1905 movie network news Recently, the "China Directors Exchange Program" jointly organized by the Film Bureau of the State Administration of Press, Publication, Radio, Film and Television and Twentieth Century Fox Film Company was successfully held in Los Angeles, USA. Seven China directors, including Jason Wu, Kim-ching Luk, Zhao Xiaoding, Zhao Tianyu, Lu Zhengyu, Yang Lei and Liu Yulin, were invited to visit the headquarters of Flowserve Company. This is the second exchange activity between Chinese and foreign film directors held by Flowserve after seven directors were invited in 2016, including Urshan, Zheng Baorui, Ding Sheng, Yu Baimei, Han Yan, Cheng Er and Yang Qing.

Chinese and foreign filmmakers talked at the peak, "The director’s duty is to touch the audience."

The four-day exchange training was rich in content. The director group of China, representing the cutting-edge forces, not only visited the FoxWorks Studio, the visual effects laboratory and the costume props library, watched many films produced by FoxWorks in the 20th century, but also visited the shooting scene (temporarily translated by AD ASTRA) and listened to many senior executives of FoxWorks introducing Hollywood cutting-edge technologies such as visual effects, VR technology, post-production and the production process of the film industry. In the meantime, famous Hollywood directors James Cameron (), James Mangold (), wes ball (), Lv Yinrong () and shane black (Xin) shared their experiences in film creation, and had a warm exchange with China directors on the adaptation of literary works, keeping the vitality of the series and the technical challenges faced by visual blockbusters. Invited directors from China said that FOSS’s creative innovation, industrial process and corporate culture in the 20th century gave them reference and inspiration.

Many invited directors mentioned in feedback that Hollywood’s perfect industrial process depends on a high degree of professionalism and fine division of labor; As a director, we should grasp the core and essence of the film, that is, the soul of the film, as James Mangold, the director of Wolverine 3: A Fight to the Death, said in the exchange: "The director’s duty is to touch the audience, not just to attract people’s attention. Movies that can stay in people’s hearts for a long time are not dazzling skills, but stories that can make the audience cry, make the audience laugh and resonate with the audience. This is the essence of being a director. "

China’s director group visited Avatar 2 to see the scene of the card god.

Jon Landau, a Hollywood gold medal producer, personally led China’s director group to visit the Light Storm Entertainment Company directed by Cameron, and shared the behind-the-scenes stories of every important prop that once appeared in the movie of Ka Shen, such as "in the heart of the sea" in Titanic and "Avatar" Na Mei Ren 1; 1 bust, special diving helmet with microphone for shooting, and CG liquid alien creature in Abyss provide technical preparation for the liquid metal robot in China. Jon Landau explained in detail the latest cutting-edge technology used in the production of Avatar 2 for China’s director team, and took the directors to enjoy the wonderful clips of Avatar Theme Park in Orlando Disney World through the big screen. At the invitation of James Cameron, he went to the shooting set of Avatar 2 to watch Ka Shen shoot a gun battle with a virtual camera.

Being able to watch Cameron shoot Avatar 2 on the spot also excited the China director group. Director Zhao Tianyu said, "In a way, technology is both artistic. I am amazed by Cameron’s unremitting exploration of audio-visual language and film technology. " Director Yang Lei praised: "Seeing Cameron shooting on the set, he solved all the trivial matters on the shooting scene with extreme technology, and devoted all his energy to the origin of drama. He can pay attention to the actors’ performance, scheduling and drama conflict just like rehearsing a drama, and then confirm other technical links such as position and lighting effect through post-production."

Wes ball, a young technical director, shared his post-production experience of Moving Maze.

In recent years, the dystopian sci-fi movie "Moving Maze" series has been deeply loved by young audiences all over the world, and will also be released in the United States on January 26th next year. Wes ball, the director of this series, attended the exchange activities and explained his experience in Hollywood with the director group of China. As a computer special effects student, he once posted an animated short film Ruin, which he spent eight months making on the Internet. The outstanding talent shown in it attracted Fox’s attention and started the road of directing. When shooting the first "Moving Maze", he also faced the problem of limited production funds. He and the crew used the LED display screen and green screen as the background to shoot the thrilling elevator scenes in the film, and skillfully used CG and other technical means to help build their own imaginary world. His sharing of specific cases and behind-the-scenes tidbits also aroused enthusiastic response from directors in China.

