(Decree No.13 of the State Education Commission on September 18, 1990)

　　Article 1 These Provisions are formulated for the purpose of optimizing the educational environment, strengthening the campus management of colleges and universities, maintaining the order of teaching, scientific research and life and the situation of stability and unity, and establishing a campus order conducive to training specialized personnel for socialist modernization.

　　Article 2 Institutions of higher learning mentioned in these Provisions (hereinafter referred to as "schools") refer to full-time ordinary institutions of higher learning and adult institutions of higher learning.

　　The teachers and students mentioned in these Provisions refer to the teachers (including foreign teachers), students (including foreign students studying in China), teaching assistants, managers and workers of the school.

　　Article 3 Teachers, students, employees and other personnel who come to the school for activities shall abide by these provisions, safeguard the fundamental system established by the Constitution and the interests of the state, and safeguard the teaching, scientific research and living order of the school.

　　Schools should strengthen campus management and take measures to prevent and stop activities that violate laws, regulations and school rules on campus in a timely and effective manner.

　　Article 4 Schools shall respect and safeguard the personal rights, political rights, education and education rights of teachers, students and employees as well as other rights stipulated by law, and shall not restrict or deprive teachers, students and employees of their rights.

　　Article 5 The personnel entering the school must hold the student ID card, work permit, attendance card or other badges and certificates issued by the school to enter the school.

　　Domestic personnel who do not hold the badges and certificates specified in the preceding paragraph shall enter the school after registering with the doorman.

　　Article 6 Domestic journalists must hold a journalist’s card and a letter of introduction to interview when they enter the school, and they can only enter the school to interview after notifying the relevant institutions of the school.

　　Foreign journalists and journalists from Hong Kong, Macao and Taiwan must have a letter of introduction and a press card from the foreign affairs office of the people’s government of the province, autonomous region or municipality directly under the Central Government or the Hong Kong, Macao and Taiwan Office where the school is located, and contact the foreign affairs office of the school before entering the school for an interview. Only after permission can they enter the school for an interview.

　　Seventh foreigners, Hong Kong, Macao and Taiwan personnel to enter the school for official and business activities, should be approved by the relevant departments of provinces, autonomous regions, municipalities directly under the central government or the State Council and inform the school, or according to the academic exchange plan, the school leaders agreed to study before entering the school. Foreigners, Hong Kong, Macao and Taiwan personnel who request to enter the school themselves shall enter the school only after the approval of the foreign affairs agency of the school or the Hong Kong, Macao and Taiwan Office. Foreigners, Hong Kong, Macao and Taiwan personnel who accept personal invitations from teachers, students and employees to visit relatives and friends in the school shall enter the school after completing the registration procedures of the doorman.

　　Article 8 Persons who enter the school in accordance with the provisions of Articles 5, 6 and 7 of these Provisions shall abide by laws, regulations, rules and the system of the school, and shall not engage in activities inconsistent with their status or endanger campus security.

　　For those who violate the provisions of Article 5, Article 6, Article 7 and the preceding paragraph of this article, teachers and students have the right to report to the school security agency, which may ask them to explain the situation or order them to leave the school.

　　Article 9 Students are generally not allowed to stay off campus in student dormitories. In case of special circumstances, they should report to the relevant school authorities for permission and register for staying. Those who stay off campus should cancel their registration. Do not stay in the dormitory of the opposite sex.

　　In violation of the provisions of the preceding paragraph, the school security agency may order the lodger to leave the student dormitory.

　　Tenth notices, notices, notices, advertisements, etc., shall be posted in the places designated or permitted by the school. The distribution of promotional materials and printed materials shall be approved by the relevant institutions of the school. For those who post and distribute public posters, publicity materials and printed materials that oppose the fundamental system established by China’s Constitution, harm the interests of the family or insult and slander others, the judicial organs shall investigate their legal responsibilities according to law.

　　Article 11 When setting up temporary or permanent buildings and installing audio, radio and television facilities on campus, the setters and installers shall report to the relevant institutions of the school for examination and approval, and shall not set up or install them without approval.

　　Teachers, students, employees or relevant groups and organizations must report to the relevant institutions of the school for approval when using the school’s radio and television facilities, and any organization or individual is prohibited from using the school’s radio and television facilities without authorization.

　　In violation of the provisions of the first, second and third paragraphs, the relevant institutions of the school can persuade them to stop setting up, installing or stopping their activities. If they have already been set up and installed, the relevant institutions of the school can dismantle them, or order the setters and installers to dismantle them.

　　Article 12 To hold public activities such as assemblies and speeches on campus, the organizer must apply to the relevant institutions of the school 72 hours ago, and the application shall specify the purpose, number of people, time and place of the activity and the name of the person in charge. The relevant institutions of the school shall notify the organizer of the decision of approval or disapproval at the latest four hours before the holding time. Failing to notify within the time limit shall be deemed as permission.

　　Assemblies, speeches, etc. shall conform to China’s educational policy and corresponding laws and regulations, and shall not oppose the fundamental system established by China’s Constitution, interfere with the teaching, scientific research and life order of schools, or damage state property or the rights of other citizens.

　　Thirteenth in the organization of lectures, reports and other indoor activities in the school, the organizer shall apply to the relevant institutions of the school 72 hours ago, and the application shall specify the contents of the activity, the names of the speaker and the person in charge. The relevant institutions of the school shall notify the organizer of the decision of approval or disapproval at the latest four hours before the holding time. Failing to notify within the time limit shall be deemed as permission.

　　Lectures, reports, etc. shall not oppose the fundamental system established by China’s Constitution, violate China’s educational policy, publicize feudal superstitions, engage in religious activities, or interfere with the teaching, scientific research and life order of schools.

　　Article 14 Teachers, students and employees shall carry out teaching, research, life and other activities in strict accordance with the arrangement of the school. No one may disrupt the order of teaching, research and life in the school, or prevent others from carrying out teaching, research, life and other activities according to the arrangement of the school.

　　It is forbidden for teachers and students to gamble, drink, fight and other behaviors that interfere with the teaching, scientific research and life order of the school.

　　Fifteenth teachers and students to organize social organizations, should be handled in accordance with the provisions of the "Regulations" on the registration and management of social organizations. The establishment of non-social organizations in the school should be approved by the organizers before it is established, and it is not allowed to set up and carry out activities without approval.

　　Non-social organizations and newspapers and periodicals on campus must abide by laws, regulations and rules, implement China’s educational policy and abide by the school system, accept the management of the school, and may not engage in activities beyond its purpose.

　　Sixteenth in violation of the provisions of Article 12, Article 13, Article 14 and Article 15, the relevant institutions of the school may order its organizers and other parties to stop their activities immediately. In violation of the provisions of the second paragraph of Article 12 of these Provisions, which damages the state property, the relevant institutions of the school may order them to compensate for the losses.

