Ma Yun: In the next 10-15 years, manufacturing will be very painful; It’s not that China is not creative, but that you are not creative; It’s not that young people don’t work hard, it’s that you don’t

recent days

Chongqing urban planning bureau and Chongqing Geographic Information Centers were launched.

Traditional Techniques of Chongqing Intangible Cultural Heritage Map

Introduced 173 Chongqing municipal and above projects.

Traditional Skill Projects in Intangible Cultural Heritage

Traditional Techniques of Chongqing Intangible Cultural Heritage Map (I)

Traditional Techniques of Chongqing Intangible Cultural Heritage Map (Part Two)

among

Liang Ping has seven intangible cultural heritages.

Be on the list

Want to know which items are on the list?

Let’s take a look!

They are …

Liangping bamboo curtain

Traditional production skills of Liangpingzhang duck

Liangping earthenware skill

Manufacturing technology of blue printed cloth

Indigenous papermaking technology

Copper music forging skill

Traditional production skills of Yuanyi dried bean curd

Liangping bamboo curtain

Originated in the Song Dynasty, it has a history of more than 1000 years, and was listed in the second batch of national intangible cultural heritage protection list in 2008. The bamboo curtain in Liangping is mainly made of Cizhu, which is rich in Liangping. It is made by hand through more than 30 main processes, such as planing and removing knots, breaking bamboo strips, dicing and opening bamboo strips, splitting and even silk, weaving silk into a curtain, trimming and assembling shafts, and inscribing and painting.

Liang Pinglan’s calico technique and Liang Pingtu’s papermaking technique were listed in Chongqing intangible cultural heritage protection list in 2009. The cloth made by hand through the blue calico production technology is bright in color and does not fade after long washing. The indigenous papermaking technology in Liangping takes the white bamboo which is rich in Liangping as the raw material, and through more than 70 processes, it is made into binary paper and yellow surface paper with uniform thickness, softness, toughness and flammability.

The Technological Process of Liangping Blue Printed Fabric-Rinsing

Liang Ping’s indigenous papermaking process-squeezing paper

Liangping Zhang Duck has become a hometown flavor that generations of Liangping people will never forget with its unique ancestral formula and exquisite craftsmanship. Liang Ping’s earthenware technique follows the ancient and primitive production method to make durable daily-use pottery. They were listed as the intangible cultural heritage protection list in Chongqing in 2011.

Workers are marinating Liangpingzhang duck.

Liangping clay pottery

Liang Ping’s copper music forging technique has forged bronze musical instruments such as gongs, cymbals, cymbals and drums with pure tone, loud sound quality and durability. Yuanyi dried bean curd is made of high-quality soybeans, which are refined by grinding, filtering, boiling, squeezing, marinating and baking. It has Huang Liang color and pure taste. In 2014, they were listed as the intangible cultural heritage of Chongqing.

The gong forging craftsman hangs the finished gong on the wall.

Production Procedure of Yuanyi Dried Beancurd-Pulping

Traditional skills are handed down by the people, and each skill is branded with the imprint of the region and the nation, and embodies the cultural history and folk wisdom of the Chinese nation. Since ancient times, the people of Liangping have created countless traditional skills with their diligence and wisdom, which have taken root among the people and become valuable material and spiritual wealth and foundation of the people of Liangping until today.

The upstream article only represents the author’s own point of view, not the upstream position, and the author is responsible for it. If you have any questions about the content and copyright of the article, please contact the upstream news.
Contact email: syh@cqcb.com.

It took him only one year from a security guard with a monthly income of 3 thousand to a video online celebrity with an annual income of 500 thousand

  In just over a year, Cao Huan, a 24-year-old Miao youth in Guizhou, completed a counterattack: from a Guangzhou shopping mall security guard with a monthly salary of 3,100 yuan to a rural short video online celebrity with an annual income of 500,000 yuan. At present, Cao Huan’s self-media platform has 570,000 fans, and the video has been read more than 7 million times. In October this year, as a representative of "successful entrepreneurship" in the short video industry, he was invited to give a speech in Beijing, which was his first time to fly and his first time to Beijing.

  Cao Huan bluntly filmed the video to make a living and earn more money. Cao Huan was born in an ordinary Miao family in Guizhou, and went out to work after graduating from junior high school. When he went home to shoot a rural video, his parents, relatives and fellow villagers strongly opposed it and thought it was doing nothing. After seeing the money, everyone gradually changed their views. On October 27th, Cao Huan told The Paper that short videos in rural areas are following the trend seriously, and he is carrying out the "Thousands of Families" shooting plan, that is, shooting 1,000 villages and 10,000 families in China in five years.

  Rural online celebrity

  Last year, Cao Huan earned 500,000 yuan a year by making short videos in rural areas. Before becoming a "online celebrity", he worked as a mall security guard in Guangzhou, earning 3,100 yuan a month.

  Cao Huan, 24, was born in Zhanghan Village, Nanshao Township, Jianhe County, Qiandongnan Prefecture, Guizhou Province. Like most young people in the village, Cao Huan went out to work after graduating from junior high school at the age of 15. In Guangzhou, he worked as a vegetable porter, an apprentice in a furniture factory, a worker in an electronics factory, etc., but his physical strength could not keep up and he was often injured. Cao Huan recalled that at that time, working for more than ten hours a day, the salary was only one or two thousand yuan.

  In 2015, Cao Huan worked as a security guard in a square in Baiyun District, Guangzhou. He found that the security guard’s work was relatively easy, "I have time to play with my mobile phone".

  In his spare time, Cao Huan and his colleagues took some funny videos. Zeng Chunqi is a friend of Cao Huan, and later turned to be a self-media person. He has the title of "Zeng Ge" in the field of short video. Zeng Chunqi told The Paper that after seeing Cao Huan’s video in his circle of friends, he encouraged him to quit his job and concentrate on making short videos.

  "The time is ripe, since the media era has arrived." In Zeng Chunqi’s impression, Cao Huan Sunshine was a little silly and sometimes funny, so he suggested that he start from the funny field.

  However, Cao Huan hesitated. Can he make money by doing this? Colleagues are also pessimistic. Yang Pengju used to be a security colleague of Cao Huan, and now he is still working as a mall security guard. He said that when Cao Huan mentioned making videos, everyone thought it was fun. "If we say that we can make money, we all think it is a rumor."

  In April 2016, Cao Huan resigned with the idea of challenging himself. Cao Huan bluntly said, "Brother Zeng said that he could earn millions from doing a good job in the media. I believed that money was very attractive to me."

  Cao Huan and Zeng Chunqi learned self-media knowledge, taught themselves shooting and editing techniques, and then took an old iPhone 5 phone to shoot funny short videos and posted them to their own self-media platform. In the first month, he earned 1729 yuan. Cao Huan was a little happy and a little sad. "More than 1000 yuan can’t support himself."

  Cao Huan said that the initial shooting was vulgar and meaningless, and it was far from "earning millions". Cao Huan thought about how to transform, so he chose to go back to his hometown to shoot short videos in the countryside.

  In June 2016, Cao Huan returned to his hometown, a Miao village, and his family criticized him for going home to shoot a video. Cao Huan’s father, Cao Feng, recalled to The Paper, "I didn’t know that making videos could make money, just watching him play mobile phones at home every day. My relatives and friends outside say that my son is idle and I have no face. "

  Relatives and villagers don’t understand either. Cao Huan’s cousin Yang Zhengli said that the first time I heard it, I felt a little unreliable. "I think he is just fooling around and running out to play all day, and other people in the village have quite misunderstood him."

  Cao Huan soon discovered that there were obvious advantages in going home to shoot videos, and the production cost was almost zero. He asked his younger brother to help him shoot, or invited passers-by to appear in the camera, saving labor costs; In rural areas, there is no need to prepare props and scenery, and the Miao customs are the background.

  Rural people, city dwellers who yearn for rural life, and migrant workers who miss their hometown, Cao Huan knows where his audience is, and the first rural video he shot is on fire, with 2.8 million plays and more than 10,000 messages.

  "The video makes people who work hard outside feel the taste of home. What I do is valuable." Cao Huan’s hottest video is about Miao girls wearing skirts for an hour and then dancing for young guys. This video has been played 7 million times and forwarded 30,000 times. A netizen rewarded 4000 yuan and left a message saying, "I miss my mother."

  "thousands of households"

  Cao Huan’s video was on fire, and short videos in rural areas began to blow out. Zeng Chunqi said that there are many followers, and even Cao Huan’s fans have become followers.

  The threshold is low, the homogenization is serious, and the fans are becoming more and more critical. Cao Huan’s rural short video has entered the content bottleneck period. Cao Huan said that when he shoots a place every day, he also has the exhaustion of inspiration. "It’s like suffering from depression and thinking about what to shoot the next day every day."

  Zeng Chunqi invited Cao Huan to shoot in Hunan and shoot something different in another place. Cao Huan was greatly inspired by this shooting experience, so he came up with the "Thousands of Families" shooting plan: shooting 1,000 villages and 10,000 families in China in five years.

  For this plan, Cao Huan is very proud, claiming to be "perfect", which is difficult for other followers to imitate. "As for the numbers (referring to shooting 1000 villages and 10000 families), it is a kind of pressure on yourself."

  Cao Huan said that fans gave him a lot of help, and the filming plan of "Thousands of Villages and Families" was launched with the cooperation of fans: fans provided clues and even invited them to shoot at home. Fans have also appeared in Cao Huan’s video.

  But sometimes, fans will "stand up". We communicated well in advance. Cao Huan took the train for a day or two and will arrive soon, but the fans can’t contact him, or use some reasons to prevaricate. Cao Huan’s father was worried about insecurity because he was going to shoot in other places, and opposed his "best laid plans". Cao Bee explicitly opposed his son’s going out to shoot. "What happens when you go out? Adults are not around, and I don’t know how to get it. It’s not good to spend money outside and earn some money at home? "

  Cao Huan believes that he is still young and can still try. In addition to the "Thousands of Villages and Households" shooting plan, he is considering the transformation. "Just relying on traffic to survive, even a few photographers and screenwriters can’t live. Still have to make money first, slowly expand the team, and then do some e-commerce or advertising. "

  While innovating the shooting content, Cao Huan is also updating his shooting equipment, and has bought cameras, SLR, drones and underwater cameras. He wants to shoot the kind of beautiful shots in the movie.

  Since April 2016, Cao Huan has updated more than 400 short videos on his self-media platform, each lasting 3-5 minutes. In March of this year, the filming plan of "Thousands of Villages and Families" was launched, and Cao Huan went to Hunan, Jiangxi, Guangxi, Yunnan, Sichuan, Guangdong and other provinces. This winter, he is going to shoot in the northeast.

  Last August, my younger brothers Zheng Yang and Cao Huan started making videos. Zheng Yang and Xiang The Paper said that they spent a lot of time in front of the computer every day, and sometimes he went to work in the mountains, feeling very tired.

  "Last year, I only slept for six or seven hours every day, and I was working at other times." Cao Huan’s work is also not easy. He thought about the theme the day before. After getting up in the morning, he took the equipment to shoot. A video may take five or six hours. It takes three or four hours to edit it in the afternoon and upload it to the Internet at night.

  At present, Cao Huan’s self-media has 570,000 fans, and the video has been read more than 7 million times. Cao Huan revealed that he can earn 30,000-40,000 yuan a month, and his annual income exceeded 500,000 yuan last year. The income comes from traffic sharing, advertising fees and fan rewards, of which traffic sharing accounts for 50% to 60%.

  As a representative of "entrepreneurial success" from the media, Cao Huan was invited to give a speech in Beijing. In the video updated on October 21, Cao Huan said with a smile, "This plane is so big, several times larger than the bus in the village."

  This is the first time for Cao Huan to fly, and it is also the first time for him to go to Beijing.

  In order to make a living

  Regarding Cao Huan’s rural short video, Zeng Chunqi commented that in terms of quality, the shooting and editing techniques and the excavation of highlights need to be strengthened. Zeng Chunqi said that to some extent, Cao Huan promoted the development of rural short videos, and he hoped that Cao Huan would stick to it.

  Cao Huan, with a low education level, said that he didn’t think too much. At present, he just wants to make a good video and retain fans. He will carefully read fans’ private letters and messages, and reply to them. He will even send hometown specialties to loyal fans and allow individual fans to be guests at home.

  Cao Huan doesn’t know how long he can persist, saying that there are two main motivations for persistence. "The first is the pressure from fans, and the second is that he has already left this line and wants to survive in society." Cao Huan said that he made short videos to make a living and earn more money.

  Cao Huan made money by making videos, which also changed people’s views on him. Cousin Yang Zhengli said that Cao Huan has brought changes to the family. "The economic conditions are better than before." Cao Feng, the father who initially opposed it, also said, "I support him now. He made money in the countryside, so I won’t force him. Let him do it well by himself. Don’t squander the money and save it."

  The villagers who thought that Cao Huan was "idle" have gradually changed their views. Jiang Ming, a youth from the same village, told The Paper that some tourists would come to visit the village now, and even the village head supported Cao Huan, letting him spread the customs of the Miao village through video.

  After becoming a video online celebrity, Cao Huan saved a sum of money. He wanted to buy a house in the city and take his parents to live there, but his parents refused. The conditions at home have improved, and Cao Huan wants to bring his relatives and friends to get rich. Cousin Yang Zhengli said that she also went home now, and Cao Huan was teaching her how to shoot videos. Encouraged by "making a short video for 500,000 yuan a year", Yang Pengju, a security colleague of Cao Huanyuan in Guangzhou, is also eager to try. Together with several security colleagues, he opened a self-media and used his spare time to make funny videos.

