema and enjoy this annual love drama!

　　CCTV News:On May 4th, the joint prevention and control mechanism of the State Council held a press conference, and invited the responsible persons of Henan Transport Team, Thunder God Mountain hospital Liaoning Medical Team, the First Affiliated Hospital of Sun Yat-sen University and Xiangya Hospital of Central South University to answer questions from the media. At the meeting, Mi Feng, spokesperson of the National Health and Wellness Commission and deputy director of the Propaganda Department, introduced the epidemic situation on May 3.

　　0: 00 on May 3rd — At 2400 hours, the provinces (autonomous regions and municipalities) and Xinjiang Production and Construction Corps reported that there were 3 newly confirmed cases, all of which were imported from abroad, including 2 cases in Shanghai and 1 case in Shandong; No new deaths; One suspected case was added, which was imported from overseas to Shanghai. On that day, 53 new cases were cured and discharged, 632 people were released from close contact with medical observation, and 1 case was reduced in severe cases.

　　There are 402 confirmed cases imported from abroad, including 5 severe cases and 3 suspected cases. A total of 1675 cases were diagnosed, and 1273 cases were cured and discharged, with no death.

　　As of 24: 00 on May 3, according to the reports of provinces (autonomous regions and municipalities) and Xinjiang Production and Construction Corps, there are 481 confirmed cases, including 33 severe cases; A total of 77,766 discharged cases were cured, 4,633 cases died, 82,880 confirmed cases were reported, and 3 cases were suspected. A total of 734,766 close contacts were tracked, and 7,392 close contacts were still under medical observation.

　　13 cases of asymptomatic infection were newly added, including 2 cases imported from abroad; No confirmed cases were found on the same day; On the same day, 19 cases were released from medical observation, including 2 cases imported from abroad; 962 cases of asymptomatic infection are still under medical observation, including 98 cases imported from abroad.

　　A total of 1520 confirmed cases were reported from Hong Kong, Macao and Taiwan. Among them, there are 1039 cases in Hong Kong Special Administrative Region, 45 cases in Macao Special Administrative Region and 436 cases in Taiwan Province.

　　On May 3rd, the number of confirmed cases in China dropped below 500, the lowest since January 23rd. The total number of existing confirmed and suspected cases imported from abroad decreased for three consecutive weeks. In the past two weeks, a total of 92 confirmed cases were imported from abroad, which was lower than the previous one-day peak. Mi Feng said that it is necessary to continue to tighten the string of "external defense input" and always do a good job in the whole chain management from "overseas" to "national" and then to "home" to achieve seamless docking and closed-loop operation.

　　"MuYong read bucket don’t read chung, farmers read pus don’t read oboro. Rice reads japonica rice but not stalks, while sunny rice does not read eyes … …” Many tongue twisters that Chinese may not be able to read smoothly were read completely by foreigners, and such interesting pictures appeared at the launching ceremony of the "Chinese Bridge" competition.

　　On September 1st, the launching ceremony of the 19th "Chinese Bridge" World College Students Chinese Competition and the 13th "Chinese Bridge" World Middle School Students Chinese Competition was held in Beijing. Many innovations in competition system and technology of this year’s "Chinese Bridge" were introduced at the event site.

　　Launching ceremony

　　New lineup, new platform, new continuation of "classic IP"

　　The Chinese-foreign Language Cooperation and Exchange Center of the Ministry of Education teamed up with Central Video to deepen the soil of language and cultural exchange.

　　This year, the Chinese-foreign Language Cooperation and Exchange Center of the Ministry of Education teamed up with CCTV Video to adopt the innovative program production mode of 5G "cloud recording" to create a "Chinese Bridge" activity with more interactive new media.

　　Zhao Guocheng, deputy director of the Chinese-foreign Language Exchange and Cooperation Center, said: "In the past 20 years ‘ Chinese Bridge ’ Adhering to the initial intention in the trend of the development of the times, the audience of the series of competitions has reached more than 1.4 million in more than 150 countries, which is known as the ‘ Olympic ’ It is a bridge of language, culture, friendship and soul to communicate with the world. ‘ Chinese Bridge ’ The original intention of the World Chinese Competition for College Students and Middle School Students is to build a language exchange platform for young people from all over the world to communicate, understand and learn from each other. "

　　Wang Wenbin, director of the Audio-visual New Media Center of the Central Radio and Television General Station and convener of the Convergence Development Center, said: "Central video is based on ‘ 5G+4K/8K+AI’ Guided by advanced technology, we will create an active layout of world-class new mainstream media. Adhering to the concept of openness and win-win, the platform has a chemical reaction with all resources and produces high-quality content with strong leading power, communication power and influence. "

　　Zhao Guocheng, Deputy Director of Chinese-foreign Language Exchange and Cooperation Center.

　　It is reported that the competition will be held from September to December this year, and CCTV is the media broadcast platform and interactive platform for this event.