　　Seventeenth unlicensed personnel are prohibited from doing business on campus. Commercial outlets located on campus must operate at designated locations. In violation of the provisions of the preceding paragraph, the relevant institutions of the school may order them to stop business activities or leave the campus.

　　Eighteenth teachers and students who violate these regulations and fail to correct after being advised and stopped, the school may give administrative sanctions or disciplinary sanctions according to the circumstances; Those who violate the administration of public security shall be dealt with by the public security organs according to law; If the circumstances are serious enough to constitute a crime, they shall be dealt with by judicial organs.

　　Teachers and students who are dissatisfied with the punishment of the school may lodge a complaint with the relevant education administrative department, which shall make a decision within 30 days after receiving the complaint.

　　In violation of these regulations, the off-campus personnel who are still not corrected after being advised and stopped shall be dealt with according to law by the public security and judicial organs according to the circumstances.

　　Article 19 Institutions of higher learning may formulate specific management systems in accordance with these Provisions.

　　Twentieth the provisions shall come into force as of the date of promulgation.

　　Editor’s note:The rise and wide application of artificial intelligence technology has increasingly placed us in a world surrounded by big data and algorithms. The power of algorithms is everywhere, from quantitative analysis of stock trading to music creation, from intelligent recommendation of shopping websites to autonomous driving, there are traces of algorithm operation everywhere. The algorithm can decide whether a person’s loan application is approved or not, and it can also decide what kind of push you see when you open your mobile phone to browse the news. In the first issue of Media Watch in 2019, Ao Peng, a Ph.D. candidate from School of Journalism and Communication, Peking University, combed the cutting-edge application practice of the algorithm in the current European and American digital media environment, and discussed how it affected and changed the news production process, as well as the problems that could not be ignored in this process, such as news value judgment, objectivity and algorithm responsibility.

　　Algorithm news, embracing artificial intelligence and guarding against "technological hegemony"

　　Aopeng

　　As a brand-new intermediary in the process of news production, the algorithm has brought a brand-new paradigm revolution to the production of public information and knowledge represented by journalism, brought breakthroughs and challenges in the methodology and conceptual cognition of traditional journalism, and inspired people to rethink what news is in a brand-new digital environment, and how news, which bears the function of public knowledge production, should embrace change and stick to it firmly at the same time.

　　Anchoring News: Finding Fact Clues from Massive Information

　　In the aspect of finding news clues, the algorithm, as a data-driven intuitive radar, mines data through a series of machine deep learning functions such as real-time monitoring and cluster analysis, helping reporters to quickly lock in valuable information in a complicated information environment. Through the quantitative analysis of data, the algorithm can show the hidden characteristics or problems in the depth of information through the surface clutter, and help guide human journalists to pay attention to valuable information clues, thus producing more meaningful reports. For example, the BBC’s R&D lab has developed an application called Data Stringer in Github to help journalists monitor the real-time updates and changes of different databases, and give reporters tips when the unemployment population and crime rate surge in a certain area at a certain time, which has become a key starting link in the news production chain. Reuters has developed a special social platform monitor Tracer, which uses various data mining capabilities to help journalists pay attention to the trend of large-scale content information on social media in real time. In addition to the powerful monitoring and early warning function, the algorithm can also find unexpected clues through the systematic in-depth analysis of the usual data. The most well-known case of this application is BuzzFeed News’ investigation report on the tennis match fraud scandal in 2016, The Tennis Racket. The reporter made an in-depth exploration of the gambling data and game data of 26,000 professional tennis matches between 2009 and 2015.The existence of players’ cheating behavior is found from the abnormality of data. In this process, the algorithm provides a more objective and reliable empirical basis for the excavation of valuable news clues.

　　Deep learning: precise analysis and verification of materials.

　　Algorithm-led deep excavation can help journalists to understand and control the increasingly extensive data and materials, provide journalists with a brand-new reporting perspective or conduct a deep and all-round analysis of events, and verify the reliability of source information. From the current application, there are three main types of algorithm deep excavation: supervised machine learning, unsupervisedmachine learning and reinforcement learning. Supervised machine learning relies on tagged data to establish a classification and regression system, which can reveal the relationship between data, deeply analyze data information, help journalists dig deeper into the reality behind events and gain a more unique interpretation perspective. For example, in 2016, the Atlanta Constitution newspaper excavated and analyzed more than 100,000 institutional documents on the issue of sexual assault by doctors, and found that there was a widespread fact that doctors continued to practice normally after sexual assault misconduct. Unsupervised machine learning does not depend on preset labels, and can be used to reveal the unexpected connections between many things, and to dig out the internal connection features through unrelated information representations. Reinforcement learning(reward learning) tries to maximize the reward function every time the algorithm makes a decision, and find the best method in a specific situation, such as being applied to test different headlines to find the best one. These three types play an important role in the field of news material analysis. They are independently or cross-applied in different situations, effectively helping the analysis and processing of news materials, trend prediction and fact checking in the process of news production, and improving the accuracy and depth of news reports.

　　In addition to the deep analysis of information data, the deep mining function of the algorithm is now more widely used in information verification and fact verification in the news production process, helping to identify the authenticity of news and sources and identify fake news. A set of semantic analysis algorithm system developed by the research teams of the University of Michigan and the University of Amsterdam in recent research in 2018, the accuracy of identifying false news can reach 76% at its best, while the accuracy of identifying false news by human beings is about 70%. The algorithm technology for identifying various forms of information in the digital age is also constantly advanced. The complex machine learning algorithm developed in the research project of In VideoVeritas can help identify false images and videos in the network communication space, with an accuracy rate of 92%. However, it is still a very challenging thing to completely rely on algorithms to check information. Although many websites such as Politifact, Factcheck.org, Fullfact and other fact-checking organizations are actively exploring the use of algorithms to automatically identify information, the most effective and widely used method at present is to cooperate with people. Algorithm automation helps manual verification in this process, which is helpful to deal with large-scale information efficiently.

　　Automatic reporting: faster, wider and better news production.

　　If locating news clues and in-depth material analysis are just algorithms that provide instrumental support for news production, then automated news writing is a real direct production of finished news, which has become the most violent part of traditional news production.

　　First of all, algorithm-led automated reporting can help improve the speed of news production. In recent years, automatic robot news writing has been widely used in the fields of finance and economics, sports, weather forecast, breaking news and other fields with simple information dissemination content and fast dissemination speed, especially in the field of weather forecast, which has a history of more than 20 years.

　　Secondly, automated news greatly broadens the coverage of news media. Associated Press, a veteran news agency with a history of more than 170 years, generated more than 3,700 reports in each financial reporting quarter by algorithm in 2017, covering most American stocks with a market value of $75 million. This number of reports is 10 times that without automatic generation, which greatly broadens the scope and types of reports compared with the traditional model. The algorithm makes many parts that journalists can’t pay attention to because of their limited time and energy be presented in the foreground, and get the opportunity to meet the audience.

