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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The exterior design of Xingtu Lanyue is full of power and technology, the front part adopts the family design language, and the sharp LED headlights are as sharp as eagle eyes, outlining a unique visual focus. The air intake grille adopts a large area of chrome decoration, which not only enhances the luxury of the vehicle, but also shows its tough personality. The overall style is smooth and the tough body outline shows the perfect combination of power and movement, making it unique in the traffic flow.

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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Thanks to the owner of Autohome for his sincere sharing, he expressed his unique opinion on the exterior design of Xingtu Lanyue, believing that if the body is wider and matched with 265-size tires, it will show its domineering side more. At the same time, he also raised the question about the use of the car app store, which is undoubtedly a detail that needs to be paid attention to by wold-be users. Overall, Xingtu Lanyue is attracting the attention and expectations of more car owners and fans with its excellent performance and unique design.

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.

    Less than 10 minutes after placing an order in the restaurant, complex meals such as braised pork and chicken with gelatin have been served, which makes many consumers worry: Is this a prepared dish?

    In recent years, the prefabricated vegetable industry with the signboard of "cooking a big meal in 30 minutes" has developed rapidly and become the "new favorite" of consumers. However, consumers have different views on eating prefabricated dishes in restaurants and restaurants. So, will it be a trend for restaurants to use prefabricated dishes in large quantities? What will be the next growth point of prefabricated vegetables?

    Fast food restaurants and chain stores are big customers of prefabricated dishes.

    How common are prepared dishes in restaurants, restaurants and take-away platforms?

    "Just 5 minutes after placing the order, the food on the merchant’s side is ready." Many consumers find that it is more and more common for merchants to use prefabricated dishes in take-away platforms.

    According to the data of China Chain Store & Franchise Association, at present, the biggest downstream demand of the prefabricated vegetable industry comes from catering enterprises, accounting for 80%. Snack fast food restaurants, chain stores, food and beverage outlets that focus on take-out, rural kitchens, group dining halls, etc. are the main scenarios for the application of prefabricated dishes. Among them, the proportion of prefabricated dishes used in some head chain catering enterprises is already high, and more than 80% of the dishes in some restaurants are prefabricated dishes. With the development of fresh-keeping technology and cold chain technology, there are more and more varieties of prefabricated Caicai, and some high-end restaurants and hotel banquets also start to use prefabricated dishes frequently.

    So, why do these restaurants love to use prefabricated dishes?

    A merchant who specializes in barbecue on the Meituan takeaway platform revealed to reporters that more than half of the dishes in the store, such as mutton kebabs, fried chicken pieces, crispy pickled cucumbers and cold pork head, are prefabricated dishes. "The prepared dishes we choose are basically common brands in the industry, such as Tai Sen, Lufeng, etc. Only my signature chicken wings are pickled by ourselves." The merchant said, "There’s nothing we can do. We are open until midnight every day, not only for in-house meals, but also for take-away orders, with about 40 kinds of dishes. If you don’t choose prefabricated dishes, it is very likely that you will not meet the timeliness requirements. "

    Cheng Li, deputy dean of the Food College of Jiangnan University, told the reporter that prefabricated vegetables are a large-scale industrial production, with long-chain attributes and the characteristics of centralized procurement, centralized sales and centralized pricing. "For restaurants and enterprise producers, the use of prefabricated dishes can enrich supply, improve effectiveness and reduce labor costs." Cheng Li said.

    Most catering enterprises recognize the advantages of time-saving and labor-saving prefabricated dishes and relatively low cost, but whether to choose prefabricated dishes or not, enterprises have their own considerations.

    Some restaurants use pre-made dishes developed by their own brands to ensure their own characteristics. Youmian Fish, Spicy Sheep Scorpion, Mongolian Cattle Bone, Mongolian Cheese Cake … In Xibei Youmian Village, these prefabricated dishes are very popular. "We have been walking on the track of prefabricated dishes for many years." The person in charge of the offline store in Xibei Youmian Village told the reporter that since 2019, Xibei has explored the prefabricated vegetable industry, and in September of that year, it launched the first prefabricated vegetable product, Yangzizi. Take oat noodle fish as an example, and it is a popular staple food on the menu in Xibei restaurant online. The team invested a lot of time in the research and development of packaging and presentation forms, which not only restored the taste of in-store meals, but also made them easy to process, controlled the packaging cost and reduced the unit price of customers.