  In Zeng Chunqi’s eyes, Cao Huan missed the life in the countryside. What he ate and played as a child made him miss it. This emotion made him return to the countryside to shoot videos. Cao Huan said that if his career grows bigger, he may find an office space in the city for the convenience of work, but he will still choose to live in the countryside, which makes him feel natural and comfortable.

Interview with Chen Haoji, the "first person in Chinese reasoning": In the end, all plants, trees, bamboo and stones can be swords.

Reporter | Quezheng

  Knowing that I was going to interview Chen Haoji, I felt a little upset-it was the excitement that IQ 100 was about to be crushed by IQ 200. The writer said that if you like to eat eggs, you don’t have to know the hens that lay eggs. But if an egg is delicious enough, believe me, you will still want to know the hen.

  Chen Haoji’s books have not been imported from the mainland. At present, there are only two books, Forgetting Interpol by Xinxing Publishing House and My Insider by Kyushu Publishing House. Although the most famous "13.67" has not yet been introduced, those who have read this book must have been shocked by it: how did this reasoning achieve both "original style" and "society", and finally inserted a "narrative paradox"?

  Why do you like Chen Haoji? The reason is very simple. He is the first Chinese mystery novel that is not disappointing after reading it. This may be a bit harsh, but when you see some authors, building a mechanical secret room can kill an entire engineering team; Some authors deliberately show off their criminal investigation knowledge, which seems to be cramming temporarily; Some authors, blindly pursuing the number of reversals, are completely illogical; Some authors have entangled 50 pages with a little trick that is not excellent … If you open Chen Haoji’s book again, you will be easily moved by his lightness and forget those authors who will only torture you repeatedly with craftsmanship.

  As a mystery lover, Soji Shimada Prize, Mephistopher Prize and japanese mystery list "This mystery novel is amazing!" Always pay more attention. Chen Haoji has won many famous prizes like this-the first prize of the 7th Taiwan Province Association of Mystery Writers’ Essay Award (The Chamber of Bluebeard) and the second Soji Shimada Mystery Novel Award (Forgotten? Interpol), in 2018, "BEST 10 of Overseas Department of Weekly Wenchun Mystery Novel" and "BEST 10 of Benguer Mystery Novel" won the first place, "This mystery novel is amazing!" The second overseas writer (Japanese version of "13.67") and the first Asian writer selected for the BEST10 overseas reasoning in the magazine "Weekly Wenchun" of the Japanese Literature and Art Spring and Autumn Society in 40 years … In addition, he also has the reputation of "the first person in Chinese reasoning".

  But these are not as good as his novels "Killing Invisible" —— from Forgetting Interpol, 13.67, The Insider, S.T.E.P, The Moment of Goat’s Grinning, Variations on diogenes to the newly published Balloon Man, The Magic Flute: A Book of Fairy Tales ——— killing readers.

  I have always disliked writing exclusive interviews with pure questions and answers. For one thing, I feel that I am lazy and lack of second creation. Secondly, the answers of the interviewees are often better to read after editing and polishing. But Chen Haoji is an exception-he made me understand that IQ 100 and IQ 200 should not be confronted, just wait quietly to be crushed. As for why you should write something at the beginning of the question and answer, I think it may be that an IQ of 100 has the dignity of 100.

The "programmer" thinks another thing.


  Xinmin Weekly: What’s the recent ongoing creation? Has the creation been affected by the epidemic?

  Chen Haoji: I just finished and published a new work, The Magic Flute: A Book of Fairy Tale Reasoning. It is a series of sequels of my works, Jack’s Magic Bean Killing and Blue Beard’s Chamber of Secrets, which were shortlisted and won by the Taiwan Province Association of Reasoning Writers ten years ago. It is an adaptation of fairy tales based on medieval Europe. At present, in the chores accumulated before cleaning up. The epidemic situation has both an impact and no impact on creation. What has an impact is that I can’t go out to find a coffee shop to change my environmental work. What has no impact is that I have to meet the deadline regardless of the epidemic situation. (wry smile)

  Xinmin Weekly: You graduated from the Computer Science Department of the Chinese University of Hong Kong and worked as a programmer after graduation. Is it helpful to learn computers well to create mystery novels?

  Chen Haoji: I think so. Writing programs and programming emphasize the programmer’s imagination of building software in advance, thinking about the reasons when the program encounters problems, and figuring out the mistakes by experiments, which are very similar to creating mystery novels. Even a "code farmer" doesn’t deal with the whole project. When programming a widget, he has to think about the input, output, algorithm and Error Handling mechanism of the widget. If it is a mystery novel, the input and output are like the appearance of the mystery, the algorithm is how to execute the trick, and the error handling is the rationality of thinking.

  I especially like to take error handling as an example to illustrate. Suppose there is an App that asks users to enter the amount. Most people will think that this is very simple, and there are no mistakes to be dealt with. But what the programmer thinks is another matter: what should the system do if the user inputs non-numeric words? What if I enter a negative number? Even if nothing is entered, how should the program respond? These thoughts can be applied to the characters in the novel. For example, if the author thinks that the prisoner will do something, he must also think about "if the prisoner doesn’t do something", so that the story will be reasonable.

  Xinmin Weekly: Some writers like to get creative inspiration from news materials and social research (such as Keigo Higashino), while others mainly rely on their huge imagination (such as K?ki Mitani). I wonder which one you belong to?

  Chen Haoji: I think I have both. The former accounts for a large proportion, about 7 to 3. News materials are very useful because they can give great inspiration to the author. More importantly, "because readers are human beings", human beings think about problems from a realistic perspective, so using real events as blueprints or sources of inspiration will easily resonate with readers. Of course, imagination is also very important. After catching the inspiration, imagining the unrealistic but convincing plot is the key to making the work interesting.

  Before I wrote "The Insider", I referred to some cases in which minors were molested. In addition, the bridge where corrosive liquid was thrown at high altitude in "13.67" was inspired by real cases. In fact, the so-called investigation work is just reading newspapers and magazines. At most, I can take a look at the streets in the story. After all, I am not writing a crime documentary novel, and there is no need to ask real prisoners or victims questions. However, I tried to discuss poison with a familiar doctor. Once I got sick while writing, I asked some toxicological knowledge when I saw the doctor. As a result, I talked about poison for ten minutes instead of one minute. (Laughter)

  Xinmin Weekly: You mentioned in the postscript of Variations on diogenes that you don’t want to write a purely "Whodunit" mystery novel. Why?

  Chen Haoji: I have never liked the Whodunit mystery. Basically, mystery novels are composed of Whodunit (who is the prisoner), Howdunit (how to commit a crime) and Whydunit (what is the motive), and the truth that readers pursue is the answer to these three, which may be complete or only one.

  Whydunit and Howdunit are not limited in scope, but Whodunit is actually "picking out an element from a ‘(Set’" (looking for a prisoner in the appearance role)-even if the author can play this set by different means, such as defining a "subset" (deleting the role that cannot be a prisoner, locking the suspect in a few people) and "empty set" (the prisoner does not exist, The incident is suicide or accident), "power set" (there is not only one prisoner, but also a group of people or even all of them)-the real murderer must also be one of the elements of this "set". If the prisoner lives outside this basic "set", it will violate the basic conditions of Whodunit. If the prisoner is not in the role and the ending suddenly appears, the reader will feel cheated. However, listing the suspects early in the morning is just a chance game. There are always people who can guess by feeling without understanding the reasons, thus weakening the "surprise" of the outcome.

  The modus operandi of committing crimes can be endless, and the motives can also be greatly changed, but "who is the prisoner" is limited. I think the Whodunit trick has been almost exhausted by reasoning writers. Although there are still writers who can create new ideas on Whodunit, they are always a little changeable.

  Xinmin Weekly: Will you be more inclined to "social" school than "Ben Ge"?

  Chen Haoji: Actually, I’m really not a social theorist. I write about social school, but at the same time I also write about pure prototype. It’s just that works with social school elements happen to attract more attention. Or this is the fact that teacher Soji Shimada is concerned about-nowadays readers tend to read mystery novels with social elements, and pure case reasoning has become a minority interest, so even publishers choose the former more. After all, they want to make money in business.

  Xinmin Weekly: The division between Benge and society has existed for more than half a century now. Do you think that reasoning or mystery novel has evolved more factions? What other ways can we seek innovation and change in the future?

  Chen Haoji: The concept of dividing the case and society actually comes from Japan. This is not to say that there is no division between European and American mystery novels, but the classification of the latter is not as clearly divided into two sects as Japan. Chinese reasoning is deeply influenced by Japanese reasoning, so we are all used to using Japanese classification, but in fact, there are more classifications in Europe and America, such as "Hardboiled Detective" and "Noir". If these are put in Japanese, they will probably be regarded as social factions, but there is also the type of "Cozy Mystery"-I just picked up the translation.

  I think Chinese readers are used to dividing the stereotype and social school, not only because they are influenced by Japan, but also because this classification is easy to understand: one is to pursue logical interest and can be unconstrained; The other is to pursue realism and explore realistic themes. However, in fact, even if you are unconstrained, readers will still read Benguer from the perspective of human beings. Even if you pursue reality again, readers will still expect the story to be unexpectedly dramatic and explosive. Therefore, there are many works in between, and the difference is only the amount of weight and which side you prefer.

  In fact, I think that the emergence of factions is due to form, and the evolution and reform of form is unspeakable. Let me give you an example that has nothing to do with reasoning: I think many readers have read Mr. Jin Yong’s martial arts novels. Among his characters, the solitary swordsman is the strongest swordsman, and finally, "all plants, trees, bamboos and stones can be swords", reaching the goal of "no sword is better than a sword", and Mr. Jin Yong demonstrated in his works that the protagonist of each novel has practiced a good martial arts to roam the rivers and lakes, but the last The Duke Of Mount Deer protagonist, Wei Xiaobao, has no understanding of martial arts, only knows how to escape, and acts without any chivalrous demeanor. Sometimes I think, is it possible for case reasoning and social reasoning to coexist in one work, and both of them pursue the ultimate? Are realism and unconstrained style completely mutually exclusive? Since there are examples of "martial arts against martial arts", maybe this is not just a fantasy?

  Xinmin Weekly: Compared with other tricks, narrative paradox seems to be an act of deceiving readers around. If you don’t do it well, it will cause readers double "hatred"-you are always successful in narrative paradox. What is the experience of "deceiving" readers?

  Chen Haoji: I ask myself that I am not particularly successful in narrative paradox, but just ordinary, not as good as many experts in narrative paradox. Readers agree that the narrative paradox of my book was actually deceived by me, but the level of deception is different: sometimes I use narrative paradox, sometimes I don’t, sometimes I write pure books, sometimes I write social schools, and sometimes I write sci-fi fantasy. When readers can’t estimate what route I will run this time, it is difficult to guess. In contrast, I admire a writer who specializes in writing a single type of reasoning. Even if the reader knows the direction early, he is still cheated in an unexpected place. That is really clever. Like Lei Jun’s "Yellow", the first page directly tells the reader that "this work uses narrative paradox", and I was cheated at the end of reading it, which is really amazing.

  As for my experience, I think the paradox lies in "concealment", "misleading" and "pun". Most novice writers who write narratives know how to hide, but they don’t necessarily pay attention to misleading. In fact, misleading is very important. Readers have never been able to figure out what the shape in front of them is. You finally tell each other that it is round, which is not as shocking as letting them always think it is square. The key to misleading is pun, which uses the ambiguous nature of words to guide readers to one side, so how to think well of dialogue and description is very important.

  In fact, there is a view I really want to share about narrative deception: there are always smart people among readers who can see through all kinds of misleading from the beginning, so every time I write a story, I think, "Even if this trick is seen through, will readers still find this story interesting?" Try to be interesting outside the trick. The deceived readers will appreciate it, and the readers who can see through it will not feel that it is a waste of reading time, so it is easier to gain wide support.

Novelists are like The Devil’s Advocate.


  Xinmin Weekly: Is it stressful to be a full-time writer in Hong Kong?

  Chen Haoji: I’m lucky that I don’t have any financial pressure at present, but I can frankly say that it’s almost impossible to earn a living as a full-time writer in Hong Kong. The shrinking reading population, small market, high price index and so on are also reasons, especially today everyone has a mobile phone, and the free information on the Internet is flooding, making it more difficult to attract readers to pay. But in fact, this is not just a problem in Hong Kong. All authors in the world are also facing the same challenges. If it is pressure from family members or peers, and "writer" is just synonymous with "no job", I think it varies from person to person. How to plan life and reduce stress, even if you are not a writer, you have to face it.

  Xinmin Weekly: Which place in Hong Kong do you like best? What do you do when you’re not writing novels?

  Chen Haoji: It’s hard to say which place you like in Hong Kong. I think everyone in the world has feelings for their hometown. If I insist, I will say people who like Hong Kong. Hong Kong people may be snobbish and sometimes arrogant, but they are loyal and human at heart. When I’m not writing novels, I like reading books, watching movies, listening to music and playing video games, and sometimes I write small programs that are convenient for my work or daily life, such as capturing and recording specific online data with Automator of Mac.

  Xinmin Weekly: Anie, the hero and hacker detective of "The Insider", likes to eat Wonton Noodles best, and has complicated requirements for Wonton Noodles, such as "Big Rong with green buttons at the bottom, soup on the other side, rape with oil". Is this from your own experience? What kind of food would you like yourself?