　　Has it shaken the essence and value judgment of news?

　　Algorithm news has realized the generation of large-scale and massive news reports through the non-stop data processing ability of mechanization, which has reached an unprecedented breadth in the coverage of news content and objectively created more news information production. At the same time, however, for the audience, the time for receiving and digesting news is limited, and only a small part of the increasing mass information can be seen and realized. Therefore, we have to return to the initial definition of news, what is news, what is the value of news, and what kind of information deserves attention, should be reported and disseminated. Whether the information generated under the guidance of algorithmic logic can still be regarded as news and whether it still has news value.

　　When the algorithm automatically generates information, news is often retrieved according to data commands. In the process of large-scale information production according to the logic of the algorithm, it is difficult to quantify the strain and professional intuition of human journalists in practice into specific data judgment indicators, which leads to the fact that although the algorithm can generate a large number of news, the news value of many news is really debatable, which undoubtedly brings more screening difficulties to the audience. On the other hand, the algorithm, as an auxiliary function, can really help human journalists locate news clues in the massive information, but if the whole workflow is dominated by the algorithm and the reporter’s attention direction is guided according to the algorithm logic, then the whole model itself will guide the reporter’s attention to a specific direction, but at the same time, will it also make reporters give up paying attention to more meaningful clues in other directions? When news organizations use algorithms to conduct data mining to guide news discovery, they essentially allow algorithms to give priority to news value judgment. This process is actually shaped by algorithms, which further affects what kind of news the audience will consume. When the algorithm influences the judgment and choice of news production, the essence and value of news are bound to be strongly impacted and challenged in this process.

　　Will algorithm-led news production be more objective?

　　In the field of news dissemination and distribution, the algorithm will lead to "echo chamber effect" and "filtering bubbles", which has always been the main evidence that the algorithm will cause prejudice. But in the field of news production, can the seemingly objective algorithm completely avoid prejudice? In 2018, Knowhere, an AI startup website in the United States, declared that artificial intelligence can be used to write fair and unbiased news. This website crawls information through big data mining and deep learning of news news and rewrites it with automated algorithms, and provides three versions of each news on the website: left-leaning view version, right-leaning view version and neutral version. Its algorithmic news application innovation won the favor of capital, and the company received an investment of 18 million US dollars in 2018. However, in this process, the algorithm is still getting data from human judgment. Every article advertised as "neutral" will also join the reader survey, so that the audience can score the neutrality bias of the article according to their own subjective feelings and submit it to the system background. In fact, the algorithm is constantly collecting big data to try to learn people’s subjective judgment tendency. Relying only on the algorithm to make neutral value judgment seems to be a long process that still needs to be improved in practice. When we return to the essence of the working principle of the algorithm, we will find that it is difficult for the algorithm to be more neutral and unbiased than traditional news, regardless of whether to divest the labor of human journalists in the whole workflow.

　　How to solve the responsibility problem in algorithmic news?

　　With the extensive application of the algorithm in the field of news production, the responsibility problem caused by the algorithm can not be ignored day by day. Especially when the algorithm plays an increasingly important role in many decision-making aspects of news production, how to evaluate, supervise and adjust the power of the algorithm has become an urgent problem to be solved. As a new power intermediary, the greater its influence in news production, the greater its corresponding responsibility. The algorithm itself is not perfect, it is unreliable to some extent, and it needs to be corrected all the time. As a product designed by artificial labor, it needs to be constantly debugged and modified. No algorithm can work once and for all. Google has to modify its search engine algorithm 500-600 times a year on average. Algorithms in news production often lead to the risks of inaccuracy, decision-making, prejudice and privacy, which leads to the question: Who should bear the responsibility for the errors and deviations caused by algorithms or the adverse consequences caused by decisions made according to algorithms in news production, which is the algorithm developer, product designer or news decision-maker? At the same time, should the algorithm be completely responsible for defining the occurrence of an adverse consequence? All these put forward a new problem of responsibility allocation for algorithmic news production. How much responsibility should the algorithm bear in the process of news production, and how to bear the responsibility, how news organizations can conduct self-examination and rectification of the algorithm at all times, and how the government and relevant regulatory agencies can intervene in the algorithm supervision and sanctions system of news organizations and enterprises.A series of problems have posed new challenges to news production and government supervision of news organizations.

　　(Published in the January 2019 issue of Media Watch, the original text is about 10,000 words, with the title: Frontier practice and problems of algorithmic news production and its enlightenment to news education. This article was recommended by Xinhua Digest in the 11th issue of 2019. Figures, notes, etc. are omitted. Please refer to the original text for academic citations. )

　　[Author] Ao Peng, Ph.D. candidate, School of Journalism and Communication, Peking University.

CCTV News:The 19th China — ASEAN Expo September 16th — It was held in Nanning, Guangxi on the 19th. According to the analysis, taking China-ASEAN Expo as the window, the outside world witnessed the first year of the implementation of RCEP, China — ASEAN cooperation has continuously released vitality and achieved fruitful results, and regional economic integration has injected new kinetic energy.

This year marks the first year of China-ASEAN comprehensive strategic partnership and the first year of RCEP’s effective implementation. This year’s China-ASEAN Expo will "share the new opportunities of RCEP and boost China — With the theme of ASEAN Free Trade Area Version 3.0, ASEAN and RCEP boutique exhibition areas were established for the first time, and 267 investment cooperation projects were signed in a centralized manner, with a total investment of 413 billion yuan, and the contracted amount reached a record high.

Since the entry into force of RCEP, the trade dividend has been continuously released, and the economic and trade investment has been upgraded. According to data from the General Administration of Customs of China, in the first eight months of this year, China’s import and export to ASEAN increased by 14% year-on-year. In the same period, the import and export of China and other 14 member countries of RCEP increased by 7.5% year-on-year. Based on the opportunity of RCEP, enterprises located in Foshan, Guangdong Province have opened a new cross-border e-commerce mode of transferring Guangxi Friendship Pass to Southeast Asia, realizing "10 hours short-distance transportation +2 hours fast customs clearance". Since the beginning of this year, the import and export volume of Foshan to the agreed countries has increased by 14.1% year-on-year.

Wang Qing, Deputy Director of Customs Business Division I, Foshan, Guangdong:1-mdash this year; In August, Foshan Customs issued a total of 4,557 certificates of origin involving RCEP, involving an amount of US$ 222 million, saving enterprises more than 25.6 million yuan in taxes and fees.

1-mdash this year; In July, the import and export of Guangxi, Brunei, Myanmar and Cambodia increased by 374.7%, 168.3% and 73.5% respectively. The ASEAN fruit imported from Guangxi Port reached 354,000 tons, and more fruits arrived at Chinese’s table faster.

Participants said that the industries of RCEP member countries are highly complementary, which will help to improve the security, stability and openness of the regional industrial chain supply chain. Although the epidemic has not yet ended, the import and export volume of RCEP member countries continues to grow, showing the resilience of regional economic development and the positive role of RCEP in consolidating regional supply chains.