FOSS’s visual team has always insisted that visual effect is a tool to serve directors to realize their ideas and escort films. According to John Kilkenny, president of FOSS visual effects department, and Glenn Derry, vice president, "Producers in visual effects department will support and protect directors with their professionalism. During the preparation of director Ang Lee, the FOSS special effects team filmed a fragment of a real tiger and an experimental fragment of a CG tiger that was enough to be fake, and asked director Ang Lee to identify it, which successfully eliminated the director’s doubts about the effect of CG tiger. "

FOSS sincerely and professionally moved the director and attached importance to cross-cultural communication and China market.

In the sharing session of series director Lv Yinrong, she described the communication process and workflow of her first live-action film "Heart of Diablo" with Fowles. She said that Fowles is a studio that gives directors full creative freedom, and they trust the director’s ability and judgment. They just need to know what kind of human and material support the director needs and provide them. Emma Watts, president of Flowserve’s production department, introduced Flowserve’s new film plan to the directors, saying that the most important thing in film production is the true and shared feelings of human beings, which is the secret to make the film cross languages, national boundaries and cultures.

Through the sharing between Hollywood directors and FOSS executives, the China Directors’ Group not only felt the sincerity and professionalism of FOSS’ cooperation with filmmakers, but also fully felt that as a top Hollywood studio with rich and diverse production contents, FOSS insisted on making excellent films across cultures and national boundaries, especially its emphasis on the China market and its desire to cooperate with China filmmakers. Andrew Cripps, President of Flowserve International Distribution, introduced to the director group that Flowserve has a powerful distribution system for distributing films in 90 countries and regions around the world. He stressed: "For Hollywood studios, the international market, especially the China market, is occupying an increasingly important position."

postscript

The exchange activities of Fox Film Company in the 20th century made the directors involved feel a lot. glad you came. And it was highly praised by the Film Bureau. In a thank-you letter to Ms. Stacy Snyder, the chairman of FOSS, Deputy Director Zhang Hongsen said: "This exchange activity has broadened the horizons of directors in China to a certain extent, enriched their creative and production experience, and helped directors to shoot better films and promote the greater development of China films … In this sense, this exchange activity is of great significance and far-reaching influence. "

Director Wu Ershan:

"Thank you very much for your thoughtful arrangement. Five days of study is very fulfilling. I hope that more American colleagues will share their experience in filming with us in the future. China filmmakers and screenwriters can participate in this exchange, and there is no doubt that the development of the entire China film industry will benefit. "

Lu Zhengyu, director and executive director of peerless master:

　"I was fortunate enough to participate in the director exchange activities organized by the Film Bureau and Fox Company. During the short five-day trip to Los Angeles, the content of the exchange was very comprehensive from top to bottom, and it was particularly important to integrate with Hollywood’s top creative thinking and industrial system and broaden our horizons. Great! I hope that fox’s activities will be held every year, so that more China film creators can participate. "

"Love O2O" director Zhao Tianyu:

　"This time, it was very rewarding to participate in the FOSS director group. I am most interested in how the film industry can be combined with the creativity of directors. I can clearly feel this in my communication with several directors. (For example, wes ball, the director of Moving Maze 3, and Lv Yinrong, the series of Kung Fu Panda) I think that the high standards of industry and the creativity of directors actually promote each other. The movies we saw this time all confirmed this point. I can also feel FOSS’s interest in us and the China market. I expect FOSS to implement the production plan in the China market, and I am willing to participate. "

Yang Lei, director of "Biography of Shark Beads":

"First of all, thank you very much, FOSS. It’s been a very, very full week. The American film industry has always led the world’s films. The global distribution plan of American movies has made us see many high-level blockbusters, so the behind-the-scenes production of these blockbusters has also become a research topic for filmmakers all over the world. This time, I met several famous directors with different styles, including James Mangold, james gray, James Cameron (three James), wes ball, jennifer yuh and shane black.

