Special feature of 1905 film network "In the trilogy, I have never worked overtime, and my assistants have never worked overtime. Ensuring adequate sleep is very important for creators. Staying up late seems to be efficient, but it will actually lose more. "

On October 31st, Huang Shuo, editor of the trilogy Feng Shen, shared his experience of not working overtime during the editing of the trilogy Feng Shen at the 4th China Film Digital Production Industry Development Forum, a supporting activity of the 2023 China Golden Rooster and Hundred Flowers Film Festival, held in Xiamen. He also won the Best Editing Award in the 36th Chinese Film Golden Rooster Award.

Working overtime all night is the normal work of many film editors. Why can the trilogy "Feng Shen" not work overtime? Huang Shuo said that it is because of the "standardization of editing."

The theme of this forum is to focus on "Standardizing the Digital Film Production and Serving the Film Industry System". Taking the behind-the-scenes production norms of this year’s popular film and television works as the breakthrough point, we invite industry experts and senior practitioners to discuss the application and development of the digital film and television production industry norms, so as to jointly promote the standardization process of China’s digital film production industry and help build a strong film country.

From film to digital,

The Past and Future of China’s Film Technology

On the same day, the forum kicked off with five keynote speeches. Liu Xiaochun, a famous industry expert of Xiamen University and a senior engineer of the former Bayi Film Studio, first gave a speech entitled "From Film to Digital-Adherence and Inheritance of Film Industry Standards".

The technical standards of film industry refer to a series of norms and rules followed in the process of film production and screening, which reflect the development level and innovation ability of film technology. Liu Xiaochun said that China formulated a series of technical standards and specifications in the film era, but in the digital film era, it mainly exerted its strength at the application level, lacking more international discourse power at the technical level.

However, this situation is also changing. A few days ago, the International Organization for Standardization (ISO) officially approved the release of the film standard ISO 5926:2023 "Technical Requirements and Measurement Methods for Stereoscopic Projection of Digital Cinema" proposed and led by China. This is the first international film standard proposed by China, which not only fills the gap of international standards in the field of film technology in China, but also breaks the monopoly of foreign technical standards.

While the film industry embraces all kinds of new technologies and processes, how can we not forget the origin of the film? How to tell a good movie story with brand-new technical means and tools? Liu Xiaochun believes that this is a problem that film practitioners need to think about at present.

In his understanding, "the essence of film lies not in the media, but in the magic it creates." As the guardian of this art form, it is our responsibility to uphold its standards and pass on its rich heritage to future generations. Whether it is film or digital, let us continue to weave fascinating, inspiring and enduring stories. "

In 1928, the difficult film processing technology was used to create a visual spectacle. Nowadays, the upgrading of sci-fi movies such as series and the high-tech format represented by CINITY are leading the development of sci-fi movie industry in China. China’s film technology has experienced more than a hundred years of glory and vitality.

In his speech, the Deputy General Manager of China Film Digital Production Base summarized the road of independent innovation of film technology in China. In the new era, there are eight major achievements in China’s film science and technology innovation, including film digital production system and its application research and development, CINITY high-tech format film projection system, national film cloud production service platform, "China Film Shensi" artificial intelligence image processing system, film digital restoration and enhancement system, "China Film Fantasy" all-digital virtual shooting system, actor digital collection system and virtual shooting virtual production and cloud production.

Among them, there are many projects born in practice, such as CINITY LED film projection system with complete independent intellectual property rights, China Film recently completed China’s first Peking Opera film "Mrs. Anguo" with LED virtual shooting technology, the 8K dome film "Chasing China" permanently screened by communist party Historical Museum in China, and the VR panoramic film "High Precision Reproduction-Seeing the Beauty of the Times" as a gift for the 100th anniversary of the founding of the Party.

At the same time, the science and technology of China’s film industry has to face the dilemma of western technology monopoly, the industrial problems under the background of technical bottleneck and international competitiveness, the balance between technology and industry, the structural imbalance of talent demand, the problems of financing and investment, and the challenges formed by the emergence of artificial intelligence capabilities.

How to strengthen independence and promote innovation? Ma Ping suggested that we can start from many angles, such as strengthening the system construction of film standards, enhancing the R&D capability of core technologies, building China’s film science and technology industrial chain, promoting film innovation with technology empowerment, combining policy support with market drive, establishing and improving the talent mechanism of film science and technology, strengthening international cooperation, and strengthening intellectual property protection.