    There are also some restaurants that choose not to use prefabricated dishes, including high-end restaurants made by fresh chefs and "time-honored" shops with authentic flavor. The former not only sells dishes, but also sells thoughtful and intimate service and superior dining environment; The latter sells taste, as well as "unique" flavor and decades of persistence.

    Huawei Meat Pie, located in Panjiayuan, Beijing, is such a small shop. Asked why we don’t use prefabricated dishes, the staff in the store told reporters: "Using prefabricated dishes does more harm than good for us. Our shop is small, and there are few dishes altogether. The business of this head office has always been good. If the taste of meat pie changes, our foundation will be gone. " The noise of the diners’ laughter and laughter persisted for a long time, and Mr. Zhang, a Beijinger sitting on the side, said with emotion: "In high school, after playing ball with my brothers, I loved to come to this store to eat meat pies. For more than 10 years, this taste has not changed. " Mr. Zhang believes that prefabricated dishes can’t be said badly, but the flavor of small shops is the "password" to attract old customers.

    Consumers value taste and want to understand consumption.

    Consumers have different opinions when they eat prefabricated dishes in restaurants.

    Some consumers think that eating out can’t be without "pot gas", and the cost of prefabricated dishes is generally low. Eating prefabricated dishes after spending money gives people a feeling of being slaughtered. Recently, in order to leave an unforgettable wedding banquet for relatives and friends in Hangzhou, Zhejiang Province, a couple specially chose an expensive banquet package in a well-known hotel in the city. However, after the wedding banquet, the couple were told by their relatives and friends that the wedding banquet was not cost-effective, and 70% of the 16 dishes were prefabricated. Yan Min, a girl from Shenzhen who is preparing for the wedding, told reporters that a similar situation could not be accepted. "If the hotel told me that the food was prepared, I would definitely not choose this hotel." Yan Min said, "Isn’t it just to eat dishes that you can’t cook at home?"

    Some consumers think that as long as the hotel informs them in advance, they don’t care whether they prepare dishes. Mr. Lai, an office worker in Beijing, told reporters: "I can’t cook myself. Prefabricated dishes can be described as the’ gospel’ of our office workers. Just go home and heat them in the microwave oven. If you eat out, as long as the merchant clearly marks the menu as a prepared dish or actively tells me. For restaurants, it can reduce production costs and improve operating efficiency; And I enjoyed the faster serving speed and efficient service, which I think is acceptable. "

    It is understood that even in restaurants where a large number of prefabricated dishes are introduced, the chef team will still cook a certain proportion of dishes, such as restaurant signature dishes and green vegetables. Some consumers said that it is very important to inform in advance, so that consumers can decide for themselves whether they can eat the prepared dishes immediately after ordering or whether they are willing to wait for a while to taste the chef’s skills.

    Many consumers believe that the taste of dishes is the most important, but it doesn’t matter whether it is prefabricated or not. "If it’s not delicious, whether it’s a prepared dish or not, I won’t buy it." Ms. Yan, who lives in Shanghai, told reporters that she has two daughters. She usually takes her children to restaurants to eat, and pays more attention to whether the dishes are low in oil and salt, whether the vegetarian dishes are balanced and healthy, and whether the food safety is up to standard. "If the pre-cooked food implements a higher standard of food safety or stricter ingredients and tastes delicious, then I am very happy." Ms. Yan said.

    Some consumers are worried that the extensive use of prefabricated dishes in restaurants will lead to the same taste and may have a negative impact on food culture. "Gourmet cooking is an important part of China culture. I think eating is not only a satiety, but also a taste of delicious food, and I have a taste and understanding of the traditional food culture in China. " Mr. Zhang said, "If all the dishes are produced in the factory assembly line, what’s the point of tasting delicious food?"

    Let advanced food technology accelerate from laboratory to market.