Experts believe that China and ASEAN, the two most dynamic markets with the greatest growth potential, will be further integrated with the open and inclusive institutional arrangements for trade and investment liberalization and facilitation, which will inject new momentum into regional economic integration.

Chi Fulin, Dean of China (Hainan) Reform and Development Research Institute and Dean of China Characteristic Free Trade Port Research Institute:The effect of RCEP policy is gradually emerging, because RCEP adheres to a combination of openness, inclusiveness, sharing, traditional issues and new issues, which not only benefits the developed countries in this region, but also benefits the underdeveloped countries in this region.

The analysis points out that although the anti-globalization trend of thought has brought a strong impact on the world economy, the cooperation of global value chains is still becoming closer and closer, and the economic increment brought by RCEP can not only benefit itself, but also improve the world economic growth expectation.

Special feature of 1905 film network Directed by, starring,,,, and, will be released nationwide on February 10th, the film tells the story of prosecutor Han Ming and others who gambled everything and paid for fairness and justice with their own efforts in a relaxed and humorous way.

This film is also the third year in a row that Zhang Yimou fought in the Spring Festival. The year before last, he made a small attempt and showed his edge. Last year’s Spring Festival was a great success, and it also won the annual box office champion in 2023. This year’s "Article 20" is another realistic film after that, which is an exploration and reflection on realistic topics under the cloak of comedy.

As the seed player of the Spring Festival, the performance of this film in the pre-sale stage is also quite eye-catching. As of February 4th, the pre-sale box office of "Article 20" exceeded 50 million yuan, occupying the top three in the pre-sale list of new films in the Spring Festival with a very small gap.

This year’s Spring Festival movie file can be described as a "fairy fight", and almost all of the movies are comedy movies. What is the odds of veteran Zhang Yimou taking the movie "Article 20" for the Spring Festival file?

Chance 1: Stars gather and big coffees gather.

On the poster of "Article 20", the leading actors broke through the paper, and these actors are almost familiar faces of the audience in 2023. Therefore, this film is also dubbed by the audience as++"Rock-solid"+for the Spring Festival, and the cast is quite Starlight Glimmer.

Director Zhang Yimou’s skill in group drama has been verified in the film "Man Jiang Hong". In "Man Jiang Hong", actors such as,, Zhang Yi and so on are also in perfect harmony. Each role has its own characteristics and highlights, which set off each other in the film and are all brilliant. Therefore, "Article 20" can gather a large number of powerful actors and will certainly bring many unexpected surprise effects.

For example, Lei Jiayin, the central figure in Article 20, is the core of all the stories. In the film, Han Ming, the prosecutor played by Lei Jiayin, is involved in a case with huge differences in the workplace, and at the same time, his family is facing a similar test. Facing the double pressure of family and career, Han Ming decides to gamble everything and give a statement about fairness and justice in his own way.

This film is the fourth collaboration between Lei Jiayin and director Zhang Yimou. His interpretation of each role makes the audience feel trust. Lei Jiayin’s unique audience relationship makes people feel particularly comfortable, so he won’t feel anxious.

In Mary’s previous works, the audience may be used to her "God-Horse Combination" with Shen Teng. In this film, Lei Jiayin plays a middle-aged couple for the first time, and the CP sense of "Lei Ma Combination" is also worth the audience’s expectation.

Another highlight of the film is the deaf mother played by Zhao Liying. When her child is bullied on campus, she desperately takes care of her child in her arms. Even if she is threatened by the bad guys, she is still fearless and faces the injustice of the world.

Zhao Liying, as a new girl, also has the same spiritual temperament, resilience and vitality. This mother silently bears the weight of life in a silent world and interprets the greatness of maternal love with perseverance.

In addition, with the joining of powerful actors such as Zhang Yi, Gao Ye, Wang Ye, Wang Ye, and Wang Ye, what kind of sparks they will collide with in the film is also expected.

Chance 2: Realistic comedy hits people’s hearts directly.

As a realistic comedy, the film Article 20 shows the discussion of "self-defense" in Article 20 of the Criminal Law from the perspective of little people in real life, and through a series of interlocking cases, it causes the audience to think deeply about morality, law and humanity.

Many social topics of great concern can be seen in the film, such as campus bullying, bus harassment, reputation infringement, etc. The dilemma of emotion and law in related cases is unfolded around emotion and reason, morality and law, public order and good customs and national legal system, showing the core of the film’s pursuit of fairness and justice.

In addition to the pursuit of fairness and justice, the film brings the audience the most festive atmosphere by depicting the trivial warmth in daily life, so that the audience can immerse themselves in this warm and joyful atmosphere and feel that although things are difficult, love and justice are between you and me.

In Article 20, director Zhang Yimou uses unique narrative techniques and vivid characterization to lead the audience into a world full of banter and reversal. The audience can not only immerse themselves in a relaxed and happy atmosphere, but also find the pursuit of identity and dignity in the story of the film.

Article 20 is not only an ordinary comedy film, but also a profound exploration of fairness and justice. I hope that such an energetic realistic film can send a trace of winter warmth to the national audience during the Spring Festival and bring good hope for the New Year!

　　　　　

　　　 Osawa Xiongji, who participated in the war of aggression against China, gave his daughter an inscription before his death, asking her to erect a monument for him and apologize to the people of China. As a result, I was opposed by my family. Twelve years later, osawa’s last wish was realized.

　　　　　

　　　 The ashes of seven Class-A war criminals, including tojo hideki, are buried under the "Monument of Seven Scholars" in Izu Mountain, Rehai City, and Japanese Prime Minister Ji Tianmao wrote the inscription. It was bombed in 1971, and the cracks on the monument can be clearly seen by the author.

　　　　Author: Wang Xiaokui

　　　　Everyone who has been to Japan, with a little attention, will find and be amazed at the number of monuments in Japan. From these monuments, it is not difficult to see that Japanese society has an opposing understanding of World War II: one end is to support the war wholeheartedly, and the other end is to thoroughly reflect on the war and bear the responsibility for harm. The distance between these two ends can be said to be "infinite" Because it is impossible to unify its own historical understanding, when facing China and the victimized countries in Asia, the information sent by Japan is often vague and contradictory.