Virtual production, editing production, visual effect production

How to better serve movies?

From visual preview of storyboard, live real-time interactive preview based on blue/green screen to movie virtual production based on LED background wall, the forms of movie virtual production are constantly developing, the technology is rapidly iteratively upgraded, and the application is more extensive.

Zhao Jianjun, an associate professor in the Department of Film and Television Technology of Beijing Film Academy, expounded the influence of virtual production on the film digital industry in the new era in his speech from six aspects: studios and production bases, LED screen manufacturers, film and television equipment manufacturers, visual effects and engine enterprises, producers, universities and scientific research institutions.

By 2023, more than 500 LED virtual production studios have been established around the world. He pointed out that the display technology level and market share of LED background wall enterprises in China have taken the leading position in the world. Movies and TV series "Fox Demon Little Matchmaker" and "Cloud Feather" also show that the application of LED virtual production in China’s film and television industry is gradually maturing.

At present, virtual production promotes the intelligent and virtualized upgrading of the film and television industry — — Artificial intelligence, virtual digital and other technologies can better assist creation, save labor, and realize creativity more intelligently and efficiently; The boundary between reality and reality is broken, and the virtual and reality are further integrated from "making movies" to "making movies". For the future, Zhao Jianjun thinks that virtual production will be further strengthened in process innovation, industrial upgrading, personnel training and technological breakthrough.

In his speech, Huang Shuo, director of the China Film Editing Society and editor of the trilogy "Feng Shen", revealed that in his editing experience, he had encountered the situation that the sound department and the visual effect department got different versions after editing. The problem lies in the lack of standardized processes.

In his view, editing is the hub, as the starting point of the whole later work, which plays the role of connecting various departments. Standardized editing can reduce the communication cost within and between departments, reduce the probability of mistakes, be conducive to stability and unity, get off work on time and improve work efficiency.

So how to achieve standardization? Huang Shuo introduced the editing process of the film by taking the trilogy "Feng Shen" as an example.

"The editor’s life is also his life," Huang Shuo said. Editing needs a good working environment. Many editors in the group cut films in hotels, and the crew gave the editors a hard bench to work. The trilogy "Feng Shen" was specially equipped with a comfortable editing room for the editing department. The film was shot in two groups, A and B, each with two live editors and three editors in the back editing room. Everyone’s division of labor is very clear, and there will be no situation where one person has to do three jobs.

In specific editing, they have a professional technical manual, VFX Lineup with detailed data of each shot, and a modification form formed for each editing modification, which is convenient for visual effects, sound, music and other later departments to understand the editing adjustment and modification of the shot … Through a standardized operating system, the editing department and other departments can better cooperate with each other and realize the efficient operation of film production.

Jessica Yang Yuejuan, a senior visual effects producer and visual effects director, gave a speech entitled "How Visual Effects Serve Current Movies — — The shackles and expectations in the production process also mentioned that there are many irregular behaviors in many post-productions. For example, visual effects and editing have the problem of "cutting well but not producing well", so standardization is imperative.

"How can visual special effects create new heights in the industry with limited time and limited expenses on the premise of improving their own capabilities? This is not empty talk, not a lie, not a big talk. " As a visual effects producer of films such as The King of the Sky, Yang Yuejuan shared the communication, cooperation and production standards of visual effects with various departments in the early stage, shooting stage and later stage in the process of digital industrialization of China movies.

"Such a complicated process and so many steps need standards", so Yang Yuejuan puts forward professional suggestions such as visual effect grading specification, visual effect production description specification, field data collection specification, output and naming specification, pre-adjustment process, color space test, file submission specification, large file naming specification, channel naming specification, visual effect file quality inspection, file handover specification, file transmission and copy safety specification, so as to make the creator pay attention to the creation itself.

Strengthen the standard of digital film production in China,

Is the impact of AIGC big?

In the second half of the forum, a round-table seminar was held, presided over by Zhang Yange, secretary-general of the Film Digital Production Working Committee of the Chinese Film Association. Relevant persons in industry and academia expressed their opinions on the current situation and expectations of China’s film digital production norms, the value and significance of China’s film digital production norms to personnel training, and the influence of AIGC (Generative Artificial Intelligence) on film digital production norms, and made full exchanges and suggestions.