  Chen Haoji: Because I have gastrointestinal problems, I used to avoid eating only light meals for a long time, so I was not very particular about eating. I care more about "food that won’t hurt my stomach after eating" than "favorite food". In fact, I haven’t eaten Wonton Noodles in recent years. Wonton is no problem. The problem is the Cantonese-style alkaline water surface, which sometimes makes me uncomfortable after eating. Every time I go home, I will eat Wonton River (rice noodles) instead. It is very important to have a balanced diet. Although the fat is delicious, I can’t eat a plate of steak now. Too much meat will hurt my stomach. Every meal should have starch (rice, noodles, bread, etc.) and vegetables.

  Xinmin Weekly: What will make you feel most fulfilled? What will you do if you encounter a bottleneck in writing?

  Chen Haoji: In terms of sense of accomplishment, I think it is the moment when I finish my work. Although the publication of the work, the praise of readers, the translation into a foreign language and so on are also very fulfilling, I think the moment of "telling the story well" is the best for a person who likes to tell stories. Being recognized by editors and liked by readers is just icing on the cake. Or to put it another way, if Sir Conan Doyle hadn’t written Sherlock Holmes, after his death, Sherlock Holmes, a character who once lived in his head, would have disappeared forever, but because of his writing, Sherlock Holmes, Watson, moriarty, Lestrade and so on could leave his mind and live in human civilization forever. Therefore, the creative process of "visualizing the idea in the void through words" is great. Even if the work has no readers at the moment of completion, the concept has been transformed into physical objects, which is undoubtedly an achievement.

  As for the bottleneck, I think I should first say that many people think that the writer’s "creative bottleneck" is equivalent to "no inspiration", but I don’t think so, at least not for me. My bottleneck is "no feeling". I have the habit of recording my thoughts on weekdays. When I think of interesting ideas, I will write them down. Therefore, when I decide the theme of writing, I often just look for suitable items from a lot of notes. What really bothers me is that sometimes I have written an outline and thought about the details, but when I write it, I find it tasteless and unattractive. I call this "lack of writing touch".

  When I have no feeling, I will write something else first, such as writing some very short stories at random and trying to get my feeling back. Sometimes I go for a walk, trying to repeat the plot I want to write in my mind, so that I can be more involved in the story and find out the interesting narrative techniques. I think different writers have different ways to deal with it, and I wonder what they will do.

  Xinmin Weekly: I heard that director Wong Kar-wai is going to put "13.67" on the screen. How far is it going now?

  Chen Haoji: Actually, I don’t know the details of film and television. I always aim at "the duty of a writer is to write", so I try my best to ignore the adaptation. After all, life is too short. I would rather spend my time writing new works than revisiting old ones that have been completed. However, as far as I know, the length of the story is one of the reasons why Director Wang wants to make a series instead of a movie.

  I seem to have different ideas from many writers on the matter of adaptation. My writers and friends usually hope that the adaptation will be as faithful as possible to the original, but on the contrary, I prefer to see an adaptation different from the original. I often say that if the author really cares about adaptation, he should simply be a screenwriter, director and producer himself, so that the film or drama will retain the flavor of the original author. Otherwise, after adaptation, it is not the creation of the original author, but a kind of "second creation". I ask myself that I can’t be a director, so I’ll leave it to the professionals of film and television, and I’ll just be an audience.

  Xinmin Weekly: In recent years, it seems that your creations are mostly combined with science fiction, such as Survivor, Balloon Man and The Devil’s World, which gives people a feeling like the English drama Black Mirror, which means "the curse of science and technology"? Do you usually like sci-fi novels or TV dramas?

  Chen Haoji: I really like science fiction, but I think that in recent years, many mystery works, no matter my humble works or the works of other writers, often have some sci-fi elements or scientific and technological ideas for two reasons: First, many tricks of mystery novels have been used by predecessors. To break through the bottleneck, we must add some new logical elements, and science fiction is just right; Second, we are actually living in a science fiction era. When I was a child, about 30 years ago, I read some picture books depicting the fantasy of the future. It was said that people would have a super-tech watch with telephone function, which could get information, and if the wearer had an accident and was stranded in the Pacific Center, he could still use the watch to know his position and send out a distress message. As a result, these "fantasies" have not only been realized, but also gone further than imagined-the Internet, electro-mechanical prostheses, brain-computer interfaces, and folk spaceships, which were still "science fiction" 30 years ago, but are now a reality.

  As for the "curse of technology", in fact, the focus is not on "technology", but on "curse". Ian Rankin, the "king of Scottish crime novels", once said that "novels are writers’ inquiries about reality". It is because of the rapid development of science and technology that writers have to "pull back" and ask "Is this really okay?" Make people think. There is a term "Devil’s Advocate" (The Devil’s Advocate) in English. The original meaning is that the Catholic Church wants to canonize a deceased person. One person in the Holy See must raise an objection and try his best to find out the faults of the nominee before his death, just like slandering the nominee who should be canonized for the devil. This practice is to prevent the Vatican from seeing only the good side of someone and making people who are missing wrongly canonized. This term later evolved to refer to "someone who plays the devil’s advocate in a certain plan", but the existence of this The Devil’s Advocate is actually a gatekeeper to prevent trouble from breaking out afterwards. I think novelists have the identity of The Devil’s Advocate: "curse" is as negative as "devil", but when technology seems to have only a good side, someone must question it, because we all hope that trouble will only appear in fiction, not in reality.

It is ideal to have readers in a hundred years.



  Xinmin Weekly: Who is the reasoning writer who has the greatest influence on you? What aspects of your creation have TA influenced?

  Chen Haoji: I think it’s Mr. Seishi Yokomizo. Today, whenever someone asks me which reasoning work I like best, I will still answer Prison Gate Island without thinking. Even from today’s point of view, his technique of laying out an ambush pen is still very clever, and his atmosphere and role setting are also very attractive. The reason why Prison Gate Island always ranks first in my mind is that, in addition to the interesting and exquisite tricks, it is more important that the author "localized" a certain model of western reasoning perfectly-the prisoner’s motivation in this story would seem a bit inaccurate if placed in other countries, but it is convincing if placed on a backward island in Japan after World War II. This "localization" and "cultural transfer" is exactly what I have been pursuing.

  Xinmin Weekly: What is your favorite mystery/suspense movie?

  Chen Haoji: There are many favorite mystery or suspense movies. It’s a little difficult to find a favorite one. I like Hitchcock’s "North by Northwest" and Jin Min’s "The House Without Hemp" very much. In addition, the Indian mystery film TE3N, which is a remake of a Korean film, is also wonderful, and the details of reasoning are better than the original, and Amitabh Bachchan’s acting skills are really amazing.

  Xinmin Weekly: What’s the other people’s reasoning/mystery novel you’ve been reading recently?

  Chen Haoji: I just read The Detective Lost in the Vegetable Market, a collection of essays awarded by the 18th Taiwan Province Association of Reasoning Writers. This year’s finalists come from all corners of the country, including authors from Chinese mainland, Taiwan Province and Hongkong, as well as Malaysian writers, with diverse themes.

  In addition, I’m reading Steve Cavanagh’s Eddie Flynn series-The Defence, The Plea, etc.-The court reasoning of wits is very attractive, and the third episode of The Liar will soon be published in traditional Chinese.

  Xinmin Weekly: Are there any domestic mystery novelists who are concerned about it? Do you think that Hong Kong, Taiwan and the Mainland have their own characteristics in the creation of mystery novels?

  Chen Haoji: I haven’t seen many works in China, but I’m very concerned about Teru Shimada Prize winner Lei Jun and finalist highland barley, and I’m also very concerned about Lu Qiucha, which is quite popular in Japan. Although I haven’t finished reading "Literary Maiden to mathematical girls" by Lu Xiong (I was busy before, so I only took time to read the first two articles in the book), I found it very interesting, and the pattern and breakthrough point are very delicate, so it is not easy to write after the case-based reasoning. It is reported that he used to be a member of the Inference Association of Fudan University. In addition, I have heard that many prominent new inference writers come from the same association, which makes me think that Fudan Tui Association will not be the cradle of first-class inference writers and critics like the Inference Research Society of Kyoto University in Japan. So I’m also a little concerned about Fudan Push Association. In fact, I am also interested in the works of many highly acclaimed writers, such as Zhou Haohui, Remy, Wang Jiajun, etc., but I haven’t had a chance to contact them yet (I have read some of Wang Jiajun’s short stories), and I will definitely buy them one by one in the future. The sea of books is boundless, and there are so many works to be read or want to read.

  I think the characteristics of mystery novels in Hong Kong, Taiwan and the Mainland have not been clearly understood for the time being, because Chinese reasoning is a very "young" genre. Japanese reasoning has developed since World War II, and those in Europe and America can be traced back to the Murder in Moge Street 180 years ago. They all experienced the baptism of years before they gradually presented their unique personalities. Although Chinese reasoning can also be traced back to the works of Cheng Xiaoqing or Sun Lihong in the 1930s, there was a long blank period after that, and it didn’t revive until nearly 20 years, and we all imitated the mature European, American or Japanese reasoning route. In fact, writers from Hong Kong, Taiwan and the Mainland are striving to challenge different types. I am more glad that we try different styles and look for various possibilities of reasoning than to establish the characteristics of individual regions.

  Speaking of which, I feel that the "first" of "the first person in Chinese reasoning" only means "first" rather than "top". I firmly believe that there will be more and better writers and works in the future, which will sweep more awards and titles. It is because everyone competes with each other to learn and communicate that Chinese reasoning can progress. After all, that’s how Japanese and European and American reasoning came about. In the near future, Japan may have a Chinese reasoning craze after the French and Nordic reasoning craze, depending on whether we can continue to work hard and publish good works every year.

  Xinmin Weekly: Over the past 100 years, the masters of reasoning have created many classic models, such as the Chamber of Secrets, Blizzard Manor, trains, planes and ships, easy chair detectives, challenging readers, and anti-reasoning … Do you want to challenge or imitate the previous models? Do you think there is any new pattern that can be broken through?

  Chen Haoji: I think every reasoning writer wants to challenge or parody these predecessors’ patterns, but in fact, aren’t we always challenging and inheriting the patterns of Edgar Allan Poe’s five works? Mystery novel is a genre that skillfully uses readers’ blind spots to create a sense of surprise. When readers have established impressions of the "classic model", these impressions will become blind spots, and writers can write a lot of books.

  As for "new pattern", I think this word is a bit ambiguous. Mr. Ayatsuji Yukito’s The Ten Corners Pavilion Incident uses Agatha’s no one lives as a blind spot. Is this a new pattern? For the readers of reasoning, of course, forget it, because it is this work that revives Benge. The publication of The Ten Corners Pavilion Incident in 1987 is called "the first year of the new Benge". But strictly speaking, the type of "that trick" in the Ten Corners Pavilion is not unprecedented. Agatha wrote it, and Lu Brown, who was earlier than Agatha, also wrote it (of course, Teacher Ling Zhi used it better). I think the "breakthrough" is actually decided by the readers, just as Seicho Matsumoto introduced social reasoning with realism as the main axis when the anecdotal stereotype reasoning was rampant and the quality declined, which set off a wave and became a new pattern, which was more related to the changes in Japanese society, political situation and national living standards at that time.

  Going back to what I mentioned earlier, I guess the integration of science fiction/science fiction and mystery novels will become another mainstream. Or it just echoes the "21st century model" advocated by teacher Soji Shimada.

  Xinmin Weekly: As a popular novel writer, will you study "what style and elements are the most popular at the moment" to make your book more popular in the market?

  Chen Haoji: I will pay attention to the trend, but frankly, I care more about whether the theme and elements of the work can last forever than to cater to the popular style. Novels are not like clothes, ornaments or street snacks, and it is impossible to make money just by chasing a trend-I can’t deny that some authors do write such trend-following works, but for aspiring writers, it is ideal for their works to have readers after five years, ten years, twenty years or even a hundred years. Aren’t we still reading Lu Xun, Ba Jin or Zhang Ailing? We will even read the stories of "San Yan Er Pai" more than 300 years ago. Some people may say that Lu Xun wrote a pure literary novel, which is different from popular novels. However, articles such as "Selling Oil Lang monopolizes the flower base" in Awakening the World are not necessarily very literary. Is it also a "popular novel" in the late Ming and early Qing Dynasties?

  And more importantly, I can’t finish a work quickly. If I notice a certain trend and plan to "hitchhike" to write a story, it’s probably that the tide will have ebbed by the time I finish (laughs). The trend of this year, come quickly, go faster. (Reporter Zheng Zheng)

In 220 minutes, the first documentary in Hu Jinquan, movie master hit hard.

Recently, the first documentary film "The King of Wuxia Jinquan", which officially focuses on Hu Jinquan, movie master, released a 10-minute segment.

Directed by Jingjie Lin, the director who once filmed "They Write on the Island: Sweet Load-Poet Wu Sheng", the film was nominated for the best documentary at this year’s Taipei Film Festival.

The film traces Hu Jinquan’s wandering footprints and creative tracks from Beijing, Taiwan Province and Hongkong to the United States, piecing together how he became such a unique artist, and uncovering his crazy style of pursuing perfection and life stories that are rarely touched.