　　　　　　深夜盗骨

　　　　1948年12月24日深夜，驻扎在日本横滨的美军正沉浸在圣诞前夜的欢乐之中，横滨市内的久保山火葬场发生了一起偷窃案。三个黑衣人蹑手蹑脚地潜入火葬场，用事先准备好的工具，在残灰坑里掏了些东西后匆忙遁去。此前一天，依照远东国际军事法庭的判决，东条英机(第40任首相)、板垣征四郎(原陆军大臣、关东军参谋长)、木村兵太郎(原缅甸方面军司令官、陆军次官)、土肥原贤二(原第12方面军司令官)、武藤章(原第14方面军参谋长)、松井石根(原中支那方面军司令官)、广田弘毅(第32任首相)7人在东京巢鸭监狱被执行绞刑。他们的尸体被运到横滨久保山火葬场火化。由于担心会被人拿走作为象征物，美军对这些人的尸骨严加看管，甚至传说要抛撒到太平洋里。眼看这7人的骨殖就要灰飞烟灭，甲级战犯小矶国昭的辩护律师三文字正平、横滨市火葬场附近兴禅寺的住持市川伊雄、火葬场场长飞田美善心有不甘，遂有深夜盗骨之举。

　　　　　Monument to the Seven Scholars

　　　　Eleven years later, on April 19th, 1959, a monument named "The Monument of Seven Scholars" was erected in Izuyama, Rehai City, about 100 kilometers away from Tokyo. Buried under the monument are the ashes of seven Class A war criminals stolen by those three people. At that time, after the ashes were stolen, there was nowhere to keep them. Ash thieves and the families of seven war criminals remembered that there was a statue of Guanyin in Yidoushan, named "Xingya Guanyin", which was built after the commander-in-chief of Nanjing Campaign and Class-A war criminal Matsui Shigen returned from the battlefield in China. It is said that he was recalled to Japan and retired from the army soon after he occupied Nanjing because of disagreement with the military. Around 1939, he asked the old army to bring back 10 altars of blood and soil from dachang town, Nanjing, the site of fierce fighting at that time, and burn them into a Guanyin statue, named Xingya Guanyin. Guanyin Temple was built next to it, and an altar was set up to pay homage to the war dead in Nanjing. And he himself built a house near this Guanyin statue and lived here. The abbot of Guanyin Temple, Yidan Renli, is an ardent supporter of Matsui. On May 3, 1949, Hirota Hiroshi’s son, tojo hideki’s wife, Wu Tengzhang’s wife, Sanwen Zhengping and others came to Izuyama, falsely claiming that they were friends’ ashes and asking Yidan to keep them temporarily. Knowing this, Yidan hid the ashes in a crevice under Guanyin. On September 8, 1951, the Treaty of San Francisco was signed, and it came into effect on April 28, 1952. The control of the US military over Japan was gradually relaxed, and this "monument to the Seven Scholars" was created.

　　　　Next to the "Monument to the Seven Scholars", there is also a monument to Class B and Class C war criminals. In the nearby guanyin temple, a memorial tablet was specially set up for Indian lawyer Paru, who advocated Japan’s innocence at the Tokyo trial that year, to thank him for his "justice" and "conscience" towards Japan.

　　　　Tomb of seven martyrs

　　　　On July 17, 1960, Sanwen Zhengping and others sent part of the stolen ashes to Aichi Prefecture, the hometown of Matsui Shigen, and built the "Tomb of Seven Martyrs" in Sangen Mountain, Sudou Town, about 150 kilometers away from Nagoya. The inscription on the tablet reads as follows:

　　　　Because the United States used the atomic bomb, the Soviet Union tore up the non-aggression treaty and the lack of materials, Japan was finally defeated. Eleven countries, including the United States, China, Britain, the Soviet Union, Australia, France, the Netherlands and India, held an international trial in the Far East. On the 23rd night of the 23rd year of Showa, Kenji Toshihara, Shigen Matsui, tojo hideki, Wu Tengzhang, Shiro Banyuan, Hirota Hiroshi and Heitaro Kimura were hanged. Lawyer Sanwen Zhengping took out their remains from Kuboyama Crematorium in Yokohama City and placed them in Izuyama, Rehai City. Later, thanks to the kindness of Sudou Town, the remains were buried at the top of three mountains. With the consent of the survivors, the tombstone was built with the support and support of two lawyers, Ichiro Kiyoseki and Yu Sugawara. Looking at the other side of the ocean, we should explore the truth of the Pacific War and work hard to achieve permanent peace.

　　　　The inscription attributed Japan’s defeat to the use of atomic bombs by the United States, the Soviet Union’s sending troops and the so-called lack of materials, and described the trial of the Far East International Military Tribunal as a "post-event judgment." Although the inscription as a whole does not directly judge the war itself, the message conveyed between the lines is very clear. On the surface, it is to "seek" the truth, but this "truth" is very clear in the heart of the monument builder. And look at the inscription on the poem tablet next to it:

　　　　Crying and martyrdom, seven friends in prison.

　　　　Yaoyun town prison is full of wind and wind,

　　　　Last night, seven stars were killed in the middle of the night.

　　　　Violent revenge is too old,

　　　　When will the revenge be settled?

　　　　This poem tablet is like a footnote for the tablet of "Tomb of Seven Martyrs". Hiroshi Oshima, the Japanese ambassador to Germany during World War II, won Hitler’s trust in promoting triple alliance’s activities in Japan, Germany and Italy. After the war, he was classified as a Class-A war criminal and sentenced to life imprisonment. In his poems, he described the Nest Duck Prison where war criminals were held as a hell on earth, praised seven war criminals as "seven stars", cursed the Tokyo trial as "violent revenge" and vowed to "avenge" them.

　　　　Stone tablet shapes memory.

　　　　As we know, all countries, including China, have the custom of "erecting a monument to the deceased", which aims to symbolize the meaning of the deceased’s life through the "stone", a visual medium that can last forever. The words carved on the stone not only show the dead, but also show the evaluation and judgment of the people and events related to the monument. In this sense, the monument is a symbol of value, and it is also a setting that constantly evokes and creates memories. Benedict Anderson especially emphasized the significance of the Monument to the Unknown Soldier and the Cemetery in the Imaginary Community to construct the "Imaginary Space" of the modern nation-state.

　　　　In another book, Language and Power, Anderson regards the monument as an ideographic setting, and expresses specific contents with its "specific form". The so-called "specific form" here is essentially a kind of "landscape" creation. Stone tablets or relics constitute a specific public space, which visualizes the "past" through "landscape" and then shapes the historical memory of the event figures.

　　　　Lawrence, an American historian, pointed out that "memory is not simply a repository of the past, but is constantly revised according to the needs of reality." In other words, what matters is not what happened in the past, but that we always recast the past according to the imagination of reality. "

　　　　From this point of view, it is clear that Sanwen Zhengping and others risked their lives to steal the ashes, and the purpose of the stone monument is very clear. They understand that the war is over as a "past", and when people arouse the memory of the war, they need to carry it out through some media. And the information conveyed by this medium will directly guide people to build their imagination. They stole the ashes and built a "landscape" through the tree monument, which showed their explanation of the incident and their evaluation of the characters.