The national first-class director and the president of the Film Digital Production Working Committee of the Chinese Film Association recalled that in the film era, story board had to be written before the film was started. In the past, there was a booklet on production norms in the film studio, which was dubbed "the film constitution" by the industry. Nowadays, from film to digital film era, it is also necessary to establish a standard system.

Ma Ping said that China’s film digital production standards are entering the 1.0 era, and the industry should be alert not to leave the system being established behind, and should lay a solid foundation for 1.0 before embracing the 2.0 era. Huang Xiaoyu, director of the laboratory of the high-format film department of Huaxia Film Distribution Co., Ltd., believes that the 1.0 era is a stage for each department to explore and form the production norms within the department. The key word of the 2.0 era is "cohesion", and the production norms of each department should be opened and connected in series, and the 3.0 era will further move toward "landing".

This year, "China Film Digital Production Standard" was officially released. As the first normative reference book in the industry, it includes editing, virtual production, cloud production, visual effects, sound, color matching, DIT, mastering and other process technologies, sorting out the problems of process standards that have not kept pace with the times in the industry for many years, and providing operation guides and workbooks for many jobs in film digital production, which is well recognized by the industry.

Liu Fan, a researcher at the Film and Television Department of the Chinese Academy of Art, suggested that when the industry realizes the importance of standardization, it should continue to promote the standardization of film digital production, for example, a standardized white paper can also be launched in the filming process. The cultivation of digital production talents is also crucial, and the digital production norms need to be vigorously promoted to film and television colleges and universities. Yu Kangchun, a professor at Shanghai Film Academy, suggested that training camps and alliance organizations could be held under the concept of "integrating production with learning".

The rapid rise of AIGC is also a hot topic in the current scientific and technological development. How much impact will it have on the film digital production standards? Many industry participants said that they would always pay attention to the impact of AIGC on the industry, but they would also embrace the development of new technologies.

In terms of production efficiency, for example, the speed of the split-mirror diagram produced by AIGC is faster than that of the split-mirror, but compared with manual work, how to calculate the charging method? Do you want to reduce costs and increase efficiency? This requires the industry to continue to discuss. In the eyes of most guests, although AICG can improve the working efficiency of some aspects of film digital production at present, it still does not have the creative wisdom and productivity of human beings and still depends on film artists.

No matter how the film technology will develop in an unimaginable trend, as Liu Xiaochun said in his speech, "the integration of technology and the demand for novel experience will determine the exact trajectory of film technology. However, one thing is certain: the future of the film will be as groundbreaking as its legendary past. "

The China Institute of History of China Academy of Social Sciences, which was officially unveiled in January this year, has now set up an academic advisory committee, and 41 committee members from the national history circle have officially made public appearances.

In the 19th edition of People’s Daily published on September 24th, it was announced that "according to the establishment plan approved by the central authorities, the China Institute of History selected 41 experts and scholars from the national history circle to set up an academic advisory committee. Members of the Academic Advisory Committee of China Institute of History are now announced. "

According to the announcement, the director of the Academic Advisory Committee of China Institute of History is Dai Yi, director of the National Compilation Committee of Qing History and a first-class post professor at Renmin University of China.

According to public information, Dai Yi, male, born in September, 1926, is a native of Changshu, Jiangsu Province. His academic expertise is the modern history of China and the history of Qing Dynasty, and his representative works include Modern History of China. At present, Dai Yi is honorary director of the Institute of Qing History of China Renmin University, librarian of central research institute of culture and history, and curator of Beijing Literature and History Research Museum.

Dai Yi was admitted to Shanghai Jiaotong University in 1944. Two years later, he dropped out and transferred to Peking University History Department, where he studied under Hu Shi, Zheng Tianting, Zhu Guangqian, Xu Deheng, Xiang Da and Deng Guangming. In 1948, under the arrangement of the Party organization, Dai Yi left Peking University for the Liberated Area, entered North China University in the Liberated Area, and then stayed there to teach, initially engaged in the study of China’s revolutionary history and modern history.

In 1955, Dai Yi was promoted to associate professor, served as the academic secretary of Wu Yuzhang, then president of China Renmin University, and later served as the editorial board of China History Series edited by Wu Han. During the Cultural Revolution, Dai Yi was shocked and sent to Jiangxi’s May 7th cadre school for labor reform, and returned to Beijing in 1972.