Jingjie Lin said, "We need to use a lot of clips, but many precious pictures need to pay copyright fees to make the film more complete." Since Ang Lee directed Crouching Tiger, Hidden Dragon to pay tribute to Hu Jinquan’s "Chivalrous Woman", he naturally needed the clips of Crouching Tiger, Hidden Dragon. Ang Lee agreed to let the documentary be used for free, which made director Jingjie Lin very moved.

Stills of Documentary Hu Jinquan.

The director introduced his classic films one by one in the form of chronicle, and visited the filmmakers who worked with and were deeply influenced by Director Hu Jinquan. More than 40 filmmakers were interviewed, including Shih Chun, Feng Hsu, Tsui Hark, John Woo, Tong Wang, Xu Anhua, Peggy Chiao, Li Pingbin, Sammo Hung, Zheng Peipei and Qin Pei.

The total length of this film is 220 minutes, and it is divided into two parts, which introduce the extraordinary life of director Hu Jinquan from two aspects: works and life.

"The first song: The Prophet has been here" focuses on Hu Jinquan’s works, and through the analysis of the memories and opinions of heavyweight filmmakers, the audience can see the way the master made movies and the presentation of film aesthetics; "The second part: heartbroken people are in the end of the world" is a rare life story of Hu Jinquan.

Director: Jingjie Lin

Starring: Feng Hsu/Hu Jinquan

Producer country/region: Taiwan, China

Release date: 2022-01-23 (Taiwan, China)

Length: 220 minutes

# Hu Jinquan is a somewhat indifferent symbol.

As the most outstanding martial arts movie master in Hong Kong film history, Hu Jinquan, whose ancestral home is Hebei, entered Shaw Company in 1958 and started his film career. In other directors’ martial arts films, the characters are always flying over the eaves, but the swordsman in Hu Jinquan’s films is always alone in the lonely wilderness.

From actor to screenwriter, to assistant director, and finally to become a senior and outstanding director, Hu Jinquan’s "writing wildly in space with the flesh and blood of the characters" (commented by Hong Kong film critic Huang Ailing) has added gorgeous bright colors to Hong Kong martial arts films, leaving us with many well-known works such as Yu Tang Chun, come drink with me, Longmen Inn, Chivalrous Woman, Children of the Earth and legend of the mountain.

Chivalrous woman

Among them, Xia Nv also won the highest technical award at the 28th Cannes International Film Festival. On January 14th, 1997, Hu Jinquan died in Taiwan, China at the age of 65.

John Woo once said, "What he (Hu Jinquan) wants from a movie: besides being a movie, it is also a painting. He asked every frame of the film to be a painting. His visual effect is very beautiful and traditional, but it is also very poetic. "

Just like The Painted King of Yin and Yang, starring Joey Wong and Adam Cheng, which accompanied many people in their youth, every shot has its own aesthetic artistic conception of Chinese painting and the beauty of Chinese traditional culture and art, and it has also successfully integrated film skills with traditional opera art in the film, so that we will still "go back to see his martial arts world constantly. Our director today can use his things, which are more novel and creative than those movies that imitate the West." (Comments by Tsui Hark)

Hu Jinquan directed the stills of the movie The Painted King of Yin and Yang, which was considered by netizens to "restore" the scene in the famous painting Han Xizai’s Night Banquet.

At present, many filmmakers or researchers have somewhat forgotten him, and the study of him is not popular. Usually, we call Hu Jinquan Chinese movie master, and think that the aesthetic realm created in his films has become a unique style in Hu’s film art, especially a few martial arts films, which are often worshipped by later generations.

The narrative style and methods of Hu Jinquan’s classic martial arts films were also used for reference by many famous directors later.

The study of Hu’s films also focuses on the film characteristics and directing techniques, while the discussion of film art design is often easily overlooked.

Like many directors with fine arts background (such as Akira Kurosawa), Hu Jinquan often works as the fine arts designer of his own films, which shows that he attaches great importance to fine arts. The fine arts design style of Hu Jinquan films is also an important part of creating the fine arts style of Chinese films. It can even be said that from him, China’s visual elements began to actively combine with films. Therefore, the exploration of Hu’s films in art has a far-reaching impact on the subsequent Chinese film art design.

# The Formation of Hu’s Film Art Style

It seems to be a coincidence that Hu Jinquan became attached to movies. After arriving in Hong Kong from the mainland in 1949, he joined a small advertising company to paint posters and billboards because he was able to paint since he was a child. The original billboard was the film version of Lao She’s My Life, which may have laid another important interest in his life-studying Lao She.

Later, Hu Jinquan also worked as a short-term advertising agent in the Longma Film Company opened by Wu Xingzhai and Fei Mu. In addition, he also helps the American engineering department of Great Wall Film Production Co., Ltd.. At that time, the director of American engineering happened to be Wan Guchan, the director who was called the father of China animation. As a result, Hu Jinquan started from the most basic film artists and entered the film circle.

Wan Guchan

He was valued as a leading actor when he was doing art and decoration for The Slayer directed by Yan Jun of Yonghua Film Company. Of course, all kinds of cooperation with Li Hanxiang later enabled him to further his film career. As the masterpiece of Shaw and Li Hanxiang in those years, Beauty in Jiangshan won numerous awards, and Hu Jinquan, the second male, won the award for best supporting role.

Jiangshan beauty

Fall in love with the country

Yu Tang Chun is his first work since he became a director, but subject to various conditions, this film can still be regarded as a continuation of Li Hanxiang’s style. What really made him start generate’s creative passion was a series of new martial arts movies.

Yutangchun

In these works, Hu Jinquan can finally get rid of the artistic style of Shaw films. At that time, Shaw’s overall artistic style was theatrical and stylized because of the filming of Huangmei tune films. Among them, Li Hanxiang is the representative. Li Hanxiang is also a director with artistic foundation, so most of his film art is very particular.

Li Hanxiang’s influence on Hu Jinquan is also very obvious in his later works. After Hu Jinquan started directing movies, he often painted some China landscapes, figures or wrote calligraphy after work, in addition to sketching the necessary scenes and taking photos. Judging from these works, the charm of China’s painting art has been well integrated into the film. After settling in the United States in 1980s, Hu Jinquan drew a large number of four-grid cartoons after his film creation reached a low point.

Out of interest in painting, and because he studied under Wan Guchan, Hu Jinquan began to make a classical cartoon "Zhang Yu Boiling the Sea" in 1984. For this reason, we have been working on the role and lens design related to this cartoon for 10 years. The design of some shapes has something in common with "Making a scene in Heaven", which also reveals his origin with the Wan brothers. Unfortunately, this cartoon was not made as planned for some reason.

Zhang Yu Boiling the Sea

# Features of Hu’s Film Art Style

When commenting on the characteristics of Hu’s films, Metropolis mentioned Hu Jinquan’s Zen machine. In fact, the early Japanese classical films first incorporated the Zen of the East into the films. For example, through the transition space or "axial pillow lens" interspersed with still pictures to create a leisurely narrative and poetry.

Legend of the mountain.

These oriental films not only attracted the attention of the west, but also influenced the films in Hong Kong. Shaw, where Hu Jinquan was in his early days, used to show a large number of Japanese films for cast members to learn. Among them, Japanese halberd films (such as Seven Samurai by Kurosawa, Heart Stick and Sword Through the Heart) have also become an important factor affecting the new martial arts films.

Seven samurai

These factors can also be seen in Hu Jinquan’s new martial arts movies. After absorbing the nutrition of China’s traditional fine arts and adding various elements of Japanese and Hollywood films, Hu Jinquan finally gradually developed an artistic style of his own films.

Legend of the mountain.

The most important feature of Hu Jinquan’s film art lies in his absorption of China traditional culture. For example, Hu Jinquan’s masterpiece "legend of the mountain", the screenwriter Chung Ling once pointed out in the article "something congenial, aesthetic feeling and culture" that Hu Jinquan often used the way that the viewer looked at the landscape by hand when showing the scenery. "Scholars appeared on the screen to walk long distances in nature, and most of them appeared from the left side of the screen and walked to the right. At this time, the magnificent scenery is presented to the audience in the horizontal direction with the movement of the scholar. "

Like the landscape scrolls in the Yuan and Ming Dynasties, the characters in "legend of the mountain" often belong to the natural landscape and occupy a corner of the painting in composition. Nevertheless, the whole picture has become vivid.

In addition, the technique of blank space in literati painting is also widely used in the film, such as the appearance of Zhuang Evian, the beautiful scenery and the beautiful scenery, which seems to be illusory and fascinating, and can be described as beautiful. The special effects in the film were rarely used because of the conditions at that time, but even so, a lot of smoke was used to create a special visual effect. This kind of smog is just like the obscurity in China’s landscape paintings.

Legend of the mountain.

Another point that is commendable in Hu Jinquan’s film art is the rigor of attitude.

Tsui Hark once said: "He captured the atmosphere on the spot according to his feelings and created the picture step by step. The director at that time really had his beliefs. "

In his films, art design is a very important job, and he often does it himself.

We can see Hu Jinquan’s style of textual research in Hu Jinquan’s self-reported article "Looking for information from filming costume movies". We can still see a large number of manuscripts recorded in the textual research of people’s clothing.

When shooting the famous film Longmen Inn, Hu Jinquan extracted and copied many contents from books such as 300 Kinds of Ancient and Modern Famous Paintings and Grand View of Ancient and Modern Famous Paintings, because it told the story that happened in the middle of Ming Dynasty. There are Chou Ying’s "Coming home late for a spring outing", "Drawing a boat on a wind gully", "Clearing a house in Tongyin", Lan Ying’s "Snowdrift in the Western Hills" and the patterns on blue and white bottles, etc., and it is indicated that the design of clothes, hats or belts can be used for reference from this information.

Chou Ying’s works

Because the clothing of Ming Dynasty was imitated from Tang and Song Dynasties, he even sought inspiration from Dunhuang murals in Sui and Tang Dynasties. After the design was completed, Hu Jinquan also asked Wang Yuqing, an authority on the study of clothing in past dynasties, to judge, who only made changes in some places. Of course, Hu Jinquan’s film art is not invulnerable. There is a certain discrepancy between the scene setting and the script of legend of the mountain, which may be related to the fact that it was impossible to enter the mainland for filming at that time.

# Influence on Chinese Films

China’s martial arts films are unique genre films in China.

Hu Jinquan is honored as "the father of martial arts movies". He founded the aesthetic artistic style of China’s new martial arts movies, which injected humanistic spirit into traditional martial arts movies in Hong Kong and Taiwan, brought Chinese martial arts movies to a higher level, made China’s modern martial arts movies unique in the world and gradually became an important type of world movies. Undoubtedly, Hu Jinquan has indelible historical achievements.

Hu Jinquan tried to make everything "China’s", and the nationalization of artistic style became the unique experience of Hu’s films. As Hu Jinquan himself said: "I learned to swim in the infinite tradition of China art, which made modern filmmakers have a wider mirror." As latecomers, Chinese directors such as Tsui Hark (New Longmen Inn), Ang Lee (Crouching Tiger, Hidden Dragon) and Zhang Yimou (Hero, House of Flying Daggers) all draw nutrition from his works.

China’s style is far from mature for the art design of Chinese films. Hu Jinquan is an important beginning. We have seen that some Chinese-language films in production designer, such as Ye Jintian, have tried to establish "New Orientalism".

In the late 1980s, some of Hu Jinquan’s art design concepts were gradually accepted by Hong Kong films, which became an important source of the formation of Hong Kong film art design style. Looking at contemporary Chinese films in mainland China, Taiwan Province and Hong Kong, Hong Kong still has the most important right to speak in art design. In the fusion of film circles in mainland China, Taiwan Province and Hongkong, art design is also gradually merging. If we can learn from each other’s strong points and create a design style that truly belongs to China, it will be an important cornerstone for China films to become world-class.

The content of the article is reproduced from: New Studio, Oriental Liangyou Film and Television Media.

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Original title: "220 minutes! Movie master Hu Jinquan’s first documentary hit hard.

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Interview with Bai Zhongen: 5.5% is a very aggressive growth target, so we should pay special attention to investment.

Photo courtesy of Bai Zhongen, member of Chinese People’s Political Consultative Conference and dean of Tsinghua University School of Economics and Management.

How will the "triple pressure" affect our economy? What do you think of the 5.5% economic growth target set in this year’s (2022) Government Work Report? Where is the space and grasp for further improving labor productivity in China?

On March 9th, Bai Zhongen, member of Chinese People’s Political Consultative Conference and dean of Tsinghua University Institute of Economics and Management, accepted an exclusive interview with a reporter from The Paper (www.thepaper.cn) on the above issues. He said that consumption and investment will see good growth this year, while the growth rate of foreign trade import and export affected by cardinal utility and other factors will decline. The pressure brought by demand contraction and supply shock will continue to exist, and the expected goals consistent with the national conditions should be set for the business development of enterprises.

Bai Zhongen pointed out that setting the economic growth target of 5.5% this year is very aggressive and challenging. He suggested that special attention should be paid to investment and investment projects should be selected. In addition, it is necessary to make precise policies and provide targeted financial and financial support to enterprises affected by factors such as the epidemic.

Regarding the space for improving labor productivity in China in the future, Bai Zhongen said, first of all, we should do a good job in education, especially the basic education of migrant workers’ children, promote enterprises to increase on-the-job training, and let employees create greater value. We should also smooth the flow of the labor market and improve the efficiency of labor resource allocation.

Investment and consumption may grow well, and the growth rate of foreign trade may decline.