　　　　Blasting of the Red Army

　　　　It is precisely for this reason that, on the opposite side, this monument is an existence that must be erased. Eleven years after the "Monument to the Seven Scholars" was built, in December 1971, the Japanese Red Army "East Asian Anti-Japanese Armed Front" sent people to plant bombs under the monument, and the monument was turned into three pieces with a loud noise. The Japanese Red Army issued the following statement:

　　　　In 1948, Ji Tianmao, the head of imperialism, wrote an inscription on the monument of the seven men who died in the country, which was built for evoking the souls of Class-A war criminals. This is a product of completely affirming and beautifying the aggression and counter-revolutionary ideology of old Japanese imperialism. It is the spiritual symbol of Japanese imperialism’s neo-colonial aggression.

　　　　It should be noted that the Japanese Red Army was rejected by Japan and the international community because of its terrorist violence such as hijacking, assassination and explosion. However, its political stance is to completely oppose Japanese militarism, advocate that Japan should bear the responsibility of war, and apologize to the war-stricken countries. Their understanding of war represents the leftmost end of Japanese society.

　　　　Of course, the stone tablet was bombed, and the stone tablet erector refused to admit defeat. At all costs, they imported special adhesive from Germany to glue and repair the stone tablet and stand in its original place again. Now we can clearly see the cracks in the monument. When the author visited the site, Miao Jing, the female abbot who guarded the monument and protected the temple, said meaningfully: They are a professional violent group, and the carefully planned and strictly implemented blasting plan did not blow up the monument. Isn’t this an act of god?

　　　　The "war" around the monument of the Seven Scholars is very symbolic. Ford, an American historical geographer, pointed out in his "America Carved on Stone Monuments: Scenery of Violence and Mourning" that human beings generally have ways to treat historical sites, such as "sanctifying, choosing, reviving and erasing". The specific way to choose depends on the value judgment of the society on related people and events. In the landscape treated in the above four ways, "how individuals, groups and even society as a whole explain and understand the basic attitude of the past" is engraved. From the history of the "Seven Scholars" being "consecrated", "erased" and "revived", it is not difficult to see the opposing composition of Japanese society’s understanding of World War II. At one end, it is to support the war wholeheartedly, while at the other end, it is to thoroughly reflect on the war and bear the responsibility for harm. Yoshikawa, a famous Japanese anti-war activist, used "the torn dead" to describe the different attitudes of Japanese society towards the war dead, pointing out that the distance between the two ends can be said to be "infinite". On the next stone tablet, we can see the other end of the "infinity" that confronts the "monument of the Seven Scholars", that is, another "landscape" of Japanese war memory.

Original title: Revelation of Xu Anhua’s film "Going North" — — Exploration on the dissemination of domestic high-concept films

Hong Kong director Xu Anhua won the Lifetime Achievement Award at the 77th Venice Film Festival. Recently, her new film has released a lot of publicity materials. Not only the actors are all-stars, but also the technical teams such as screenwriter, photographer, editor, art and sound are the top configurations in the film industry. The media drainage has earned the audience’s expectations. Based on Zhang Ailing’s novel of the same name, the film is ostensibly a drunken love story. In fact, through the social scenes of the upper class in Hong Kong during the Republic of China, it depicts the speculative themes such as emotion, desire and willingness, and shows the rich and complex cultural connotation by peeping into the geo-historical relationship between the two cities of Shanghai and Hong Kong and the humanistic features of Hong Kong.

Director Xu Anhua is a representative of the new wave of Hong Kong films. Looking at his creative process, we can find that the extreme genre aesthetics and deep humanistic care are the two most prominent labels of his works, which are not only the secret of Hong Kong films to convey "Hong Kong flavor", but also the development form of film aesthetics that China film industry expects to achieve at present, and the creative paradigm of new mainstream films is based on this. From the perspective of industrial thinking, the goal of film creation is to realize the function of economic value and cultural discourse construction through communication. Therefore, how to effectively distinguish films and realize multi-focus communication has always been one of the core propositions in the field of film communication in China.

Before the industrialization reform, it was customary in China to make morphological differences according to the dichotomy of commercial films, art films and main melody films. With the reform of China’s film industrialization and the collective development of Hong Kong directors going northward, the aesthetic concept and production mode of genre films are in line with the mainland film industry through co-production, and gradually become a new force in the film industry. At present, China’s film industrialization process has made remarkable achievements, and new changes have taken place in the fields of film aesthetics and film communication. Trigonometry or simple commercial typology can no longer properly summarize the film differences, so new ways of differentiation and communication paths are needed to supplement them.

Taking the three representative films of Xu Anhua’s "Going North" as an example, it is difficult to generalize them into certain types or pure art films, and these films have typical commercial production and distribution modes. Although the postmodern life of my aunt is stylized in aesthetic expression, its narrative is far better than that of Hollywood genre films, and it has distinct author brand and feminist characteristics. "Golden Age" breaks the double time and space inside and outside the camera, which is more experimental than commercial, and even causes some viewers to understand obstacles; When is the Bright Moon? It has a typical theme value appeal, based on the communication of Ming Xing Kasi, but it does not use genre creation, but poetically shows the theme of war and the group images of heroes in the war. These films enrich the aesthetic forms of domestic films, have distinct national aesthetic characteristics, and also provide a new idea for the industrial creation of domestic films, that is, high-concept films.

The definition of "high concept" comes from American TV industry in 1980s, and has been widely used in film field. It can be simply understood as a work with simple form, effective narration, high return on investment and typical labeling selling points. Its core connotation is to emphasize the advantages of production, publicity and other industrial fields, and try to establish an effective communication path to realize the commercial value of movies, which is in line with the guiding opinions of China’s film industrialization development. For film creation, the significance of high-concept film dispels the inevitable connection between commercial orientation and genre aesthetics, which is a more mature industrial thinking. Works with any theme and expression can be put on the market and return on investment through the industrialization promotion process. The high-concept film replaces the communicator-oriented thinking with the communication effect-oriented thinking, which is more in line with the characteristics of media and users in the new media era.

High-concept film is an industrial concept rather than an aesthetic concept. Therefore, it can be applied to the industrialization promotion of film works indiscriminately, which complements the industry’s detailed classification according to the aesthetic form of films. In recent years, a large number of domestic films with distinctive literary and artistic features have adopted high-concept production and publicity methods, and actively participated in market competition: for example, The Forever directed by Bi Gan, Jia Zhangke and Wang Xiaoshuai. The artistic quality and author style of these films are difficult to be classified by genre or business, and only by combining them with high-concept production and distribution thinking can we achieve better market response in both word-of-mouth and box office.

In addition, this dissemination effect-based production and distribution method is also applicable to the industrialization of documentaries: successful cases include. On the other hand, the National Art Film Projection Alliance has many preferential policies for the distribution and projection of non-genre films, forming a benign support. On the one hand, its significance recognizes that in the process of film industrialization, focus aesthetics provides a broad sinking market for art films and encourages non-genre film creation; On the other hand, from the perspective of industry, ensure that non-genre films have sufficient market competition channels and stable living space.