What impressed me deeply was that when discussing why to make a film, several directors focused on treating characters and their emotions. This seemingly simple question was actually very difficult. Director Mangaud is also discussing his different styles of films, whether it is the western film "The Battle of Yuma Town", biographies and comic film "Wolverine 3: World War I", the same starting point among them is driven by the inner feelings of the characters. Shane black is also talking about the unexpected characters in his films. After a few days of communication, my biggest experience is that behind the seemingly complex and huge film industry, the soul is always these seemingly simple characters and emotions, and in the face of complex industrial processes, we must first find the soul. With the soul, the film will live, and then we will face those complex industrial processes.

Of course, the film itself is built on the basis of technology, so the technical solution is very important for the film. It can also be realized from the communication with these directors that understanding technology is very important for the creation of the film. Director Cameron often decides the very important selling point in his next film with the technical guidance. When he gets the liquid rendering technology, he will conceive the liquid robot. wes ball is a director who studied computer special effects. He can skillfully use various technical means to solve his imaginary world. James gray carefully explained how he would take some shots in the space capsule. Every director will eventually face the shooting complexity brought by industrial films, so process management becomes particularly important in industrial films. In the past, the production process of our traditional films was post-production-music-mixed recording, such as writing scripts-looking for actors-preparing the crew, serving-shooting-editing, etc. Then on the basis of this traditional process, industrial films will reorder the traditional processes, such as Cameron’s filming Avatar, which will change the order of some traditional processes. Including privz process, is applied to industrial process management system. Let me deepen my understanding of the importance of process management in making a blockbuster industrial system.

I am very grateful to FOSS for this arrangement. I was lucky to see James Cameron’s shooting scene, my idol director James Mangold and guillermo del toro’s Story of Water. I learned about the experience of a young director like wes ball in Hollywood, and I also saw how an animator jennifer yuh stepped onto the road of directing step by step. "

Twentieth century fox films

In the 20th century, FOSS films produced, acquired and distributed films all over the world. The works that have been produced and distributed include Titanic, Avatar, The Fantasy Drifting of Pi, Kingsman series, series and Moving Maze series. Its film production institutions include: 20th Century Fox Film, Fox 2000 Film Company, Fox Searchlight Company, Fox International Production Company and 20th Century Fox Animation/Blue Sky Studio.

Original title: Domestic spy war film "Boutique" still needs to be polished.

The director’s new spy war film has been highly praised since its release. According to the cat’s eye data, the film won 46.823 million box office on the first day of release, exceeded 200 million on the second day, and the douban score remained at 7.7 points, ranking first in the "May 1st" film. Above the Cliff can achieve such excellent results. It is very important that it shows the new style of domestic spy film creation, especially in audio-visual language.

The film creates a tense and bleak atmosphere with oil-painting colors and unique sound effects. In the opening shot of the film, the brushwork technique similar to Russian classical oil painting shows the magnificent scenery of the north to the fullest. Russian painters often use strong tone contrast to express natural scenery, wash and practice with pens, and create a unique space atmosphere. The use of sound effects perfectly laid the overall tone for the film. When four underground party member parachuted into the snow, the friction between clothes and snow was particularly harsh in the empty and lonely mountain forest. Combined with the restrained facial expressions of the actors, the inner pressure and fear of the characters were amplified, which also made the audience feel anxious.

In addition, the creator also creates characters through light and shadow and scenery, which makes them have a certain sense of sculpture. For example, in the scene of Zhou Yi chasing Chu Liang, Zhou Yi leans against the wall, and the background is dark. The light source on the right side hits him, and the strong light and shadow outline the figure’s face, body outline and clothes texture. He leaned against the wall motionless, his eyes focused, and the whole person was like a sculpture. The shadow of the brim forms an oblique shadow on his face, which divides the side face of the character in half. This cutting method implies the complex identity of Zhou Yi in extreme environment.