The Central Economic Work Conference held last year (2021) pointed out that China’s economic development is facing the "triple pressure" of demand contraction, supply shock and expected weakening. Bai Zhongen said that the "triple pressure" accurately describes the current situation in China.

Talking about the shrinking demand, Bai Zhongen said after taking stock of the economic growth data in the past two years that the growth rate of consumption and investment is lower than that of GDP, and only the export performance is outstanding.

He believes that the performance of consumption this year depends largely on the development of the epidemic: if the epidemic can be well controlled, the impact on living consumption can be reduced, and the catering, accommodation, tourism, transportation and other industries can return to normal, compared with the low base in the previous two years, consumption may achieve better growth. Bai Zhongen also believes that the government-led investment can achieve a relatively rapid growth this year, despite the effective control of the epidemic. As for foreign trade, he said that it may be very difficult to achieve a growth rate of more than 20% this year. As global production gradually returns to normal, the growth rate of foreign trade will be slightly slower than before.

Talking about supply shocks, Bai Zhongen said that some supply shocks are still there. The conflict between Russia and Ukraine has further raised the commodity prices that were already at a high level, which has brought great pressure on the production and operation of Chinese enterprises. At present, the pressure will continue to exist.

Talking about the expected weakening, Bai Zhongen pointed out that the economic growth potential of China at this stage is almost the GDP growth target of 5.5% set this year. It is unrealistic for some enterprises to hope to maintain an 8% growth rate as they did many years ago. They must accept the current development situation of China and adjust their realistic expected targets in time.

At the same time, many uncertainties faced by the external environment will also affect people’s expectations. In this regard, Bai Zhongen suggested that the formation and withdrawal of policies should allow the market more time to digest, and the general tone of "striving for progress while maintaining stability" proposed by the central government will help stabilize expectations.

5.5% is an aggressive growth target.

In 2022, the Government Work Report set the target of China’s economic growth rate at around 5.5% this year. For this goal, Bai Zhongen thinks it is a very aggressive growth goal.

"According to our research and the research of some other scholars, the current economic growth potential, that is to say, when everything goes well, our growth rate is about 5.5%." Bai Zhongen said that at present, China’s epidemic situation still occurs from time to time, and the global epidemic prevention and control is facing great uncertainty, and geopolitical conflicts have added new uncertainties. These have a negative impact on consumption growth, and uncertainty makes enterprises more cautious and unwilling to take risks when making investments.

"In such an external environment, it is actually a very challenging task to achieve a growth rate of 5.5%." Bai Zhongen said that at present, great efforts are needed to achieve this economic growth target, so the target of 5.5% is very aggressive.

Bai Zhongen said that last year’s economic growth showed a trend of high before and then low, which was partly caused by cardinal utility. In the first half of 2020, it was greatly affected by the epidemic, which contributed to the high growth in the first half of 2021. At the same time, in the first half of last year, the issuance speed of local special bonds and infrastructure investment was slow, and it began to accelerate in the second half of last year, which had a time lag effect on economic growth, so it showed a situation of high before and low after.

"This year, we all realized the arduousness of growth and set a target of 5.5%, which requires great efforts." Bai Zhongen said that because the special debt quota has been issued in advance, the growth rate of local government expenditure is increasing, and the investment growth rate has achieved rapid growth in the first quarter of this year. Regarding this year’s macroeconomic policy, he particularly emphasized that infrastructure investment and investment promoted by government organizations should play a certain role when all aspects are under great pressure, so we should pay special attention to investment and choose investment projects.

In addition, Bai Zhongen also talked about the tax reduction and fee reduction policy that will continue to be implemented this year. He said that the survival and development of many enterprises are facing great impact because of the impact of factors such as multi-point epidemic and rising commodity prices. It is necessary to find these enterprises, make precise policies, and provide targeted financial and financial support to enterprises.

To improve labor productivity, we must first do a good job in education.

In recent years, China’s total labor productivity has been continuously improved. In February this year, the Statistical Bulletin of People’s Republic of China (PRC)’s National Economic and Social Development in 2021 issued by the National Bureau of Statistics showed that the labor productivity of all employees in China last year was 146,380 yuan/person, an increase of 8.7% over the previous year.

What room is there to further improve China’s labor productivity? In this regard, Bai Zhongen said that China is not the most developed country, and there is still a big gap between the per capita GDP and the most developed countries, so it has a certain advantage of being late-comer, so the total factor productivity will grow faster than that of developed countries, and the labor productivity will also increase accordingly.

Talking about how to tap the growth space, Bai Zhongen gave three suggestions.

First of all, we should do a good job in education. He said that the growth of human capital is very important for economic growth, in which human capital is divided into two parts: the quality of labor force and the number of labor force that can be put into production. Education level has a great relationship with people’s productivity. Under the current situation of China’s labor market, we should pay special attention to education, especially the basic education for the children of migrant workers. It is necessary to fill the shortcomings and weaknesses in education, increase investment and give better education to the children of migrant workers.

Furthermore, there is still room for improvement in the efficiency of labor resource allocation, especially in the labor market. For example, he said that the development trend of one industry is declining, and another industry has just started, so the labor force should be transferred from the first industry to the second industry. Bai Zhongen suggested that the free flow of labor force should be unblocked to make the labor market run better.

In addition, enterprises should also make efforts to better provide learning opportunities for employees. We should consider making some institutional arrangements to encourage enterprises to provide employees with learning and further education arrangements, enhance the motivation of enterprises to provide skills training and on-the-job learning, and enable employees to become workers who can bring greater value.

In Venice, you don’t need paddles to row a boat | Travel with a movie.

    Special feature of 1905 film network Venice has attracted the attention of many filmmakers in the world because of its unique features. They want to inject romance, action, adventure and other elements into this water city and make it a part of their own movie world. Sometimes they will give you a dangerous encounter in the water city, and sometimes they will think of a seemingly vulgar theme like "Everyone says I love you", but it will plunge you into the blue romance of Venice.

Save ~ "Travel with the Movie"

The second stop in Venice — Sniffing the breath of love and touching Shuicheng

    The second stop of "Traveling with Movies" in Venice, let’s be a producer of our own movies, use movies as paddles, and take the gondola to find our own water city story.

Fatal travel with you

Director: Florian Henckel von Donnersmarck
       Screenwriter: Julian Fellowes/Christopher McQuarrie/ 

Florian Henckel von Donnersmarck/jerome Sal
       Starring: Johnny Depp/Angelina Jolie 
       Type: Plot/Suspense/Thriller
               Producer country/region: USA/France/Italy
       Language: English/French/Italian/Russian/Spanish

    Speaking of Florian Henckel von Donnersmarck, it’s not that hardcore fans are not familiar with the name, but as long as you are a movie lover, you will definitely know it. This film with Douban score of 9.1 won the Oscar for Best Foreign Language Film in one fell swoop, which is the director’s long debut.

    The film Fatal travel with you released in 2010 is Hollywood’s olive branch to the future star, but what fans and producers didn’t expect was that the production cost of $100 million and the combination of Johnny Depp and Angelina Jolie didn’t get explosive effect, and the box office achievement of 17 million created the biggest "stain" in their box office history.

    Let’s immerse ourselves in the feast of Venice Film Festival, and once again review this action film, Depp and Julie’s Venice "Travel Diary", which is dubbed as no suspense action.

    The film was nominated for the Golden Globe Award, and the Golden Globe Award for Best Actor and Actress in Comedy Music. Therefore, the film itself is not so bad, but it is different from what the audience imagined. Julie is sexy and moving without a fast gun dress, and Depp is not as cool and mysterious as smoking. This is the shortcoming of commercial films, and the audience’s expectation and the director’s expression will never have a unified point of convergence.

    The focus of the director’s own script is not action drama and complex narrative structure. The temperament of European-specific literary films and the addition of some minor details make the film different from Hollywood-based traditional action suspense films. After looking at the whole film, we will find that the director focuses on love, and other commercial elements are only auxiliary.

    In several scenes in the hotel, we saw the delicate side of the two commercial superstars, and the director’s unique vision discovered the potential of the two stars’ literary films under the huge commercial aura. Savor their performances carefully, and really feel that your eyes can speak.

    In the script, the director skillfully created an invisible mysterious man Alexander (Depp) and smashed the script. We understood the pun name of Fatal travel with you, which is more interesting than the original Escape. Depp, who doesn’t exist, became the biggest attraction of the film. This mirror-image design of characters reflects the director’s excellent script skills.

    In the film, Depp appeared in San Kyle Square in a white suit, and the director of this shot actually hinted at his true identity. Depp under the camera once again captured the hearts of female audiences.

I’m looking forward to Depp playing James Bond once.

    Piazza San Marco, also known as Venice Central Plaza, was called "the most beautiful living room in Europe" by Napoleon. Whether it is Christmas or various carnival festivals, it will be held in this square, which is the center of Venice’s politics and religion — —

    St. Kyle Square is a trapezoidal square, surrounded by landmarks such as the Bell Tower and St. Kyle Cathedral. It is a place where there are no people all year round.

    It is also a place where you can turn into Tony Leung Chiu Wai every day — — Welcome to feed the pigeons ~

    St. Kyle Cathedral, located on the east side of the square, is the most famous cathedral in the Christian world and the pride of Venice as a whole — —

    St. Kyle is more like a museum than a church. Whether it is the decoration of the outer wall or the collection in the exhibition area, it is a work of art that witnessed the whole European Renaissance history — —

Decoration on the external wall of cathedral

    Although they are all crusaders in history. Come on. Yes. But who cares, anyway, these things belong to St. Kyle’s Cathedral now (stand hand)

    Another landmark building in St. Kyle Square is the bell tower. Although it looks simple and has no special sense of design, the design of the bell tower has been imitated by all countries — —

    If you go under the bell tower of St. Kyle, be sure to climb the bell tower and enjoy the view of the whole square ~

    In the film, Julie and Depp stayed at the Hotel Danieli Danieli Hotel. The whole building is decorated with classic Venice from the outside to the inside, so everything is exquisite. Throughout the ages, it has attracted countless celebrities such as Dickens and Byron to visit and stay, also known as the "Aventure Hotel" — —

    Danieli Hotel is located next to the Grand Canal, only a few steps away from St. Kyle Square, with an excellent geographical location. It is located in the first row of Venice Port, and you can see the changes of the sun and the moon in Venice at any time ~

The most conspicuous brick-red building is the Danieli Hotel.



    As a luxurious five-star hotel, the interior of Dagnelie is very luxurious, which can be called resplendent and magnificent. You can enjoy the scenery of the Grand Canal from the balcony in your room ~

Welcome to snap up Depp Julie’s sea view room with the same model.

    Of course, if you have a good scenery, you must have some good wine to help you. You can’t get the same beauty, but you can still taste the same wine ~

    In the film, Depp and Julie are drinking the favorite cocktail of the small and stylish big coffee — — Negroni ~

    Fatal travel with you has its own unique script setting and delicate expression, plus Depp and Julie’s brand-new characters, and the unique water city under the lens. The standard of the film is not as bad as the box office results show. "Fatal travel with you" is a good attempt of commercial literature and art, which shows us more construction space of the script and the real acting skills of the two superstars covered by special effects.

     From beginning to end, Woody Allen seems to be an affectionate poet, writing one love letter after another for the city he loves in this world. Everyone says I love you is a rare musical in Woody Allen’s films, and it also started his urban film series from new york to Europe.

Everyone Says I Love You.

Director: Woody Allen
Screenwriter: Woody Allen
Starring: Woody Allen/natasha lyonne/Julia Roberts/Edward Harrison Norton/Drew Barrymore 


    The film tells the trivial life of an "ordinary" family in new york, although all the members of this family are big stars. Drew Barrymore fell in love with Tim Roth as an escaped prisoner on the eve of her marriage to Edward Harrison Norton. Many years later, robert knepper, who was famous for her American TV series, played Julia Roberts’s husband and was cuckolded by Woody Allen.

The real Drew almost married Norton.

Guilty little old man

    Natalie Portman, who has played the little girl, is just a little girl who is hurt by love here, and has become a humble bit part.

Young Portman

 

    The story shuttles between new york, Paris and Venice. Under the lens of Woody Allen, each city is endowed with different meanings.

Grandpa’s lost daily life

New york: modern life. The sorrows and sorrows of the floating world.

    Woody Allen’s most frequent city shows the cold and warm life of pure American citizens. New york has four distinct seasons, the budding in early spring, the empty city in midsummer, the fallen leaves in late autumn, and the heavy snow in the middle of winter, witnessing the ups and downs of family feelings, and the seasons change, it seems that it has been a lifetime.

In the four seasons of new york, Woody loves new york deeply.



Paris: nostalgia, nostalgia

    Woody Allen walks across the Seine River in a long trench coat and baguette, which became the writer’s yearning life in Midnight in Paris fifteen years later. At the end of the film, a dream dance with his ex-wife on the banks of the Seine seems to bring back romantic memories of youth. Paris is nostalgic and contains the golden age that Woody Allen yearned for.

Dream dancing on the banks of the Seine.

Venice: fantasy, fantasy; Crush, infatuation

    Venice, on the other hand, is a dreamy city where "God’s tears" gather. Here, the most suitable for falling into a maze of fanatical love. Just like the little girl’s love for the boatman in gondola at first sight, and Woody Allen’s fanatical pursuit of julia roberts.

    This city, criss-crossing with 117 waterways, is like a love maze. Going around, I don’t know when I am deeply involved. The sparkling river in Venice gives a romantic background to the encounter. After leaving the city, the fanatical infatuation gradually cooled down.