　　Guo Tong, executive deputy general manager of Central Video Media Development Co., Ltd. and general manager and editor-in-chief of CCTV Creation Media and CCTV Entertainment Media, said: "In such a special period, Central Video has joined hands with the Chinese-foreign Language Exchange and Cooperation Center to make this Chinese bridge connect different cultures again and connect the whole world. Being able to make a little contribution to world cultural exchanges is the social responsibility of the national audio-visual new media platform, and it is also the initial heart and mission of our generation of media people. "

　　Guo Tong, Executive Deputy General Manager of Central Video Media Development Co., Ltd.

　　At the launching ceremony, Kang Hui, Jing Yidan, Lu Jian, Zhu Xun, Zhang Bin, Liu Xin, Ren Luyu, Zhu Guangquan, Nigmat, Wang Ning, Zou Yun and many other presenters also sent their blessings to the Chinese Bridge and this year’s contestants for recording videos.

　　Innovation opens a new upgrade of 5G cloud recording system

　　Introduce a number of "new" gameplay strength players "Cloud" set to compete for the championship

　　According to reports, the preparatory work for this year’s "Chinese Bridge" activity has started, and hundreds of outstanding players have entered the selection of qualifiers. In view of this year’s special situation, the organizing committee of "Chinese Bridge" has achieved many upgrades from the design of program competition system to technical support.

　　Lin Feng, artistic director and Wang Xuechun, deputy director of CCTV Creative Media Co., Ltd., announced a brand-new competition system: "This year, through four rounds of competition, European champions will be born in five continents, and finally, they will compete for the championship in the global finals. From the topic setting, in addition to literary common sense, idiom competition, real-life situational dialogue, debate and other modes, the contestants will also focus on ‘ The story of me and Chinese ’ Create Vlog. "

　　It is reported that Kang Hui, Jing Yidan, Liu Xin and other CCTV hosts and language and cultural exchange experts who are familiar to the audience will also be likely to join the competition as guests or judges.

　　Zhu Xun took a group photo with the "Champion Group" players.

　　In terms of technology, the CCTV production team created innovative forms such as "5G Cloud Stadium" and "Online Virtual Audience", which enabled more players and netizens to participate in the activities through technology and turned the "Chinese Bridge" activity into a more widely participated communication platform. As Zhang Yue, winner of the special prize of "Chinese Bridge" in Thailand in 2015, said, "The competition has realized my dream of learning Chinese and making friends all over the world."

　　Popular players playing flying flowers on the spot make it interesting.

　　CCTV presided over the topic to find out the Chinese Bridge and tell the story of China.

　　Can "crooked nuts" also play "flying flower order" At the launching ceremony, several champions took the title of "Moon" and received more than a dozen poems in one breath. Even with such literary attainments, they were once again "difficult" by the examination questions given by two famous CCTV mouths, Kang Hui and Zhu Guangquan.

　　Zhu Guangquan described the school opening scene with the rhyme of baffled sign language translation. Egyptian player Liu Zhengxi tactfully discovered the key message of "confiscation of mobile phones" and successfully solved the "Zhu-style puzzle", which caused the audience to burst into laughter. Zhu Guangquan’s exam was just a warm-up, and Kang Hui’s tongue twister really stunned the three champions. "Ears make people listen to the music, but they don’t read the mountains, while fire makes them read the lights, but they don’t read the clarity." Zhu Xun said that Kang Hui’s tongue twister read out the aesthetic feeling of Chinese melody, and he also felt "how he got into CCTV in those days". Kang Hui’s tongue twister exam finally came to an end in the laughter of the audience.

　　"Champion Group" players draw lots

　　As a bridge, Chinese is the best in the world. As a carrier of cultural communication, Chinese not only has a unique aesthetic feeling, but also has a strong interest. The activity of "Chinese Bridge" hopes to cross cultural differences, let young people all over the world discover the charm of China language, and also hope to better spread China culture through Chinese.

At first glance, the comic narrative setting of the new drama "Yulouchun" is very light; Looking closely, the drama has some bright spots in the integration of traditional cultural elements and image expression.

Author: and song

Unexpectedly, the beautiful Luoshen dance has a new version, this time in the costume drama "Yulouchun".

　

Wu Yuehong, the grandson’s eldest daughter-in-law played by Yoko Spicy Eyes, accompanied by playful music, walked away to her husband, Sun Shijie, clumsily and confidently imitating Luo Shen’s "body flying fast and limping".

　

Sun Shijie, who "fled", commented that this dance was "effective from the east", but the contrast between the slim Luo Shen in the painting and Wu Yuehong’s "Luo Shen" plus version outside the painting made many netizens laugh, which also opened the corner of the light narrative of the play.

There are many scenes that make people laugh. In the latest story, the heroine Lin Shaochun (White Deer) uses pollen allergy to "seal" her beauty and successfully escapes from choosing a concubine.

　

What kind of people are these and what interesting stories are they telling?

　

"Fast-forward" version of the ancient style, shaking out dense "baggage"

"Yulouchun" tells the story of Lin Shaochun, who was displaced from the street in his family. By chance, he fell in love with Yulou (Wang Yizhe), the son of the records of the dynasty, and then married into the grandson of Zhong Ming, who was a food eater, and then started a relaxed and interesting story of "family happiness".