The irregular composition in the film creatively combines the classic elements of foreign films such as street fighting, chasing and crashing. For example, when the underground party was chased by the enemy, the director used a panoramic view to shoot, and the characters fled in crowded, closed and chaotic residential alleys. The large building walls formed a sense of oppression on the characters, which was the externalization of the power contrast between the two sides and the embodiment of the psychological pressure of the characters themselves. The audience also produced a kind of extreme fear, anxiety and depression.

Undoubtedly, the audio-visual language of Above the Cliff is exquisite and unique, and it is not an exaggeration to call it an audio-visual feast. But unfortunately, it is still slightly thin in narrative, especially compared with domestic spy war TV series.

First of all, spy war TV plays pay attention to the ethical basis and emotional expression of creation. Vow Silence, Latency, The Right Way in the World is Vicissitudes, Cliff and Kite, which are highly praised by the audience, all sew the elements of spy war into the family narrative. In each "special" family, members have different social backgrounds, political positions and complex emotional entanglements. For example, Yang Liren and Yang Liqing, two brothers in the TV series "The Right Way on Earth is Vicissitudes", are both brothers and political enemies, one is the Kuomintang and the other is communist party. The two men not only retained the frankness between brothers, but also had the vigilance and preparedness between political enemies. At the same time, everyone’s ending is inseparable from the historical trend. This is also a continuation of the traditional narrative mode of "integration of family and country", which fits the audience’s psychology of watching movies.

The movie "On the Cliff" also tries to integrate the family and the country into the spy war narrative, so it designs the scene of Zhang Xianchen and Wang Yu looking for their children. However, the two clues are in a free state, and it is difficult for the audience to "empathize".

Secondly, spy TV plays attach importance to the polishing of the text, with meticulous plot logic and delicate suspense delay. The TV series "Latent" is good at making use of the casual words of little people to become an important incision for the protagonist to reverse, and this important information is often interrupted by another important plot point. This interlocking narrative way makes the audience dare not slack off. The spy film The Wind attaches importance to the rigor of logic, and it adopts a unique closed space narrative, learns from the game of "Wolf Man Killing" and integrates elements of western game theory, all of which enhance the audience’s sense of participation in discrimination and analysis. The stunning reversal of the role identity has prompted the audience to ponder every detail carefully.

In contrast, Above the Cliff lacks flipping, and the protagonist Zhou Yi is too upright. As soon as he appears, the audience can already guess his true identity, and the sense of suspense is weakened, which can’t perfectly release the charm of spy war works.

Furthermore, the spy war TV series also maximizes the tension of the story by showing the disparity between the enemy and ourselves. The TV series "Cliff" created Gao Bin, a treacherous and meticulous spy leader. He trusted Zhou Yi on the surface, but in fact he secretly designed it many times to kill Zhou Yi. Zhou Yi’s repeated self-help not only shows his shrewdness and wisdom, but also shows the cruelty of his struggle against the enemy incisively and vividly. Even some villains in the play can’t be ignored, such as special agents Lu Ming and Liu Kui, who are skilled and loyal, not only don’t leave any chance for Zhou Yi, but also have to be on tenterhooks all the time and dare not make any mistakes.

At this point, the plot setting and character relationship of Above the Cliff are slightly simple. Although Gao Bin is sinister and cruel, it is not enough to compete with Zhou Yi, thus weakening the narrative tension of the story. In addition, the portrayal of villains is too faceless and low-energy. For example, Jin Zhide, a supporting role, appears to be full of rage and lack of wisdom.

It is worth mentioning that both the films Wind and Above the Cliff are trying to create group images, which requires the works to be more comprehensive and meticulous in depicting characters. The characters in the movie "Wind" have distinct personalities, and are feminine and biting "sissy" Bai Xiaonian; Gu Xiaomeng, who is graceful and enchanting but has a deep mind; Li Ningyu, who is gentle, cool and arrogant, and Wang Zhiguo, who is serious and deep, have unique personality-driven behaviors to create impressive characters. However, the four main characters in Above the Cliff are not distinctive enough, especially Xiaolan. The creator lacks a deep description of her personality and professional ability, and it is difficult to convince the audience that she is a qualified spy.