Dai Yi devoted his life to the compilation of Qing history. In 1978, with the approval of the Ministry of Education, the Qing History Research Institute was formally established on the basis of the former Qing History Research Group. Dai Yi was in charge of the practical work, and for the purpose of compiling the Qing history, the academic research and personnel training of the Qing history were carried out in an all-round way. In 2002, the compilation plan of Qing history was approved by the state, and Dai Yi, who was over 70 years old, once again went into battle and became the director of the editorial board.

According to official website of Renmin University of China, "In the past ten years, under the overall framework of compiling the history of the Qing Dynasty as the main body and sorting out the documents and archives of the Qing Dynasty as the two wings, not only the main project of the history of the Qing Dynasty has been carried out smoothly, but also billions of words of archives and documents have been sorted out, and efforts have been made to save these cultural relics."

The Academic Advisory Committee of China Institute of History also set up two deputy directors, namely Jin Chongji, an expert on the history of the Communist Party of China and the modern history of China, and Wang Wei, an archaeologist.

According to the official resume, Jin Chongji, male, born in December 1930, Shanghainese, former executive deputy director and researcher of the Central Committee of the Communist Party of China Literature Research Office, whose academic expertise is the history of the Communist Party of China and the modern history of China, and his representative works include The Outline of China in the Twentieth Century. Wang Wei, male, born in May, 1954, is an adult in Shandong Province. He is a member of the Chinese Academy of Social Sciences, director of the Department of History, and a researcher at the Institute of Archaeology, China Institute of History. His academic expertise is in the study of the origin of Chinese civilization, archaeology from prehistoric times to Xia, Shang and Zhou dynasties, and archaeological research on ancient cultural exchanges in East Asia. His representative works include "Seeing the evil Matai country and the Japanese regime from China".

The remaining 38 members of the Academic Advisory Committee of China Institute of History announced in the announcement are:

Pei yu, male, born in May 1944, is from Fushan, Shandong. Researcher, Institute of World History, China Institute of History. Academic expertise is historical theory and history of historiography. His representative works include The History of Marxist Historiography (Editor-in-Chief).

Ma Min, male, born in June 1955, is from Fushun, Sichuan. Director and Professor, China Institute of Modern History, Huazhong Normal University. Academic expertise is the economic and social history of China, the history of exposition and the history of cultural exchange between China and the West. His representative works include between officials and businessmen: modern gentry and businessmen in social upheaval.

Ma Dazheng, male, born in August 1938, is from Shanghai. Researcher, China Frontier Research Institute, China Institute of History. His academic expertise is the history of China territory. His representative works include A Brief History of China’s Frontier (Editor-in-Chief) and so on.

Wang Xianming, male, born in February 1957, is from Changzhi, Shanxi. Professor, School of History, Nankai University. Academic expertise is the modern history and social history of China. His representative works include squire in the changing times-squire and the change of rural social structure (1901-1945) and so on.

Deng Xiaonan, female, born in June 1950, is from Linyi, Shandong. Professor, History Department, Peking University. Academic expertise is the history of Song Dynasty and the history of bureaucracy. Representative works include "The Law of Ancestors-A Brief Introduction to Politics in the Early Northern Song Dynasty" and so on.

Shi Jinbo, male, born in March 1940, is from Gaobeidian, Hebei. Member of Chinese Academy of Social Sciences, director of Xixia Cultural Research Center of China Academy of Social Sciences, and researcher of Institute of Ethnology and Anthropology of China Academy of Social Sciences. His academic expertise is China’s ethnic history, Xixia literature and history, and China’s ancient ethnic literature. His representative works include Research on Xixia Economic Documents, etc.

Feng Shi, male, born in October 1958, is from Beijing. Member of Chinese Academy of Social Sciences, researcher of Archaeology Institute of China Institute of History. Academic expertise is ancient philology, astronomy and archaeology, pre-Qin history, historical philology, and the history of ancient thought. His representative works include Astronomy and Archaeology in China.

Liu Beicheng, male, born in August 1949, is from Beijing. Professor, History Department, Tsinghua University. Academic expertise is modern world history, western thought history and historical theory. Representative works include "Portrait of Foucault’s Thought" and so on.