Judging from the picture, "Yulouchun" looks like an open ancient book. The opening part follows a shadow play along the street, passing through pavilions, streets and lanes, "embracing" three religions and nine streams and princes and nobles, and positioning itself in the main venue of the story-the prominent Sun family in the "directory" introduction.

　

The fast-forward of "shadow play" made the characters appear one after another, and the stories immediately became "lively", and the comedy style began to appear. In the Sun family, funny stories were staged one by one-

　

Wu Yuehong, the eldest daughter-in-law, not only imitates Luo Shen, but also comes from a family of military officers. She has just been taught by her mother-in-law to be "considerate and caring" for her husband, and then she turns around and shoulders her burly husband and leaves.

　

Xu Fengqiao (Gina), the third daughter-in-law, is "a royal husband with skills". No matter how many reasons he finds to cover up staying out at night, he does not fall behind in "unique ways" such as kneeling abacus and eating Chili peppers.

　

In Yulouchun, various humorous inversions are still presented on different occasions. For example, in order to test whether Lin Shaochun pretended to be greedy for vanity because he declined his pursuit, Yulou invited his friends to pretend to be a dude and forced Lin Shaochun to drink, but he was ready to stand up at the critical moment and stage a drama of "saving the beauty by a hero", but he did not want Lin Shaochun to easily resolve the "crisis".

　

A series of hilarious plots also provided an entrance for the audience to quickly enter the show.

　

As far as the 10 episodes updated in the first week are concerned, the story lines of "Yulouchun" in Sun’s mansion, namely, the daily life of the male and female host, the acquaintance and love of the male and female host, and the heroine’s redress for the father, go hand in hand, including more characters, which makes the plot progress contradictory and motivated.

　

The multi-line simultaneous development of the whole drama has also created more contact points for the integration with traditional culture. In the daily life of Sunjia Mansion, shadow play of intangible cultural heritage is used in series; The feelings of Lin Shaochun and Sun Yulou have warmed up in the performances of one hundred theatrical troupes. Traditional cultural elements such as pipa, guqin, flower arrangement, incense and so on are all presented.

　

In terms of scenery setting, according to Luan Hexin, production designer, the play refers to the collocation of traditional painting colors in China and the layout of the new Chinese style structure and environment, and is associated with different characters and stories, "to present a warm image for the audience".

　

In terms of modeling, Song Xiaotao, the modeling director, chose a light color scheme for the needs of the drama series to show all kinds of life, and embellished it with many non-legacy techniques under the details. For example, Gu embroidery, which originated in the Ming Dynasty, is used in clothing production, and delicate and elegant flowers are also used in jewelry production besides traditional crafts such as silk-cutting and treasure-embedding.

　

　"Small personality" leads to "family happiness"

Regardless of genre and form, a drama is still telling stories and shaping people. For this humorous costume drama, the "family fun" character of the characters promotes the "family fun" trend of the plot.

　

Several groups of Sun family characters with different personalities give the story a different foothold, which can be humorous, ridiculous, reversed and serious. This is most obvious among several female characters in the Sun family.

　

Sun Jia’s eldest daughter-in-law, Wu Yuehong, is a typical "humorous bear", who will watch Luo Shen make a beautiful imitation makeup and dance swords and recite poems;　

　

Su Yingxue, the second daughter-in-law, is "partial to literature and art" and loves to play a little temper, but she enjoys hearing good melody.

　

Adrian Xu, the third daughter-in-law, is arrogant and provocative, and she will never suffer.

　

Lin Shaochun, who is about to marry into Sun Fu, obviously feels more "heavy responsibility on her shoulders" than other women: she lost her parents overnight because of her father’s injustice in childhood, and she is strengthening herself through experience, whether she is studying in a troupe or choosing a concubine in the palace.

　

The characters of several women have become the "basic disk" of the plot, and the characters with their own characteristics make the movements between paragraphs complement each other, humorous but not too noisy; In the daily life of husband and wife, father and son and sister-in-law, it can be seen that the drama series thinks about the relationship between individuals and families, but it is not too deep; Vivid characters and diverse emotional relationships jointly set off the daily fireworks in the deep house compound.

　

All the people outside Sun Fu also stick to their own principles.

Yao Dizhu, Xu Fengqiao’s cousin, never refused to be "taken care of" in marriage matters, and skillfully used her mind to make herself unsuccessful in the draft, not seeking prosperity, but seeking "one person for life." Liu Sanjue, the master of the troupe, has mastered the stunt that can make girls in that era "live" and pretend to be boys without revealing their flaws. However, Liu Sanjue always emphasized to his disciples that "this skill cannot be exchanged for unjust utilitarianism".

　

Although these characters are in the background of ancient society, they all dare to break free from the shackles of the times. The drama connects with the modern audience with the logic of ordinary people-bravely pursuing marriage and love, but also sticking to the bottom line of personal value.

　

The brisk pace, dense baggage and happy family atmosphere are the obvious characteristics of Yulouchun at present. However, there is still room for improvement in plot narration and bridge design. With the advancement of the story, I look forward to better performance in the future.

&&Zhu Yonglei: Continue to focus on the "three major issues" and promote the creation of fine TV dramas.

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