Group drama also requires that each character should have a solid plot line, but Above the Cliff has obvious character line fracture. The main character Xiaolan’s character line is obviously weaker than the other three, which undoubtedly lacks the necessary driving force for the development of the core plot.

Undoubtedly, On the One hand, On the Cliff, with its unique audio-visual performance, we can see the progress of China’s spy war movies, and stylized spy war movies are on the way. In order to make a better domestic spy film, the creator should not only polish the audio-visual techniques carefully, but also base himself on the story, and combine the real beauty with the artistic beauty with solid narrative logic, delicate suspense settings and real and full human images. Only in this way can the audience’s emotions be summoned and the core beliefs be effectively conveyed. (Author: Jiang Muyang, Ph.D. student of film science in 2020 in China Academy of Art)

　　Cctv newsOn May 17th, with the statements of the three basic operators, Beijing began to enter the era of "100 Mbps broadband". However, some users are still using the old copper broadband, with a slow speed of 4 megabytes and 5 megabytes. However, some users who have installed 20 megabits, 50 megabits or even 100 megabits of fiber-optic broadband at home often have delays in playing online games, and sometimes even ordinary web pages are difficult to open. What stuck the "last mile" in fttp? What caused the "short weight" of broadband speed increase? Come to see the reporter’s investigation.

　　visit

　　Once "insulated" optical fiber in high-grade residential areas

　　Mr. Pan in Beijing lives in a relatively high-end residential area in the North Fourth Ring Road. The apartment building has its own independent system, and electricity, tap water, gas and communication are all self-contained and provided by the property management. Therefore, the annual fee of broadband used by Mr. Pan is more expensive than that of basic operators, but the broadband rate is only 5 trillion.

　　"I want to open the website and watch a video news." Mr. Pan, who hopes to have a faster network speed, went to the business halls of China Unicom, China Telecom and China Mobile to apply for registration, but was told that the residential area was not covered with optical fiber because the apartment was not allowed to enter.

　　A similar situation is not uncommon in other communities. In some communities, there is only one broadband service provider to choose from, and even the advertisements of other broadband companies are hard to see. However, the only broadband service provider is often slow and expensive. Mr. Pan wondered that the optical fiber had been laid at the bottom of the residential building, but it was stuck because of this "last mile". Who will protect the rights of the residents?

　　100 Mbps broadband WeChat voice chat will be dropped.

　　"When we register our children online, we are particularly anxious. A fairly simple webpage can’t be opened." Mr. Hong, a citizen, uses the 50-megabit-rate fiber-optic broadband annual service handled by Great Wall Broadband at home. However, after using it for one year, Mr. Hong felt that this 50-megabyte bandwidth was more like an "embroidered pillow".

　　Mr. Jiang has just moved to a new home this year. Last month, he installed 20 megabits of "Dr. Peng" broadband, and the annual subscription fee was 1180 yuan. He said that he originally wanted to install the broadband of a big telecom operator, but the reply he got was that the community was not covered yet, so he could not go to fttp. "The network speed is very unstable. Now our community has only occupied about 40% of users, and playing an online game will get stuck. What if everyone moves in? " Mr. Jiang is deeply anxious about this.

　　Mr. Wang, who lives in Yizhuang, said that the 100-megabit fiber-optic broadband in his own community would suddenly fail to open ordinary web pages, or be inexplicably disconnected while playing games, and there have also been cases where voice chat on WeChat suddenly broke. Mr. Wang showed several times the value of online speed measurement. In the case of using the telecom speed measurement web page, the fastest time, the tested bandwidth was only 26 megabits, which was only a quarter of the 100 megabits rate.

　　remove a doubt

　　Obstruct operators from entering the market for the benefit of property.