Liu Qingzhu, male, born in August 1943, is from Nanle, Henan. Member of Chinese Academy of Social Sciences, researcher of Archaeology Institute of China Institute of History. His academic expertise includes archaeology of ancient capitals in China, archaeology of ancient imperial tombs and archaeology of Han and Tang Dynasties. Representative works include "The Ancient Capital Asked" and so on.

Li Jie, male, born in November 1954, is from Kunming, Yunnan. Researcher, Development Research Institute, Yunnan University. Academic expertise is historical theory. His representative works include Research on Early Marxist Historical Thought.

Li Jie, male, born in February 1955, is from Pingyin, Shandong. Former president and researcher of Qiushi magazine. His academic expertise includes the history of the Communist Party of China, the history of People’s Republic of China (PRC), Mao Zedong’s life and thoughts, Socialism with Chinese characteristics’s theoretical system and the China of Marxism. His representative works include Mao Zedong’s Historical Contribution to New China.

Li Boqian, male, born in February 1937, is from Zhengzhou, Henan. Professor, Peking University Institute of Archaeology and Culture. Academic expertise is archaeology in China. His representative works include The Origin of Civilization and Collection of Three Generations of Archaeology.

Yang Gongle, male, born in April 1962, is from Zhuji, Zhejiang. Dean and Professor, School of History, Beijing Normal University. Academic expertise is the comparison of Chinese and foreign ancient history, ancient Roman history, etc. His representative works include A Probe into the Early Silk Road and so on.

Yang Guozhen, male, born in March 1940, is from Longyan, Fujian. Professor, History Department, Xiamen University. Academic expertise is social and economic history and marine history of China. His representative works include Research on Land Contract Documents in Ming and Qing Dynasties.

Wu Enyuan, male, born in April 1948, is from Chongqing. Researcher, Russian Institute of Eastern Europe and Central Asia, China Academy of Social Sciences. Academic expertise is world history, Russian history and the history of international communist movement. His representative works include The History of the Soviet Union.

He Yimin, male, was born in June 1953 in Chengdu, Sichuan. Professor, School of History and Culture, Sichuan University. His academic expertise includes China city history, China modern history and regional cultural history. His representative works include General History of China City.

Sha Jiansun, male, born in February 1934, is from Yixing, Jiangsu. Former deputy director and professor of the Party History Research Office of the CPC Central Committee. His academic expertise is the history of the Communist Party of China and the modern history of China. His representative works include The Historical Road of China in the Twentieth Century —— Comments on Some Social Thoughts, etc.

Zhang Shujun, male, born in October 1957, is from Laiwu, Shandong. Former member (deputy minister level) and researcher of the Central Committee of the Communist Party of China Institute of Party History and Literature. Academic expertise is the history of the Communist Party of China. His representative works include The Great Turning Point-A Record of the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China.

Zhang Haipeng, male, born in May 1939, is from Hanchuan, Hubei. Member of Chinese Academy of Social Sciences, researcher of Institute of Modern History, China Institute of History. Academic expertise is the modern history of China. His representative works include A Concise Reader of Modern History of China (co-author).

Chen Qingying, male, born in October 1941, is from Taishan, Guangdong. Researcher, China Tibetology Research Center. Academic expertise is Tibetan history books. His representative works include Eight Sibas, the Imperial Teacher of Yuan Dynasty, etc.

Chen Zuwu, male, born in October 1943, is from Guiyang, Guizhou. Member of the Chinese Academy of Social Sciences, researcher of the Institute of Ancient History, China Institute of History. Academic expertise is the ancient academic history of China. His representative works include History of Learning Cases in China.

Chen Jin, male, born in October 1958, is from Jianyang, Sichuan. Former member (deputy minister level) and researcher of the Central Committee of the Communist Party of China Institute of Party History and Literature. His academic expertise is Mao Zedong and the history of the CPC. His representative works include Mao Zedong’s Cultural Character and so on.

Chen Qianping, male, born in February 1955, is from Yangzhou, Jiangsu. Chairman and Professor, Academic Committee, Research Center for the History of the Republic of China, Nanjing University. Academic expertise is the history of the Republic of China. Representative works include "Negotiations between China, Britain and Xizang before and after the Anti-Japanese War (1935-1947)" and so on.

Miao Pusheng, male, born in November 1948, is from chiping, Shandong. Researcher, Academy of Social Sciences, Xinjiang Uygur Autonomous Region. Academic expertise is national history and local history of Xinjiang. Representative works include Outline of Xinjiang History (co-editor) and so on.