    Prefabricated dishes appear more and more frequently in consumers’ field of vision, behind which is the rapid development of China’s prefabricated dish industry. On the industrial track of prefabricated vegetables, enterprises from agriculture, food processing, catering, e-commerce, logistics and other fields have gathered, which has become an important driving force for innovative consumption scenarios.

    According to the consulting data of Ai Media, the scale of China prefabricated vegetable market will reach 419.6 billion yuan in 2022, and it is expected to reach 1,072 billion yuan in 2026. In the long run, with the development and quality improvement of the prefabricated vegetable industry in China, the proportion of prefabricated vegetables will reach more than 60%, which is expected to reach a scale of more than 3 trillion yuan, and there is a great room for development in the future. According to the enterprise survey data, by the end of 2022, there were 64,000 pre-cooked food-related enterprises in China, and the number of registered enterprises increased year by year in the past 10 years, including 12,600 in 2020.

    In fact, compared with overseas, China’s prefabricated vegetable market started late. The prefabricated vegetable industry originated in the United States. In 1980s, the processing and distribution of prefabricated vegetables rose in Japan, Canada and some European countries. After decades of development, in the United States and Japan, the penetration rate of pre-cooked vegetables has exceeded 50%, which has spawned large-scale pre-cooked vegetable enterprises with great influence, such as SVSCO, ConAgra, Tai Sen, Rileng and Kobe, and added certainty and reference model for the development prospect of China’s pre-cooked vegetable industry.

    During the interview, many experts said that it is a trend for a certain number and proportion of prepared dishes to enter restaurants. At present, the acceptance level is not high, mainly because the standards and tastes need to be improved.

    According to reports, in recent years, there are many entrants in the field of prefabricated vegetables, but the strength and production level of enterprises are uneven, and there are still shortcomings in raw material traceability, standardized production and cold chain logistics distribution.

    Take pickled fish as an example, some manufacturers implement the national standards for animal aquatic products, while others implement the standards for quick-frozen prepared food, and even the standards for pickled fish with two flavors from the same manufacturer are different. Experts suggest that the standard system should be improved as soon as possible, the definition and scope of prefabricated vegetables should be clarified, and the raw materials, processing technology, storage and cold chain transportation should be standardized accordingly.

    "No matter how consumers look at it, the development of prefabricated dishes objectively faces some pain points and difficulties, such as not being delicious enough and low taste reduction." Chen Huifang, general manager of Box Horse Prefabricated Vegetable Department, said that the key technology of prefabricated vegetables is to lock fresh. Since 2017, the fresh prefabricated dishes represented by the brand of Box Horse Workshop have officially debuted. Up to now, there are more than 1,000 kinds of omni-channel prefabricated dishes on sale every month, which are divided into multiple warm layers and multiple forms: ready-to-eat, instant cooking, instant heating, pre-mixed dishes, and instant dishes. Where do delicious prepared dishes come from? Chen Huifang believes that it is based on three dimensions: freshness, novelty and new scenes. "This year, we will accelerate the development of new products in an all-round way, create quality and differentiated prefabricated dishes, and break the homogenization dilemma that crayfish, grilled fish, pickled fish and festivals are unavoidable in the market." Chen Huifang said.

    Cheng Li believes that the rational and safe use of science and technology and the improvement of innovative research and development capabilities are the next breaking point of prefabricated vegetables. "Around’ delicious’, a series of technologies such as vegetable deactivation, molecular cooking embedding, fish deodorization, radio frequency sterilization, preheating and fresh keeping can greatly improve the taste reduction of prefabricated dishes." Cheng Li said that the development of pre-cooked dishes is inseparable from the support of advanced technology. Under the fierce market competition, innovative research and development is an important breakthrough, and advanced food technology should be accelerated from laboratory to market.

    "For prefabricated vegetable enterprises, delicious food determines how high it can go, and safety determines how far it can go." Cheng Li believes that to improve consumers’ cognition and recognition of prefabricated dishes, we should encourage innovation and strengthen the guidance and supervision of the prefabricated dish industry, so that prefabricated dishes can become healthy, safe and delicious dishes that consumers like.