    "Everyone says I love you", love seems simple but complicated, and feelings disappear quickly but inexplicably. But at least at the moment we met, we were happy. Under the bright sun of Adriatic Bay, everything in Venice was strong and hot.

Strike up a conversation skill 1: hide in the corner and create an encounter.

Strike up a conversation skill 2: What a coincidence! I like his paintings, too!

    The most important road in Venice is probably the Grand Canal. The Grand Canal is inverted S-shaped, which divides Venice into two parts and is connected with many small canals around it. It is the main waterway of Venice ~

The waterway system in the city is designed to be tortuous and complicated, also for the sake of resisting foreign enemies.

    On both sides of the river, there are all kinds of ancient buildings, rococo palaces, baroque and Gothic churches everywhere, and even ordinary shops and homes are different scenery on both sides of the river, so the Venice Grand Canal is also called "Champs Elysé es on the water".

    There are many means of transportation on the canal, but the most characteristic of Venice is definitely the Venice pointed boat — — Gondola, gondola is light, slender and unique in shape. It has a history of more than 1000 years and has always been a tool for Venetians to walk instead of walking — —

    Gondola’s shape is quite primitive, that is, a small wooden boat with two sharp ends. Except for the seat, there is almost no extra decoration. Mark Twain once described gondola as free and elegant, sliding like a big snake — —

    However, the cost of gondola is very expensive. The hull is all high-grade wood, and it is equipped with top-class engines and gearboxes. The cost of a gondola is about 20w, so it is also called "water Ferrari" ~

Sorry, the picture spilled a handful of dog food.


    Because gondola needs manual driving, it needs quite superb technology to keep the boat balanced at any time and place, so Venice has a special assessment standard for gondola boatmen ~

    I felt the charm of Venice water and got off the boat and sat by the bridge. I suddenly realized that the bridge is more romantic and imaginative than water. Water is a gift from nature, and the bridge is the crystallization of human wisdom. The two are bound to each other and lingering forever.

 

    "A stone bridge has endured 500 years of wind, 500 years of sun and 500 years of rain, just asking her to walk across the bridge!" This is the story of Venice’s light and shadow that we will tell tomorrow.

I found it! The most comprehensive database compilation of periodicals and newspapers in the Republic of China

Life is like water, flowing silently.

May your hands be paddles,

Ride a thousand winds and waves,

Drive a boat across the ocean,

Reach the water town of your dreams.

In academic research, we inevitably need to query academic databases, but we often don’t know which databases we can use. Today, Xiaobian compiled.14Periodical and newspaper database of the Republic of ChinaI hope that students who are interested in modern history will benefit!

I. National Newspaper Index

1. Website

http://www.cnbksy.cn/home

Screenshot of national newspaper index webpage

2. Introduction

Slide down to browse

Founded in 1955, National Newspaper Index is a well-known information service brand sponsored by Shanghai Library (Shanghai Institute of Science and Technology Information). The collection of Chinese newspapers and periodicals in Shanghai Library plays an important role at home and abroad. In 1955, entrusted by the Ministry of Culture, Shanghai Library founded the National Newspaper Index magazine, aiming at gathering and revealing the contents of all the newspapers and periodicals published in China, and it also became the earliest comprehensive Chinese newspaper literature retrieval tool published in China.

Over the past 60 years, the National Newspaper Index has developed from an initial monthly magazine into a comprehensive knowledge service system integrating print edition and network service platform, which is now available.One-stop service for more than 50,000 kinds of newspapers and periodicals and more than 50 million articles, with an annual update of more than 5 million articles., have been excavated and published.Full-text Database of Periodicals in Late Qing Dynasty (1833~1911), Full-text Database of Periodicals in Republic of China (1911~1949) and Full-text Paper Database of Chinese and English Newspapers in Zilin Foreign Firm (1850~1951).And other rare digital resources.

Second, the National Library and the Journal Database of the Republic of China

1. Website

http://mylib.nlc.cn/web/guest/minguoqikan

Screenshot of the National Library Journal Database of the Republic of China

2. Introduction

Slide down to browse

Chinese periodicals of the Republic of China are one of the documents of the Republic of China preserved by the National Library. In order to effectively protect and make use of documents, the National Library has already completed the microfilm production of periodicals collected in the Republic of China, and in recent years, it has also carried out the digital scanning of microfilm, and it is expected that the digital conversion of nearly 6 million microfilms will be completed within three years.

The Chinese periodical resource library in the Republic of ChinaBibliographic data, title data, digital objectsProvide simple retrieval, advanced retrieval, secondary retrieval, associated retrieval and conditional retrieval for content.. currentprovideFull-text browsing of electronic images of 4351 periodicals. The resource library follows the principle of serving while building, and will continuously update the content of the resource library.

Third, Hantang Modern Newspaper Database

1. Website

http://www.neohytung.com/Main.aspx

Screenshot of Hantang Modern Newspaper Database Web Page

2. Introduction

Slide down to browse

Hantang modern newspapers and periodicals database includesMore than 300 kinds of publications from the late Qing Dynasty to the Republic of China, such as Ta Kung Pao Hong Kong Edition, Yishi Daily, and Far-reaching Treasures.. The database is illustrated with pictures and texts, among which Yishi Daily uses a scanned copy of the original high-definition newspaper with exclusive authorization.Support automatic conversion retrieval from simplified to traditional, including absolute accurate retrieval, accurate retrieval and fuzzy retrieval. Text can be copied, edited and reused.. With graphic comparison, you can browse the full text in the form of pictures and some text forms. The library adopts the general browser mode, and there is no need to install the client.

Fourth, love is like life. China modern newspaper library

1. Website

http://er07.com/home/pro_88.html

Love is like a student. Screenshot of China Modern Newspaper Library.

2. Introduction

Slide down to browse

From the late Qing Dynasty to the Republic of China, China Modern Newspaper Library selected more than 10,000 kinds of newspaper publications.More than three thousand speciesA publication with wide influence, long duration, high historical value, reflecting the significance of the times, pioneering or representative.The time limit is from 30 years of Qing Daoguang (1833) to 38 years of the Republic of China (1949); The scope includes all kinds of newspapers in the form of weekly and daily newspapers, as well as all kinds of magazines in the form of weekly, semi-monthly, monthly, bimonthly, quarterly, semi-annual and annual; It covers the political, economic, legal, military, diplomatic, community, academic ideological trend, science and technology, education, literature and art, sports, health and other aspects from the late Qing Dynasty to the Republic of China, and has witnessed the changes of modern China in the past century.

There are many well-known heavyweight newspapers and periodicals in China’s modern newspaper library, most of which are completely preserved, and a few of them are fragmentary, but most of them are rare and rare. Such as those published in the late Qing Dynasty.Shanghai Declaration, World Bulletin, Shuntian Times, Oriental Magazine, Shengjing Times, Dianshizhai Pictorial, Journal of Chinese Cuisine, Xinmin Congbao and New NovelWait; Issued during the Republic of ChinaJiayin, Morning News, Academics, Independent Review, Yugong, Anti-Japanese War Literature and Art, Foodstuffs, National Government Gazette and Yusi.Wait; The Puppet Manchukuo and the Enemy-occupied AreasOlive and Liyan PictorialAnd after 1919, it was issued by the Communist Party of China (CPC) and the liberated areas.New Youth, Awakening, Workers Weekly, Red Flag Daily, Red Star, Guide and Eighth Route ArmyWait, it can be said that it is like a star, and it is precious.

Five, China modern newspapers and periodicals database.

1. Website

http://tk.cepiec.com.cn/SP/

Screenshot of China Modern Newspaper Database Web Page

2. Introduction

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China modern newspaper database was developed by Dehong Company in Taiwan Province. Including the historical materials of modern newspapers on both sides of the Taiwan Strait (Shen Bao, Central Daily News, Taiwan Province Daily News, Taiwan Province People’s Daily and Taiwan Times.), which is one of the most comprehensive and complete historical databases of newspapers and periodicals on the market at present, can best reflect and reflect the modern history of China. In addition, in the aspect of data content appreciation, it is also the analysis of thematic news in cooperation with Taiwan Province University of Political Science, so that readers and researchers can get the precious historical materials they need more easily. Features are as follows:

(1) Unified retrieval platform, convenient and quick cross-database retrieval method, and complete presentation of cross-strait historical materials for readers.

(2) get rid of the design mode of the digital platform of ancient books, and create according to the concept of using news media.Database of news historical materials.

(3)The content covers the three places on both sides of the Taiwan Strait, completely revealing the pre-1949 and mid-1949.The development history of China in modern times.

(4) The database is simple and easy to use, which can be used for teachers’ scientific research and auxiliary teaching, and also for all students who are interested in modern China.

VI. Database of Literature of the Republic of China ~1949

1. Website

http://cadal.hytung.cn/Main.aspx

Screenshot of the database webpage of "Literature of the Republic of China ~1949"

2. Introduction

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The database "The Complete Collection of Documents of the Republic of China ~1949" contains a large number of illustrated documents of the Republic of China, includingMore than 180,000 books.; More than 20,000 kinds of periodicals; There are more than 11 million newspaper items., coveringShanghaiShen Bao, Republic of China Daily, Tianjin Ta Kung Pao, Yishi Daily, Beijing Shuntian Times, Changsha Ta Kung Pao and Chongqing Xinhua Daily.Wait. By the end of 2015, the text data in the whole library is nearly 2 billion words, and the resources are continuously expanded and the added contents are dynamically updated.

VII. Digital Database of Modern History

1. Website

http://mhdb.mh.sinica.edu.tw/

Screenshot of Modern History Digital Database Web Page

2. Introduction

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Digital database of modern history consists ofTaiwan Province "Academia Sinica" Institute of Modern HistoryEstablished, the database related to newspapers and periodicals in the Republic of China are as followsnewspapers and periodicalsData retrieval system,Database of Modern Women’s Journals, "Women’s magazineDatabase, research platform for women periodical authors and database of modern city tabloids, etc..

Since 1997, the Institute of Modern History of Academia Sinica has devoted itself to the digitization of classics, historical materials and archives, hoping to promote the research resources and education of modern history through the combination of digitalization and network. Included in the Chinese electronic literature database of Academia SinicaModern History Full-text Database, the historical data database that has been completed one after another has accumulatedMore than 75 million words. Archives have been digitizing and building archives of diplomatic and economic departments for many years.Collection retrieval systemandAuthoritative search system of names, and provide the original document image browsing service. Hu Shi Memorial Hall promotesHu Shi Archives DatabaseTo build a database management system, the files of different media carriers are converted into digital files, which is beneficial to the collection and is convenient for scholars to consult and use. Built by the libraryNewspaper data retrieval system, integrating different types of data such as modern newspapers, periodicals and bulletins, and providing image file browsing and metadata data query functions.

Eight, "Ta Kung Pao: 1902-1949" full-text retrieval database

1. Website

http://tk.dhcdb.com.tw/tknewsc/tknewskm

Screenshot of the full-text retrieval database of Ta Kung Pao: 1902-1949

2. Introduction

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The full-text retrieval database of Ta Kung Pao: 1902-1949 comes from the National Library of China, which provides exclusive original high-resolution images. All the pages and words published in Ta Kung Pao during the Republic of China were included except that some of the original copies were lost. Number of included pensMore than 2 million and 200,000 high-definition images.. ContainsTianjin, Shanghai, Chongqing, Hankou, Guilin and Hong KongWait for the full page. Advertising pages can also be viewed through the newspaper clipping function.

The full-text retrieval database of Ta Kung Pao: 1902-1949 adopts the interface of the World Wide Web, and the client can use a general web browser, such as IE or Firefox, to operate and query online.Standard multi-layer architecture, complete retrieval function, with the functions of "hurdle", "column" and "cross-database", there is no limit on the number of retrieval results and the number of wireless users.. havefulltext retrieval, boolean logic AND, OR, NOT combination operation, limited field retrieval, field index browsing, English singular and plural, truncated query and other functions, andProvide data printing and downloading..

Nine, Dacheng old periodical full-text database

1. Website

http://laokan.dachengdata.com/tuijian/showTuijianList.action

Screenshot of Dacheng Old Journal Full-text Database Web Page

2. Introduction

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Dacheng Old Periodicals Full-text Database is characterized by collecting periodicals before 1949.There are many kinds of collections, covering a wide range of contents, and the collection of rare books and rare books is relatively complete., simple and convenient to use, has been collected at present.There are more than 7,000 kinds of digital periodicals with more than 140,000 issues., has become a research.Modern history, literature, politics, law, sociology, economics and the history of various disciplines.And other indispensable database tools for academic research.

X. Full-text retrieval database of Oriental Magazine

1. Website

http://cpem.cp.com.cn/

Screenshot of the full-text retrieval database of Oriental Magazine.

2. Introduction

Slide down to browse

The full-text retrieval database of Oriental Magazine has the most complete and accurate periodical literature resources in China. includeWith more than 30,000 articles, 12,000 pictures and 14,000 advertisements, it is the first full-text retrieval database of Oriental Magazine at home and abroad.. The library indexes and proofreads all the contents of the journal one by one, including the columns, titles, authors, texts, pictures and advertisements of articles; So as to facilitate the user experience.The retrieval results can provide the full-text version and the original picture version of the article synchronously.To ensure the accuracy of data cited by users;Based on professional retrieval algorithm, it supports trend analysis and secondary screening of retrieval results.; The database retrieval function is complete, convenient and humanized; includeItem retrieval, classified retrieval, combined retrieval, etc., support complex and simplified conversion retrieval, etc.; The interface of the system is simple, tidy and focused, and it has the functions of input prompt, pinyin assistant and so on, which is convenient for users to use.