Judging from the aesthetic development of domestic films, genre films are a rising star in the reform of film industrialization and occupy a considerable advantage in the box office war. However, it is obviously not enough to ensure the healthy and all-round development of the whole industry by relying on a single aesthetic feature. Author films, realistic works, experimental films, documentaries, etc. should gradually participate in the market competition. The exploration of the dissemination of high-concept movies provides a valuable reference for this.

Back to the new film "The First Furnace Incense", the various features of the film basically conform to the concept definition of high-concept movies. The novel text of this film adopts the creative technique of modern literature, but many of its language plots and characters are clearly branded with the classic novel A Dream of Red Mansions, and Xu Anhua is good at adapting it with postmodern fable color through film language. Compared with the director’s early works such as My Aunt’s Postmodern Life, the aesthetic form of The First Furnace Incense must be rich and diverse. The market’s acceptance of high-concept movies will usher in another useful test. (Author: Zhao Yi, Associate Professor of New Media Art College of Xi ‘an Engineering University, Master Supervisor)

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With its 4970mm*1940mm*1792mm body size, Xingtu Lanyue presents a majestic body profile, with a wheelbase of 2900mm, ensuring a spacious and comfortable interior space. The side lines of the body are smooth and elegantly transitioned, outlining a unique design sense. The tire size is 245/50 R20, which not only guarantees driving stability, but also complements the style of the rims, further enhancing the overall visual effect of the vehicle. The front and rear wheel tracks are 1644mm, bringing balanced handling performance to this SUV.

The interior design of Xingtu Lanyue shows a refined and luxurious atmosphere, and its spacious interior is made of high-grade leather materials to create a comfortable touch. The driver sits on a leather-wrapped steering wheel, which supports manual up and down + front and rear adjustment to ensure that the driver can precisely control. On the central console, a large 15.6-inch touch screen shows the sense of technology, integrating multimedia systems, navigation, telephone and air conditioning control functions, and controlling the vehicle easily and quickly through automatic speech recognition system.

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Yao Chen, Chang Yuan and Zhuang Duffy starred in "Wild Flowers of Rock", which has just started broadcasting, and attracted wide attention from the audience. More than 90 hot searches such as "Yao Chen’s new drama was pushed into the water by her daughter", "Penglai’s love line of wild flowers of rock", "Yao Chen began to tear up Zhuang Duffy’s umbrella", "Yao Chen’s new drama is a hot mom of rock" and "Yao Chen’s new drama acting skills" were screened, and the audience’s discussion was very hot.

Rock Flower is novel in conception and full of stories. The drama focuses on modern women with distinct personalities, and combines with cool rock music to collide love, affection, friendship and dreams into novel stories, bringing a completely new experience to the audience.

In addition, as an emotional drama, "Wild Flowers of Rock" has only 12 episodes, which are extremely extreme in terms of plot rhythm, character, story setting, picture texture, etc. The rhythm of suspense drama, the excitement of emotional drama and the core of rock spirit are integrated into one, and it is a domestic drama that the audience has never seen before, which makes people shine.

Of course, the most wonderful thing in "Wild Flowers of Rock" is the charm of the role. The heroine Peng Lai is a rock lead singer. She is very personal, cool and quiet, but kindness is her background color. Proud is just a weapon for her to fight against life and protect her hard shell. There has never been a heroine who combines publicity and decadence like Peng Lai in domestic dramas, and it is also very difficult to complete this role. Whenever an actor pulls his acting skills a little, he will be labeled as "embarrassed"

Of course, choosing the right actor is also one of the secrets of the success of Wild Flowers in Rock. Peng Lai, the soul figure in the play, is played by Yao Chen, a powerful actor. She hold the audience from beginning to end with superb acting skills, which makes the play even more powerful.

Yao Chen’s national goodwill is extremely high. After many years of debut, she has performed many explosive TV dramas, and many of her roles are deeply rooted in the hearts of the people. In The Legend of the Wulin, Yao Chen plays Guo Furong, a strange and heroic woman. This role has a simple and joyful feeling and is deeply loved by the audience.

In "Latent", Yao Chen plays a rough and refined, provocative and decisive Cui Ping. From appearance to personality, the image of Yao Chen and this woman from the countryside seems to be natural, and the audience can’t see the traces of the performance at all.

In Everything’s Fine, Yao Chen vividly interprets Su Mingyu, who is rebellious, tough and fashionable. After many years of debut, Yao Chen has performed various roles, including fashionable gold-collar elite, simple country woman, simple female chef, funny female chivalrous woman, heartbroken mother, etc. In the play "Wild Flowers of Rock", Yao Chen once again challenged herself and performed Peng Lai, the female lead singer of rock, and Yao Chen made a great breakthrough in both image and acting.

Peng Lai, with short hair, smoky makeup and leopard print, sharp eyes and carrying an electric guitar on the stage, is full of rock and roll, and her charm can’t be resisted. Her slightly hoarse "hello" at the beginning of her voice not only made the audience boil instantly, but also made the audience off the screen feel very fresh. Yao Chen’s appearance in "Wild Flowers in Rock" achieved a surprise effect.

Peng Lai, a cool rock singer who doesn’t rub a grain of sand in her eyes, Yao Chen used only a few shots to set up the character and instantly caught the audience’s eye. Just as the audience thought that Peng Lai’s story would be cool to the end, the plot immediately turned upside down. Because of emotional frustration, Peng Lai went far away to the United States. However, her music was not appreciated there, and Peng Lai, who was lonely, worked as a care worker in the hospital and talked about it.

Peng Lai in "Wild Flowers of Rock" has many faces. Apart from the hot and cool rock goddess on the stage, Peng Lai also has a lonely, tangled and decadent side. Moreover, Peng Lai’s age in "Wild Flowers of Rock" spans nearly 20 years. Peng Lai, who is 20 years old, is high-spirited, cool and timid. Peng Lai, who is 40 years old, is decadent and failed, but he also has a strong side for his mother. Yao Chen’s performance in the play.

The drama "Wild Flowers of Rock" is a great challenge to Yao Chen. Apart from the performance of Peng Lai, which is a great test of acting skills, Yao Chen also sang the theme song "She" of the drama. This rock-and-roll song, Yao Chen practiced guitar and song hard every day until he was tongue-tied, and finally the music effect was very good, which was recognized by the audience. When Yao Chen opened his voice with the original sound at the beginning of "Wild Flowers of Rock", "It was actually the original sound.

In "Wild Flowers of Rock", "crazy" Yao Chen made the play quickly out of the circle, and the charm of rock girl Peng Lai could not be stopped. The actress Yao Chen, who has been constantly challenging herself, adheres to the acting principle of "rather lacking than abusing", and Yao Chen’s hand must be a boutique. "Wild Flowers of Rock" Yao Chen plays a different emotional boutique drama, which is very worth seeing!