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The Lost Child, starring David, Dany Lee, Kelly and Li Sheng, is being broadcasted in the mango monsoon column. The play was adapted from the online novel Anemone by Bekebang, and more than 20,000 people in Douban scored 7.7, making it a recent high-scoring play.

The Lost Child tells the story of the sudden disappearance of Yang Mo (Li Qingyu), the son of Yang Yuan (David) and Tao Fang (Li Sheng), on the way to school and downstairs, taking this as the main line to run through the sub-lines of Yuan Wu (Vision Wei) and Lin Chuping (Yu Wenwen), leading to the final mystery.

One of the highlights of The Lost Child is its novel narrative. Yang Mo’s disappearance, Yuan Wu’s corpse-hiding case and Lin Chuping’s sexual assault are three lines in one, which trace the source and clarify the timeline from different perspectives of the characters, thus giving clues. First of all, the play set a suspense at the beginning: why did Yang Mo disappear? Why do men dressed in dirty clothes buy tiles? Why did Lin Wenzhao tell his sister not to go to Qinglan Garden? What is the connection between these plots?

In the following plot, they are revealed one by one and have a connection with each other: Lin Chuping is the landlord of Yuan Wu and his son. Because of the shadow brought by sexual assault, she moved out of Qinglan Garden and rented it to the father and son; On the day when she came to collect the rent, Yuan Wu’s father died suddenly in a cane chair after dinner, and Yang Mo’s dog snore was lost in Yang Yuan’s car on that day, seven days before he disappeared.

The second highlight is that the group images of the play are rich, showing the diverse appearance of human nature. After his father died, Yuan Wu chose to hide his father’s body in order to continue to receive his father’s retirement security. This is a departure from the practice of "Thieves’ Family" where grandma died and father hid the body to get a pension. When a man comes to a dead end, you can’t believe what he can do

Secondly, Lin Chuping chose not to call the police after being sexually assaulted. Obviously it was her who was hurt, but she chose not to call the police because she didn’t want more people to know; When she saw the only policewoman in the police station leave, she also lost the power to sympathize with her. This profoundly reflects the cruel situation that women are powerless in the face of sexual harassment and sexual assault, and also calls on the society to have more support and empathy for this.

Finally, Xu Enhuai was accepted by the Yang family because of his estrangement from his parents. Xu Enhuai is a typical "other people’s child", with excellent academic performance and courtesy to others. And her family is very abnormal. My father was away from home all the year round, and I didn’t say a word when I met him, and my mother ignored her.

But the warmth that was missing in family of origin, he felt it in Yang Mo’s home, so there was a saying that "Yang Mo’s disappearance was designed by Xu Enhuai, and she wanted to replace it". But the truth is, we still continue to watch the drama.

Finally, we return to the title of the play "The Disappearing Child". "The Disappeared Child" obviously refers to Yang Mo’s disappearance. In the deep sense, the "disappeared child" refers to why the child is missing. Let’s take a look at Yang Mo’s family. The mother’s "achievement-only theory" made Yang Mo go to various cram schools, but she didn’t care about her children and didn’t even know that her children had ADHD. Because of the strength of the woman’s family, the father has less right to speak in the family, and he has to ask the mother to take the children out to play. I promised my son to go out to play at the weekend, but because I was busy with my own work, I postponed it again and again, which led to the lack of trust of the child and planned an escape, which is why the child disappeared.

Yuan Wu, another hero, has not disappeared, but he has lost himself. He seems to be a mirror for Yang Mo when he grows up, showing us the tragedy of a top student falling step by step. Yuan Wu entered a prestigious school, got a good job and got married according to his parents’ plan, but his parents didn’t teach him how to resist the temptation from outside. He was like a flower in a greenhouse, which was destroyed by gambling: his mother died in a car accident, his wife divorced and took his daughter away, and his father finally left, so Yuan Wu "disappeared" step by step.

Under the suspenseful shell of The Lost Child, family of origin’s tragedy, the embarrassment of sexually assaulting women and the darkness of human nature are presented to us one by one. From the individual to the family and then to the society, let us think about how to build a wall for children, women and other vulnerable groups, and also let us think about the meaning of family and life, examine the past and think about the future!