XI. china academic digital associative library

1. Website

http://www.cadal.cn/

Screenshot of china academic digital associative library webpage

2. Introduction

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China academic digital associative library (China Academic Digital Associative Library) was formerly known as China-America Digital Academic Library (CADAL). In September 2002, the State Planning Commission, the Ministry of Education and the Ministry of Finance issued the document "Several Opinions on Strengthening the Construction of the" 211 Project "during the Tenth Five-Year Plan period", which listed the "CADAL" as an important part of the construction of the public service system of the "211 Project" during the Tenth Five-Year Plan period. Together with "China Higher Education Document Guarantee System (CALIS)", CADAL forms the framework of China Higher Education Digital Library.

The first phase of the project was built.236,594 books and periodicals of the Republic of China, the second phase of the project is planned to be built.200,000 books (issues) of the Republic of China, including 40,000 books, 140,000 periodicals and 20,000 newspapers..

XII. People’s Database

1. Website

http://data.people.com.cn/publish/_s1/0819.html

Screenshot of people’s data webpage

2. Introduction

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The only large-scale information platform for Party, government and current affairs in China is based on People’s Daily and People’s Daily. The information collection channel is authoritative, scientific and practical. There are 2 million articles, nearly 70,000 pictures and 500 videos in the whole library, which is the most comprehensive, informative and informative collection of party and government digital resources for the first time since the construction of party and government information digitalization.Among them, the part involving the Republic of China was published in People’s Daily from 1946 to 1949..

XIII. Database of Old Newspapers and Periodicals of the Republic of China in Peking University Library

1. Website

http://162.105.138.110:8011/mgqk/index.jsp

Screenshot of Peking University Library’s old newspapers and periodicals database of the Republic of China.

2. Introduction

Slide down to browse

The first phase of the characteristic library of "Old Newspapers and Periodicals of the Republic of China" built by Peking University Library was officially released on the campus network on December 7, 2012, and the data of the second and third phases were released on May 31, 2013.There are 34,019 periodicals and 619,385 full-text articles.The publication of the characteristic library of "Newspapers and Periodicals of the Republic of China" not only enables readers to use these rich and precious resources more conveniently in time and space, but also enables readers to pass.Various retrieval methods of article titles and journal titlesGet the required information quickly and deeply.

Fourteen, Chinese newspapers and periodicals literature database

1. Website

http://www.huawenku.cn/index.html

Screenshot of Chinese newspapers and periodicals literature database webpage

2. Introduction

The data collected by Chinese newspapers and periodicals literature database includes 400 newspapers and periodicals, among which200 kinds of modern periodicals, 200 kinds of modern periodicals. It is the product of data content, classified indexing content and retrieval reading platform, and mainly provides services to users through the Internet. The historical materials of newspapers and periodicals it collected are important historical materials for studying the modern history of China.

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How does the Central Media See the "Old Trees Grow New Buds" of Henan’s Intangible Drama

  Henan is an important birthplace and development place of China opera, with splendid and rich opera culture, and is recognized as the "hometown of opera". Historically, there have been more than 60 kinds of traditional Chinese operas widely circulated in Henan. Since 2006, 18 operas, including Henan Opera, Quju Opera, Yuediao Opera, Wanbang Opera and Mulian Opera, have been included in the national intangible cultural heritage list, and more than 30 operas have been included in the provincial list.

Photo courtesy of Zhang Qiuli, stills of "Lao Zi" in Yuediao

  These non-legacy operas are the products of farming civilization, which have been active among the people for a long time. They are typical representatives of the traditional culture of the Central Plains, bearing rich cultural connotations and historical memories. After the founding of People’s Republic of China (PRC), Henan opera ushered in a new glory, and many excellent works such as Mulan’s Henan opera "Mu Guiying in command", "Chaoyanggou", Yuediao’s mourning for Zhuge Liang, and Quju’s "Juan Xi Tu" emerged, which swept the country.

  However, with the diversification of people’s leisure and entertainment methods, Henan opera, like most non-legacy operas, is inevitably affected and impacted, and gradually declines. However, after entering the new century, with tenacious vitality and rich historical details, with the joint efforts of the government and the people, Henan opera has regained its vitality and produced a number of excellent works with high ideological, artistic and ornamental value, such as Cheng Ying’s Saving the Orphan, Jiao Yulu, Hongmei in hay cutter, The Soul Girl, the Quju, the Marriage Event and the Yuediao Laozi. In particular, "Cheng Ying Save the Orphan" has been sung from the fields in Henan to the Broadway stage in the United States, and has been performed in more than 20 countries and regions. There are nearly 20 kinds of dramas transplanted in China, with more than 20,000 performances.

  The key to the success of Henan opera lies in: always adhering to and inheriting the essence of excellent traditional culture, at the same time keeping close to the pulse of the times and real life.

  Drama Creation: Paying Attention to Little People and Showing Great Feelings

  In terms of material selection, Henan operas inherit and carry forward the inherent local and grass-roots characteristics, mainly paying attention to and reflecting the daily life of ordinary people, and paying attention to expressing "great feelings" with "little people", reflecting "great times" with "small stories" and presenting "great themes" with "small incisions", highlighting the brilliance of human nature and feelings of home and country in the fireworks, and exerting efforts to show the national spirit and the spirit of the times.

  Cheng Ying’s Saving the Orphan is a model work. The play was adapted from the Yuan drama The Orphan of Zhao. On the premise of retaining the basic plot of the original play, Cheng Ying, a civilian doctor, replaced the orphan of Zhao as the protagonist, transforming the feud and struggle between nobles into a contest between justice and evil, kindness and cruelty, and explaining the national spirit of righteous people represented by Cheng Ying, such as sacrificing their lives for justice, kindness and justice, honesty and responsibility, tenacity and tenacity. The drama deeply digs and expands the cultural connotation and human nature connotation of the original drama, and looks back on historical figures from a contemporary perspective, realizing the creative transformation from traditional famous dramas to contemporary fine works.

  Adhering to the creative concept of "attaching importance to small people and showing great feelings", Henan opera also pays attention to depicting characters with vivid and simple life details in English model dramas, reducing lofty and great English model characters to ordinary people, and revealing their life trajectory from ordinary to great, so that English models can be true, credible and sensible.

  For example, "Red Plum under hay cutter" changes the heroic narrative mode of similar themes in the past, and starts from the small aspects of daily life, showing the course of Liu Hulan’s growth from a lively and childish, frank and stubborn country girl to a staunch and unyielding communist party person in a delicate and true way, and making her short and magnificent life vivid and tear-jerking. Since it was put on the stage, the play has performed more than 2,000 times and has been transplanted by many operas.

  Expression: keep the old essence and create new programs.

  On the stage presentation, on the basis of retaining the characteristics and essence of traditional art, Henan opera follows the artistic laws and the requirements of the times and constantly explores new ways of expression. This is mainly reflected in the innovative development of traditional programs.

  Program is the essence of traditional Chinese opera art, and it is also one of the most eye-catching identity signs of each non-legacy drama. However, the traditional program is extracted from the life of ancient opera artists, which is far from modern life. Nowadays, when it is used in new plays, especially in modern plays, it is often divorced from the plot. How to make the program get rid of the "showy" performance and become a means to shape characters and promote the plot has troubled many modern drama creators. Henan opera is upright and innovative. After artistically treating the characters’ gestures in real life, it creates new programs, which can reflect modern life more flexibly and serve the plot. For example, the "cart-pulling dance" in Li Tiancheng, a village official, the "snow dance" in Chongdugou, and the "flood-fighting dance" in Jiao Yulu, etc., successfully show the specific situation of real life through the recombination and application of traditional program actions; The "paddle dance", "kiln opening dance" and "kiln losing dance" in "The Soul Girl" not only blended the dance elements in the traditional program, but also skillfully integrated into the rural life, which provided a possibility for the diversified interpretation of modern local drama.

  In addition, Henan opera also boldly carried out the innovation of singing. For example, the musical "Faith" adjusts the singing tone of the traditional qupai, and the male and female voices adopt different modes. On the basis of the traditional qupai, a new qupai with a faster rhythm is created, which gives the audience a refreshing feeling.

  Mode of communication: keep the main position firmly and use the media skillfully.

  In terms of the mode of communication, Henan opera attaches great importance to the live performance in rural areas, and actively expands multi-channel and multi-form publicity and promotion to stabilize and expand the audience.

  Live performance is the most traditional way of communication of traditional Chinese opera, which can bring the audience the most intuitive feelings and experiences, and it still has an irreplaceable position. Henan opera has always paid attention to live performances, and the government and the people hold a large number of multi-level and diversified performances every year. The vast rural areas have always been the main positions for performances because of their broad mass base.

  In 2008, Henan Province launched a public welfare cultural performance activity of "stage art sent to the grassroots", and adopted the operation mode of "government pays the bill, the troupe performs and farmers benefit", which has been adhered to for more than ten years. Later, relying on this activity, Henan Province launched the "Action of Sending Thousands of Plays to Thousands of Villages to Help the Poor", giving priority to the viewing needs of poor counties and villages, and giving no less than 1,000 performances for the benefit of poor counties throughout the year.

  With the advocacy and support of the government, some private theatrical troupes, represented by Little Empress Henan Opera Troupe, have long insisted on performing in rural areas. The Little Empress Henan Opera Troupe has performed more than 8,000 performances since its establishment 30 years ago, and nearly 90% of the performances are in rural areas.

  In addition to guarding the main position of live performance, Henan opera is also actively promoted and promoted through radio, film and television, animation, museums and other ways and channels. After the rise of new media, Henan Opera has used new media platforms, such as opera professional websites, WeChat and Tik Tok, to create more diversified communication channels, which not only broadens the survival and development space of some non-legacy operas and inheritors, but also attracts more young audiences.

  Take the live broadcast in Tik Tok as an example. According to "2023 Tik Tok Performing Arts Live Data Report Henan", in 2022, the number of live broadcasts of Henan operas increased by 109% year-on-year, nearly twice the increase of the number of live broadcasts of national operas. Among them, Henan Henan Opera has the largest number of live broadcasts among all operas in China, and the number of live broadcasts of rare operas such as Taoist drama, Dapingdiao, Erjiaxian and Sipingdiao has also exceeded one million, and there are many people in the audience.

  (Author: Wang Meng, Associate Research Fellow, Institute of Literature, Henan Academy of Social Sciences)

Hailing, Jiangsu Province: Promoting the "source of litigation" to deal with property disputes has dropped by more than 80%

  The emergence of a large number of property disputes in urban residential quarters has become one of the important sources of group disputes at the grassroots level in cities, which puts forward a new topic for political and legal organs on how to further improve the ability of urban social governance.

  The reporter of "Legal Daily" recently learned in an interview in Taizhou City, Jiangsu Province that only in Hailing District, the core city with a population of 550,000, various factors lead to the superposition of property disputes, showing the trend of complaints to administrative organs, a large number of court cases increasing year by year, and group disputes happening from time to time.

  Since February this year, the Hailing District People’s Court has established a "3+1" property dispute mediation mechanism in cooperation with the Housing and Construction Bureau, the Town Street (Park) and the Residence (Village) Committee, which has grasped the key points of diversified solutions to property disputes. "We insist on putting the non-litigation dispute resolution mechanism in the front, creating a new mode of joint judicial and administrative resolution of property disputes, and achieved good results. In the first half of this year, there were only 45 litigation cases in court, a decrease of 84.32% compared with 287 cases in the same period in 2018. " Jiang Wei, Party Secretary and President of Hailing District Court, introduced.

  A research report inspires new ideas of common governance and win-win situation

  Urban property disputes are not only a livelihood issue, but also a social governance issue.

  As early as November 2017, the Hailing District Court comprehensively sorted out and summarized the continuous high growth of property disputes in recent years, and formed the Trial Report on Property Disputes in Hailing District (2013-2017).

  According to the report, from January 2013 to October 2017, the hospital accepted 1,936 cases involving property disputes, and the number of cases received increased from 197 in 2013 to 610 in the first three quarters of 2017 alone. The report also sorts out six trial characteristics: small litigation object, diverse forms of disputes, difficulties for owners to prove, and high failure rate of owners. Among them, the cases of property service enterprises recovering property service fees became a batch lawsuit, and the reasons why owners failed to pay property fees on time were mostly due to inadequate public management and untimely, incomplete and irregular services provided by property service enterprises.

  Although the amount of property disputes is small, once a large number of cases are brought to court, it will often lead to owners’ dissatisfaction with property service companies, which will further aggravate the contradictions between the two sides. In some communities, owners even jointly request to change property companies. In 2018 alone, the District Housing and Construction Bureau accepted as many as 5,000 complaints about property disputes, and there were nearly 10 group disputes caused by property disputes, accounting for more than 10% of all civil and commercial cases in Hailing Court. Liu Zongkai, a member of the party group and vice president of Hailing District Court, believes that court trial is only a palliative, and strengthening source governance through joint administrative organs and grassroots organizations is the fundamental solution. Only by establishing litigation and non-litigation resolution mechanism can we treat both the symptoms and root causes and truly promote the harmony and stability of the community.