Lin Wenxun, male, born in March 1966, is from Qujing, Yunnan. Party secretary and professor of Yunnan University. Academic expertise includes Chinese economic history, China rural social history and Chinese frontier studies. His representative works include Outline of Social Change in Tang and Song Dynasties.

Zhou Weizhou, male, born in February 1940, Kaiping, Guangdong. Professor, China Western Frontier Research Institute, Shaanxi Normal University. His academic expertise is the national history of China. His representative works include "A Study of Ethnic Relations in the Middle Northwest of China" and so on.

Zheng Shiqu, male, born in August 1946, is from Fuzhou, Fujian. Professor, School of History, Beijing Normal University. Academic expertise is China’s modern history, modern ideological and cultural history. His representative works include "A Study on the Cultural Thought of the quintessence School in the Late Qing Dynasty" and so on.

Hu Dekun, male, born in March 1946, is from Suizhou, Hubei. Chairman, chief expert and professor of China Institute of Border and Ocean Studies, Wuhan University. Academic expertise is the history of World War II, the history of borders and oceans. His representative works include China and World Studies during the World Anti-Fascist War (Editor-in-Chief).

Hou Jianxin, male, born in Tianjin in October 1950. Deputy Director of Academic Committee of Tianjin Normal University, Dean and Professor of European Civilization Research Institute. Academic expertise is world history. His representative works include Western Europe and China in the Period of Social Transformation.

Geng Yunzhi, male, born in December 1938, is from Haicheng, Liaoning. Member of Chinese Academy of Social Sciences, researcher of Institute of Modern History, China Institute of History. His academic expertise is in the history of modern thought, culture and politics in China. His representative works include Introduction to the Study of Cultural Transformation in Modern China: Cultural Transformation and so on.

Xu Lan, female, born in November 1947, is from Beijing. Director and Professor, Center for International Relations Studies, School of History, Capital Normal University. Academic expertise is world history, modern world history and the history of international relations. His representative works include Britain and the Sino-Japanese War (1931-1941).

Gao Xing, male, born in February 1962, is from Kuandian Manchu Autonomous County, Liaoning Province. Director and researcher of Zhoukoudian International Paleoanthropology Research Center of China Academy of Sciences, and director of Paleolithic Professional Committee of China Archaeological Society. Academic expertise is prehistoric archaeology, human origin and evolution. His representative works include Shuidonggou: Archaeological Excavation and Research Report from 2003 to 2007, etc.

Ge Jianxiong, male, born in December 1945, is from Shaoxing, Zhejiang. Professor, China Institute of Historical Geography, Fudan University. Academic expertise is historical geography, population history, immigration history and cultural history. His representative works include History of Chinese Immigrants (editor-in-chief, author of the first and second volumes).

Jiao Nanfeng, male, born in January 1954, is from Yijun, Shaanxi. Researcher, Shaanxi Institute of Archaeology. His academic expertise is archaeology in Qin and Han Dynasties and the study of the ancient mausoleum system in China. His representative works include The Mausoleum of Emperor Han Jingdi and so on.

Xiong Yuezhi, male, born in December 1949, is from Huaiyin, Jiangsu. Researcher, Shanghai Academy of Social Sciences. Academic expertise is the modern history of China. His representative works include "The Spread of Western Learning to the East and the Society in the Late Qing Dynasty".

Wei Jian, male, born in December 1955, is from Hohhot, Inner Mongolia. Professor and Director of Northern Institute of Ethnic Archaeology, Renmin University of China. Academic expertise for the northern ethnic archaeology, Mongolian archaeology. His representative works include On the Capital of the Yuan Dynasty.

Wei Cuncheng, male, born in October 1945, is from Pingxiang, Hebei. Professor, School of Archaeology, Jilin University. His academic expertise is Koguryo’s archaeology and history in Bohai Sea, and archaeology in the Three Kingdoms, Jin, Southern and Northern Dynasties, Sui and Tang Dynasties. His representative works include Archaeology of Bohai Sea.

Qu Lindong, male, born in December 1937, is from Feidong, Anhui. Professor, School of History, Beijing Normal University. Academic expertise is historical theory and the history of Chinese historiography. His representative works include Collected Works of Qu Lindong.