　　According to Beijing’s informatization development plan, the free transformation of "light entering copper retreating" has been started in the whole city since 2011. Up to now, most of Beijing’s urban residential areas and rural areas have realized optical fiber to the building or fttp. However, there are still a few residential areas that can’t go home for "optical reform" for various reasons.

　　According to an operator, some residents are unwilling to carry out optical fiber transformation in the residential areas that cannot be "light-reformed" at present, but more because property companies or property rights units obstruct operators from entering the market. "Of course, the reason for obstruction is for the benefit." According to a person familiar with the matter, in addition to admission fees, some property companies are not satisfied with collecting money at one time, and put forward new requirements such as broadband revenue sharing and collecting maintenance fees every year.

　　In this regard, in 2016, the three departments of Beijing jointly issued the Notice on Promoting the Implementation of residential broadband Access for Property Management. It stipulates that real estate development enterprises or property service enterprises shall not sign monopoly or exclusive broadband operation agreements with others. On the premise that the infrastructure such as the equipment room has multiple accesses, the realty service enterprise shall try its best to meet the needs of the owners, at least ensure that more than three broadband operators have equal access, and disclose the relevant information of broadband access to the owners in a prominent position in the community.

　　Too many users will lead to insufficient bandwidth.

　　"The bandwidth mentioned by telecom operators is all theoretical values." A telecom expert said that in actual use, the download speed is lower than the theoretical value. Generally speaking, fluctuations in the range of 75% to 90% of the theoretical value can be regarded as normal. There are two main reasons why home users often feel that the network speed is not up to standard: the hardware facilities are not matched, or there are too many sharing users.

　　Experts explained that in order to make full use of broadband resources, increase broadband revenue and reduce costs, operators will calculate an online ratio and choose how many users to configure on this basis. "In order to seize more business, small operators often attract customers at very low prices, and then configure more users regardless of the online ratio, resulting in insufficient broadband."

　　Lack of authoritative third-party speed measuring mechanism

　　How do you know how much "moisture" is mixed in the rate of home broadband? Just like Mr. Wang, a citizen, in practice, many users will choose to use speed measuring software to measure speed. However, the third-party speed measuring software on the network, not only the speed measured by each speed measuring software is different, but also the same software often measures different speeds.

　　 The Ministry of Industry and Information Technology has said that the local communication administrations will cooperate with third parties to measure the speed of "fixed broadband access rate" and release it to the public. But up to now, there is no authoritative third-party broadband speed measuring agency in China.

Recently, the national fitness ice and snow hiking activity was held in the Riverside Square in Wulanmulun, kangbashi district, Erdos, Inner Mongolia.

At the event, an instant sales booth was set up, public welfare publicity panels were placed, and promotional materials of China sports lottery were distributed. Sports lottery staff on-site popular science sports lottery public welfare and rational lottery purchase knowledge, so that participants can understand the public welfare attribute and responsibility of sports lottery. An interactive gift-winning activity was also held at the scene, and gifts such as badminton rackets, mouse pads and paper drawing with sports lottery logos were given to the participants. Just before the opening of the sales booth, a variety of Spring Festival theme tickets were warmly welcomed by everyone. Many hikers who came to participate in the competition not only gained the joy of sports, but also received a lucky participation in sports lottery games. The event also provided disposable cups and paper-drawing printed by sports lottery for the contestants, bringing colorful warmth to the cold winter. (From January 31st, China Sports Daily, 08 edition)　

For drinking tea, it is obvious that ordinary white porcelain bowls can meet the demand, but why do we prefer porcelain tea set with fine workmanship? When writing, the arm rest is used to prevent the arm from being stained with ink. Obviously, as long as it has the function of putting the arm, why do we pay attention to its material and the carving on it? When we are moved by the beautiful artistic conception of an ancient poem, when we are fascinated by the exquisiteness and elegance of a handicraft, what do we get from it? What can those humanistic details and artistic values bring to our lives? Or, is culture "useful" or "useless" to our life?