  It is understood that after the relevant investigation report of Hailing District Court received the attention of the leaders of the district party committee and the district government, Xiao Liulin, the deputy head of the district, specifically asked the Housing and Construction Bureau to seriously study, actively dock with the court, and come up with specific measures to resolve contradictions before litigation.

  Judicial cooperation with administration to create a new model of diversified solutions

  Under the guidance and promotion of the Hailing District Court, it has jointly issued with the District Housing and Construction Bureau the Implementation Opinions on Joint Resolution of Property Disputes and the Code of Practice for Administrative Mediation of Property Disputes, etc., and comprehensively constructed a "3+1" mechanism for mediation of property conflicts between residential (village) committees, towns and streets (parks), housing and construction departments and judicial trials, so as to achieve layered diversion and step-by-step resolution of contradictions and disputes, and ensure that minor problems do not leave the community.

  On June 25 this year, after more than three months of trial operation, Hailing District Property Dispute Mediation Center was formally established, and the District Housing and Construction Bureau sent two full-time mediators to be responsible for the administrative mediation of property disputes in the whole region. At the same time, 146 community mediators were selected in the whole district to mediate property disputes in their communities in time. Complex disputes that cannot be mediated by grass-roots mediators shall be transferred to the mediation center for joint mediation by full-time mediators and courts, and those that still cannot be mediated shall be transferred to proceedings.

  "Administrative mediators are familiar with the property management of each community. The mediation scheme they provide is more in line with the objective reality, and even some problems left by developers can be solved by the way. Such mediation can often be done, and both parties can be satisfied. " Judge Gong Xiqin, the property dispute trial team of Hailing District Court, said.

  "Under the guidance of the judge, we have successfully mediated 161 property disputes since the mediation studio was in operation for three months, and only 20 of them finally entered the proceedings." Yuan Ruiqin, the mediator, said, "In the process of mediation, we also grasped the focus and problems of property conflicts in various communities, which provided effective information for the Housing and Construction Bureau to carry out administrative work and improved the accuracy and effectiveness of the work."

  "The establishment of the center is also the first in the whole province. This is a new measure for the benign interaction between the government and the hospital in the new era. It can effectively integrate the administrative and judicial forces, solve the contradictions and disputes in property management in a diversified way, and achieve reconciliation, harmony and the rule of law." Zhang Zhaoyang, deputy secretary of Hailing District Committee, said.

  Insist on people-oriented and establish a new mechanism of source governance

  It is understood that the Hailing District Court put forward the concept of "people-oriented, source governance" to the district party committee and district government, and suggested standardizing property management behavior, reducing contradictions from the source, fundamentally resolving contradictions, and speeding up the construction of the social governance first good area and the people’s livelihood happiness pilot area.

  According to this suggestion, the Hailing District Party Committee and District Government promulgated the Ten Norms for Property Management in Hailing District, Detailed Rules for Standardized Assessment of Property Management, Pilot Work Plan of Party Construction and Property Management, Relevant Publicity Measures for Property Management Areas, and Work Plan for Audit of Property Fees, thus forming a new pattern of multi-integration, such as grass-roots organization leading by Party construction, open and transparent service finance, autonomous management of community owners, inspection and evaluation of housing and construction departments, diversified solution of contradictions and disputes, and full guarantee of judicial services.

  "In Loudaokou, you can see the service standards, service contents and charging standards publicized on the wall, so that we can consume clearly." Grandma Wang, the owner of Hanlin Yaju Community, praised. "Standardization of property management is a good measure to really make enterprises bigger and stronger. With the owners’ grievances gone, it is not difficult for us to collect property fees." Manager Wang, the person in charge of Yintai Property, said.

  "On the basis of promoting the openness and transparency of services, we have established a property service ‘ Red and black list ’ Evaluation mechanism, in ‘ Blacklist ’ Property companies that have appeared more than three times in the world will be interviewed for rectification. For property companies that have not changed their education, the street owners’ meeting will start the exit procedure of property projects to ensure that property companies provide quality services in accordance with the contract. " Mao Songyun, director of the District Property Management Office, introduced.

  In order to support administrative organs to mediate property disputes in accordance with the law, Hailing Court has given full play to its judicial function, and formulated and promulgated the Guide to the Trial of Property Dispute Litigation Cases, which uses the evaluation results of administrative organs on the service quality of property service enterprises as evidence, clarifies the frequently controversial clauses in property service contracts, effectively solves the problem of "difficulty in proof" of owners and the understanding scale of mediators in administrative mediation, and realizes the seamless connection between administrative management and judicial trial.

  "With the promotion, support and guarantee of Hailing Court, we have more motivation and confidence to carry out administrative work, and the new property management mechanism can be successfully constructed." Liu Fei, deputy director of the Housing and Construction Bureau of Hailing District, said that the complaint rate of owners dropped by nearly 20% year-on-year, and the collection rate of property fees increased by 10%.

  "The new model of the source management of property disputes in Hailing District Court not only lightens the litigation burden of the parties, but also makes the people have more sense of gain, reduces social contradictions, maintains the harmony and stability of the grassroots, and makes contributions to improving the level of urban social governance." Xu Zhilun, member of the Standing Committee of Hailing District Committee and secretary of the Political and Legal Committee, said. (Reporter Ding Guofeng correspondent Xiao Chen Wu Jiazhen)

Great country project stunning the world, showing the strong strength of China engineering construction

CCTV News:Today (November 28th) morning, the main line of the deep-middle passage of Guangdong-Hong Kong-Macao Greater Bay Area core transportation hub, a major national project, was officially completed. The Shenzhen-China Passage spans the east and west banks of the Pearl River Estuary, connects Shenzhen, Guangzhou and Zhongshan, and integrates "bridge, island, tunnel and underwater communication", with a total length of about 24 kilometers. It is planned to be open to traffic in June next year.

The deep middle passage is one of the most difficult cross-sea cluster projects in the world at present. The construction scheme of "West Bridge and East Tunnel" is adopted. The length of the submarine tunnel in the east is about 6.8 kilometers, and it is designed as a two-way eight-lane tunnel, which is the longest and widest submarine steel-shell concrete immersed tube tunnel in the world. The cross-harbour tunnel is connected with two artificial islands, the east artificial island realizes the conversion between the cross-harbour tunnel and various highways on the road surface, while the west artificial island undertakes the conversion function between the tunnel and the offshore bridge.

West Artificial Island: A New Landmark on Lingdingyang, a "Kunpeng at Sea"

Driving in the deep middle passage with a total length of 24 kilometers, how can vehicles safely and smoothly enter the cross-harbour tunnel from a bridge tens of meters high on the sea? The artificial island in the west of the deep middle passage has solved this problem.

Viewed from the air, the West Artificial Island, which covers an area of about 137,000 square meters and is equivalent to 19 football fields, is like a Kunpeng, spreading its wings on the sea of Lingdingyang.

The most important function of the West Artificial Island is to realize the bridge-tunnel conversion. Construction started in December 2016, and it is the earliest project in the whole line. The "first son" of this deep-middle channel falling on the Lingdingyang plays a very key role in the overall stability and progress of the deep-middle channel. The position and function are irreplaceable, but where should we start to build such an artificial island on the vast sea?

Each of the 57 steel cylinders has a diameter of 28 meters and a height of 35-mdash; 40 meters, weighing 650 tons. The west artificial island of the deep middle passage is located in the sand mining area, and the stratum is complex. The construction team developed the core technology of steel cylinder foundation pretreatment, which "grinding bean curd" on the uneven and uneven foundation of the construction sea area, reduced the strength of the hard soil layer, and combined with the self-developed 12-hammer linkage hammer group with the same frequency vibration, successfully drove giant steel cylinders into the seabed rock stratum accurately and firmly, creating a world record for the rapid island formation of the west artificial island in four and a half months.

In addition to realizing the function of bridge-tunnel conversion, the West Artificial Island will also be an important place for the maintenance and management of tunnels and bridges, and this artificial island with the shape of "Kunpeng on the sea" will also become a new landmark on the Lingdingyang.

East artificial island: realizing underwater intercommunication

In order to realize the underwater intercommunication function, the deep-middle passage cannot be separated from the East Artificial Island. So how to switch between island tunnels? How to connect with the adjacent road network on the ground and realize multi-site interconnection? Follow the reporter to the East Artificial Island to continue to understand.

The artificial island in the east of the deep middle passage is located in the south of Shenzhen Baoan Airport, and connected to the submarine immersed tunnel in the west, which is the gateway project of the Shenzhen end of the deep middle passage.

Seen from the air, the T-shaped main tunnel of the East Artificial Island and the ramp tunnel bridge on both sides are like a seabird flying on the sea with its wings. Before construction started in 2017, it was still a shallow sea. The island body filled with sea sand covers an area of nearly 350,000 square meters, which is equivalent to 48 standard football fields.

CCTV reporter Li Weidai:This is a diversion point of the underwater interchange hub of the East Artificial Island of the Shenzhen-China Passage. We are now 15 meters below the sea surface. In front of me is the submarine immersed tube tunnel of the Shenzhen-China Passage. The tunnel divides into two forks here. In the future, vehicles from Zhongshan to Shenzhen will be smoothly connected with the ground road network through this Y-shaped fork.

There are four off-ramp and confluence points like this in the underwater hub of East Artificial Island, which together with the main tunnel on the island realize the diversion and confluence of vehicles.

Underwater interchange is in a relatively closed environment, which has certain influence on driving sight distance. As early as the preliminary study of the project, the professional team simulated driving in various states through professional software system, optimized the continuous partition wall at the confluence of the main line tunnel and the ramp tunnel as a column to increase the permeability, and adopted intelligent electronic safety auxiliary facilities to improve the driving safety.

Reporter’s visit: immersed tube floating installation integrated ship

The submarine tunnel part of the deep middle passage has a total length of about 6.8 kilometers and eight lanes in both directions. The immersed pipe section of the tunnel is connected by 32 pipe sections and a final joint, each of which is 165 meters long, 46 meters wide, 10.6 meters high and weighs about 80,000 tons. How can we float these "Big Macs" in place in the vast sea and install them accurately? It all depends on one core equipment, which is the world’s first immersed tube floating installation integrated ship independently developed by China.

This submerged floating installation integrated ship tailored for the deep middle passage is 190.4 meters long, 75 meters wide and 14.7 meters deep, and its deck area is equivalent to two football fields. It is a special ship for submerged construction of submarine tunnels with the strongest installation capacity, the highest sinking accuracy, the most efficient construction operation and the most advanced performance in the world. Seen from a height, it looks like a huge rectangular steel clip, holding the immersed tube firmly in the center of the ship.

The biggest highlight of the floating and installing integrated ship is that it is equipped with an automatic driving system, which perfectly solves all kinds of difficulties in floating and transporting immersed tubes out of the dock. All immersed tubes of the Deep-Middle Passage need to be docked from Guishan Island Immersed Tube Prefabrication Factory and floated to the immersed tube installation area near the West Artificial Island, which is nearly 50 kilometers long. After seven channel changes, the channel width is only 200 meters, and it passes through the busiest Lingdingyang channel in China, which will face many safety risks in the whole process.

Compared with the traditional pipe joint floating installation method, the integrated ship greatly reduces the dredging amount of the floating channel, which is more environmentally friendly and economical. Through the intelligent driving system, the installation system on the integrated ship will show its talents after the immersed tube is transported to the designated sea area.

Through the display screen, the commander accurately grasps the specific position of the immersed tube on the seabed; At the same time, the attitude of immersed tube is monitored in real time by using dynamic signal acquisition information system. With the close cooperation of several systems, the immersed tube is lowered to the foundation bed to realize the initial docking. Then, with the help of the pressure of seawater, hydraulic pressure welding is carried out, so that the immersed tube butt joint can be seamless. At present, the deep middle channel submarine immersed tube tunnel has achieved the docking accuracy of all pipe joints within five centimeters, with seven pipe joints in a row, achieving millimeter-level accuracy.

"Beidou" Helps Seamlessly Dock 80,000-ton Submerged Pipes with Needles

The immersed tube section of the deep middle passage subsea tunnel is composed of 32 pipe joints weighing about 80,000 tons and a final joint. How to ensure that these pipes can be accurately installed in place at one time on the seabed? Beidou navigation system contributed greatly.

This is the world’s first super-long, super-wide two-way eight-lane steel-shell concrete immersed tunnel. 6.8km long, it is divided into 32 pipe joints and final joints, which are installed step by step, and each immersed pipe weighs 80,000 tons.

First of all, the giant immersed tube should be transported by cable, accurately placed in the foundation groove of the seabed, and then it should be seamlessly connected with the front pipe joint from end to end, and it should be used safely for 100 years.

Under the invisible water, the installation error of 5 cm can be said to be "embroidery with needles" for immersed tubes with a length of more than 160 meters, a width of 46 meters and a height of 10 meters. If the positioning is inaccurate or the accuracy is insufficient, resulting in excessive deviation of pipe joint installation, the project will have to be completely suspended for "fine adjustment".

When the project started, it coincided with the Beidou system being put into use. In order to introduce the power of Beidou, the team repeatedly made thousands of tests and verifications on land, sea and immersed pipes, and finally formed a scheme. The Beidou satellite antenna on board and the nearby reference station cooperated to differentially locate the immersed pipes, with an accuracy of up to millimeter level.

After entering the water, the position and posture of the immersed tunnel under water are clearly displayed on the screen. Beidou’s positioning performance is stable and reliable, which makes the project progress high-quality and efficient.