Special feature of 1905 film network "I liked it after the first time, and after the second time, I patted it.Wei ShujunShoulder, and then withZhu YilongShake hands and congratulate them both! "I saw the avant-garde novel I wrote 36 years agoMistakes by the riverFinally put on the big screen, writerYuhuaHe praised the creative director Wei Shujun for shooting the texture of life, and the leading actor Zhu.onedragonThe performance is impeccable.

Returning with the honor of major film festivals, The Mistake by the River has scored 7.6 points in Douban, and the box office has exceeded 100 million in three days, creating a new personal box office record for director Wei Shujun, which has performed well in the dimension of art films and has also become another successful work adapted from a novel by a well-known writer.

At the same time, the film adaptation of the novel "The Father of the Spy Wars" has frequently exposed new trends: the spy war film directed and starring was announced to be released on November 24, and another film of the same name adapted from Decryption was officially launched recently.

As the leader of spy novels, Mai Jia once modestly said that his fame was largely attributed to the success of the film and television remake. "I am grateful to the movies and TV series, which made my words have the due value and made me get enough dignity and dignity."

This time, it’s really worrying how his "Spy War Seal", "Knife Point" and "Decryption" written in 11 years will be condensed and adapted into movies.

The relationship between film adaptation and the original work has always been subtle, whether it is reduction, transcendence or subversion, magic change. How does the original author view and handle the relationship between literature and film?

Space for adaptation

Language and images have their own strengths.

"It’s hard to change. It’s hard to change. I’m still a little surprised that Wei Shujun adapted him this time!"As the original author and film lover, Yu Hua knows the difficulty of adaptation of The Mistake by the River. And the directorZhang Yimou、Lu XiaoyaAnd the other two companies have bought the right to edit, but they have given up one after another, which is enough to see the difficulty.

In Yu Hua’s view, Wei Shujun’s success lies in grasping the balance between respecting the original work and reasonable adaptation. On the one hand, "Wei Shujun respects the original work more than Zhang Yimou", which shows the spiritual temperament of the original work and the relationship between the individual and the times and destiny; On the other hand, many clever adaptations also made Yu Hua admit that he was "better than the original".

For example, the transformation and fullness of characters such as Qian Ling, Wang Hong and Xu Liang, and the exquisite design of transforming dilapidated cinemas into case-handling places all made the life texture of that era come to the fore. At the same time, the addition of Ma Zhe’s wife’s scenes and the subtle hints for children at the end all increase the thickness of the role and the depth of the theme.

Yu Hua has always maintained an open attitude towards film adaptation. "Language narration and image narration have their own strengths. Some things may be wonderful parts in the novel, but they are not felt when they are moved to the screen. But sometimes things that are not in the novel will be completely different when they are created on the screen."

For this reason, he thinks that Wei Shujun’s "respect for the original" and Zhang Yimou’s "disrespect for the original" are not better or worse. The key lies in whether effective image expression can be formed. "Only fools will be loyal to the original … Because when the director adapts a novel, he wants to pull it into his own feeling system. "

Not only Yu Hua, but Mo Yan also left enough room for film and television creators who adapted their own works. He once told Zhang Yimou that he was not a famous artist like Lu Xun and Ba Jin and did not need to be faithful to the original works.

"You can change it as you like. It has nothing to do with me if you want’ my grandfather’ and’ my grandmother’ to develop secret weapons in the sorghum field. Far from having anything to do with it, I also want to cheer your good courage. It is the glory of your Zhang Yimou to shoot well, and it is not my shame to shoot badly. "

I also appreciate and encourage the creative adaptation of the film. "The film has incorporated many connotations and depths that were not there before."arrivedThe Wandering Earth IIHe even admitted that "it has little to do with novels", but he grasped the essence of science fiction movies — — "Historical film in general.coldThe sense of mulberry and heaviness can be compared with Hollywood in terms of production level.

Furthermore, Liu Cixin believes that the content of science fiction literature is especially suitable for the adaptation and presentation of images. "For science fiction art, the power of images is much greater than that of words, because sometimes what we purely imagine is difficult to accurately convey to readers through words, but images can."

Regret and controversy

Is the writer’s cross-border screenwriter reliable?

As two different art forms, literature and film have obvious "barriers", but the author, as the "first original powder", can’t help but be particularly picky when he sees that his painstaking works have become other people’s creative materials, and there are not a few people who have regrets about the adaptation of film and television, and even publicly express their dissatisfaction.

The most famous films in the history of cinema are all classics that capture hundreds of millions of fans, but they can’t be recognized by the original authors.

Wei Yu, a popular online writer who wrote Si Teng and West Out of Yumen, also publicly expressed his dissatisfaction with the film and television party magic change’s works, and announced that when selling copyright in the future, he should state in the contract that the author has the right to edit the script, otherwise he would rather not make the money.

Mo Yan, Mai Jia, etc. have also expressed their "regret" about the fly in the ointment of film adaptation, all of which are related to the limited length and space of the film. Mo Yan once said: "So many characters and so many colorful stories in the novel have become more than 200 shots in the movie, and many precious things have not been got in."

Mai Jia also lamented that many classic contents in the novel were not presented in the film. "The original author just wants to keep remaking and give more things to the audience."

From novels with hundreds of thousands of words to movies with only about 120 minutes, the choice is an inevitable process. This point is deeply understood by both the author and the screenwriter. "The theory of interpreting the whole novel with a movie itself is untenable. Because the theme of the novel is generally the richer the better, but the film only needs one theme, and it is right to lose it. "

Perhaps it is to avoid the "bad taste" of the works, or to open up a new field of creation. There are not a few writers like Liu Zhenyun who escort their works from "cross-border" screenwriters, and the results have their own successes and failures.

When creating a film, the original author changed 26 screenwriters and decided to cross-border screenwriter personally, just to "leave the purest place of the novel", which also opened the road of film and television, from scriptwriting to planning, production and distribution, and the participation became deeper and deeper.

Also choose deep cross-border and make the film and television map bigger and bigger under pressure. His position for himself is to grow from a simple writer to an IP operation expert.

Rao Xueman and movies.Hourglassfilm crew

Another film and television adaptation "big family" also took the first step of "cross-border". The online drama "Daming under the microscope" became his screenwriter’s first show, and then he will cooperate with the director as a screenwriter of the film.

When it comes to the experience of being a screenwriter for the first time, Ma Boyong used the words "letting go and withdrawing". "Letting go" means letting go of one’s desire to express as a writer; "Retreat" means that getting used to the lens language is also risky for literary creation.

As the saying goes, "interlacing is like a mountain", a good writer is not necessarily a successful screenwriter. Even if he is facing his own work, he should respect the law of film and television creation.

All along, literature and film are interdependent "symbiotic relationship", as director Zhang Yimou said, "literature is carried with the film". The fertile soil of literature nourishes the creation of images, and the wings of images can also take literature to a broader world.

Finding a balance between restoration and adaptation is the reason why Error by the River moved Yu Hua, and it is also our expectation for the film versions of Knife’s Tip and Decryption.