The "uselessness" of culture is also "great use"

In the dialogue session hosted by Bai Yansong at the 15th Cultural China Forum, Pan Lusheng, chairman of China Folk Writers Association, pointed out that "useful" means "practical" and "useless" means aesthetic "useless". Material and spiritual use and life use are both useful and practical, while useless is also useful and even useful.

Pan Lusheng introduced that in Lin ‘an City in the Southern Song Dynasty, the palace culture, the literati culture and the street culture were integrated, which formed the idea of "craft for practical use", and also created a life style of unity of practicality and aesthetics in the Southern Song Dynasty. During this period, the weaving technology was superb, and the fabrics made were dense and light as cicada’s wings. Not only were there various types of yarn, Luo, Qi and Ling, but the silk reeling and embroidery techniques were also superb. The gardens in the Southern Song Dynasty are like three-dimensional landscape paintings with pavilions and winding paths, which contain the spiritual complex and aesthetic artistic conception of literati. From the clay figurines of children in the Song Dynasty in Zhenjiang Museum, to the Children’s Plays in the City in Taipei Palace Museum, from the white porcelain children’s pillows in Dingyao in the Palace Museum, to Song Jin’s Paintings of the Hundred Immortals in Cleveland Art Museum in the United States, all of them reflect the aesthetics and interest of life in which humanities and art are combined with street life.

In contrast, in today’s fast-paced diet and fragmented culture, modern people no longer seem to have an attitude of attaching importance to life aesthetics, and traditional crafts no longer pursue use value. In this context, should we learn from the ancients and return to the "elegant life" way of the Southern Song Dynasty?

"The handicraft tradition of the Southern Song Dynasty is historical and contemporary, which runs through the traditional Chinese aesthetic spirit, lifestyle and cultural taste." Pan Lusheng said. Therefore, he proposed to develop a new economy of Song rhyme culture, take people’s life needs as the guide, enhance cultural life experience, and study how elegant lifestyle can be integrated into today’s life, so that people can gain a sense of cultural identity.

Pan Lusheng believes that, on the one hand, by reviving traditional crafts, we can explore how to better inherit and utilize traditional craft and cultural resources at present, inject the culture of Xixiang into education and cultural communication, and serve people’s spiritual and cultural life. On the other hand, through the development of cultural industry with cross-industry barriers, traditional craft culture can be transformed into the resources of contemporary Song Yun cultural industry, creating higher economic value, thus better serving people’s material and cultural needs.

"Cultural pension" is worth looking forward to.

On the aesthetic level of life, the "usefulness" and "uselessness" of culture may be a philosophical proposition, but in the medical field, the "usefulness" of culture is indispensable. According to Zheng Xiaoying, academician of the Academy of Sciences of developing countries and director of the Peking University Population Research Institute, culture is even more "useful" than science and technology.

Zheng Xiaoying said, "Everyone’s ultimate wish is to grow old healthily and say goodbye to the world happily. This is by no means a problem that can be solved by relying solely on science and technology or medical means, but a realm that must be achieved through the combination of culture, art and technology. In this sense, the infiltration of culture is more important than the development of science and technology. "Zheng Xiaoying believes that" medical art education should be integrated into medical education so that every doctor can accumulate deeper artistic accomplishment and cultural heritage. "

Zheng Xiaoying pointed out that cultural blessing is also needed to deal with the problem of population aging. She introduced that with the intensification of the aging process, the life expectancy of China’s population is also increasing rapidly. However, most of the increased life expectancy is unhealthy, that is, life expectancy with disabilities. Among the disabled people in China, 53% are elderly people. To solve the problems of these elderly disabled people, we need the support of science and technology, but more importantly, we need the support of culture. "Let them be happy and enjoy the benefits brought about by the reform and opening up to the maximum. This is not a problem that can be solved by a simple assistive device."

At the same time, Zheng Xiaoying emphasized the concept of "cultural support for the aged", which is a way to support the aged on the premise that the material needs of the elderly are basically guaranteed, on the basis of meeting spiritual needs, on the basis of communicating emotions, exchanging ideas and having a healthy body and mind, and on the purpose of publicizing individuality, advocating independence and enjoying the spirit of happiness and pleasure. "Cultural pension meets the spiritual needs of the elderly. For the elderly without children, this pension model is particularly important." Zheng Xiaoying said.

How to realize the mutual integration of science and technology and humanities

Undoubtedly, the integration of culture, art and technology can make people’s lives better. So, as an individual, how should we start from ourselves and realize the integration of technology and humanities? This is also a question that Wang Yuming, an academician of China Academy of Engineering and an expert in fluid sealing engineering technology, is often asked.

Wang Yuming laughed and called himself a "science man". "However, although my main business is mechanical engineering, I am not" mechanical "culturally. He is a student of Mr. Ye Jiaying, a consultant of the Chinese Poetry Society, the director of the Poetry Working Committee of colleges and universities, and the president of the Tsinghua University Lotus Pond Poetry Society. It can be said that he is a person who perfectly balances "poetry and distance".

When answering the question "how to realize the mutual integration of science and technology and humanities", Wang Yuming believes that in terms of values, science and technology and humanities and arts are both pursuing truth, goodness and beauty, and they are essentially interlinked; In the mode of thinking, both of them need logical thinking and inspiration epiphany thinking, which can promote each other. The same is true of many masters of science and technology (such as Einstein, Yang Zhenning, Qiu Chengtong, Gu Yuxiu, Qian Xuesen, etc.). However, the most important thing is to have a "pure heart" in both scientific research and literary creation.

On the "Use" of China Culture from the Outside

The Chinese culture has a long history, and the "useful" culture not only created the fashion life of the ancients, but also injected spiritual strength into solving modern social problems, and also brought about an impact on the civilized development of neighboring countries.

In the dialogue session, Cheng Yonghua, former Japanese ambassador extraordinary and plenipotentiary to People’s Republic of China (PRC) and executive vice president of China-Japan Friendship Association, introduced the "use" of Japanese culture to neighboring countries. He said that China’s culture had a profound influence on the Korean Peninsula, Viet Nam and Japan. Take Japan as an example. The Sui, Tang and Song Dynasties were the historical peaks of Sino-Japanese cultural exchanges. During this period, ancient Japan sent 19 groups of envoys to China to study, with a maximum of 600 people at a time. In addition to sending envoys, a large number of international students also came to China from ancient Japan. Many of them stayed for many years, and some even stayed in China to work as officials in Chang ‘an until they died and were buried in Chang ‘an. In 645 AD, the ancient Japanese carried out the "Dahua Innovation" movement, abolished the monopoly regime system in big noble, and established an ancient centralized state with reference to the rules and regulations of the Tang Dynasty in China. During the Song Dynasty, more and more Japanese people came to China to study. Jian Zhen, a monk in the Tang Dynasty, traveled eastward to preach the precepts to Japan and was honored as the ancestor of Japanese Buddhist legalists. The Tang Zhaoti Temple complex built by him and his disciples in Nara, Japan, embodies the architectural characteristics of the Tang Dynasty and is the largest and most beautiful building in Japan’s existing Tianping era. Japanese characters are also born out of Chinese characters. At first, there were only languages but no characters in Japan. In asuka period, Buddhist classics introduced into Japan along with Buddhism made Chinese characters penetrate into Japanese life. The first Chinese characters were used by ancient Japanese as phonography, but they were troublesome in the process of use, so heian period invented katakana and hiragana with reference to the radicals and cursive scripts of Chinese characters. In addition, the present Japanese court music-gagaku,It is also music from the Tang Dynasty in China.

Cheng Yonghua said that Sino-Japanese exchanges have a history of 2,000 years. Today, Japanese young people are still attracted by China’s rapid economic development and technological innovation, and feel that "they should go to China to see more and communicate more".

Whether it is "practical" or "useless", the China culture of the same strain needs and deserves to be passed down and carried forward by contemporary people. As Pan Lusheng said, culture is a nation’s overall lifestyle and value system. If the ancients’ fashion is integrated into contemporary life, we may be able to create a pioneer culture with temperature, connotation and taste in the new era.