When everyone is avoiding embarrassment, the variety "Fifty Kilometers of Peach Blossom House" will"embarrassed"As his own signboard.

In the first season, the word-of-mouth was very unsatisfactory, and even the second season was released.

The program puts "embarrassment" on the table in a careless way, and presents all kinds of uncomfortable behaviors such as rubbing hands and scratching ears of guests in front of the audience.

Be proud of embarrassment and make embarrassment a selling point.The guests in front of the camera are in a dilemma, and I am in the throat outside the screen. What is this variety show playing?

Let’s take a look at the original intention of the program self-report:

"Explore the various faces of social life in contemporary society under the changes of different social distances, and write new answers to the beautiful social life."

What kind of presentation?

Invite 15 guests with different ages and personalities to get together and live together for 21 days. The 15 guests came from all walks of life, including actors, models, athletes, talk shows and piano players, as well as online celebrity and singers …

It’s more like a social experiment than a variety show.

The essence of variety shows is to entertain the public, but it is obviously difficult for this program with a "social experiment style" to be associated with "entertainment".

Why don’t you just find another way for the program group, and then create a topic with "embarrassment".This gives the audience a kind of pleasure like "watching the excitement", which can also be regarded as entertaining the public in a certain sense?

Because of the variety tone of entertaining the public, the program group must find ways to make the guests collide with sparks, instead of really leaving people in front of the camera like social experiments.

Chatting together, eating together, even sleeping together will be a big shop, which can be described in four words:There is nothing to hide.

In this way, the first impression of the program becomes chaos.

Fifteen people live in one room, which is extremely crowded objectively and quite messy subjectively. In a word, it makes people feel bad.

This is the audience’s point of view, and from the guest’s point of view, it is even more speechless.

Everyone is flocking to do anything. Just talking about washing dishes, it is clear that one or two people can solve the problem, but a group of people can be surrounded.

Don’t they know that they are actually embarrassed to stand there? Of course I know, but I can’t help it.

The camera is there, others are washing dishes, and it’s embarrassing to sit by yourself. Standing next to it is also a sense of participation, seeking a little comfort for the heart.

The embarrassment caused by too many guests is still secondary. The program regards embarrassment as the first color, so it is really uncomfortable to be ashamed and proud.

There is also a game in which two guests who are most embarrassed with each other dance a tango, and they can get contribution value.

What’s the use of contribution value? It’s about all their expenses here.

In other words, they must be embarrassed to dance a passionate tango with the most unfamiliar and "unsuitable" people in order to "live".

If you don’t jump, you won’t have food. Will you jump? Personality self-publicity, such as Eric Wang, has to be obedient.

Such hegemony is not only embarrassing, but also terrible.

In the first phase of the program, I always emphasize one thing:At present, everyone is unfamiliar.

The subtext is that the social embarrassment caused by strangeness will be alleviated in the next few issues.

Why is it so sure?

The program will bring 15 people together to live in groups, and the last thing is that everyone will blend in as in the poster.

I don’t care what your original personality is, and I don’t care whether you like socializing or whether you prefer being alone. All this is pushing you and forcing you to get rid of "social fear" and become a "social cow".

This is the biggest problem of the program "Fifty Kilometers of Peach Blossom House 2".

The social roles of the guests in the program can be completely ignored. For example, Silence Wang is no longer regarded as a singer, Eric Wang is no longer an actor, and Wu Muye is no longer a pianist. We just need to regard them as 15 amateurs with different personalities.

Among the 15 guests, the people who took the most shots and spoke the most were several Northeasters.

In many people’s inherent impression, most people in Northeast China are extroverted, familiar and sociable. They in the program, and indeed so. It can be said that the atmosphere of the whole program is supported by a few of them.

We envy the extroverted people who can talk with the stranger Kan Kan, and we like to watch them chat with each other.

On the other hand, should introverts and inarticulate people be discriminated against?

Some people like to socialize, while others prefer to be alone.

Some people tend to fight side by side with their teammates, while others prefer to fight alone.

Some people enjoy singing in front of everyone, while others prefer to whisper silently in the middle of the night when no one is around.

······

The world is wonderful because there are all kinds of people.

But "Fifty Kilometers of Peach Blossom House 2" doesn’t seem to allow the latter to exist. At the beginning of the program, the tune is "good social life".

Is social life necessarily beautiful? Small groups of three or two people are still fighting in secret, and a large group of 15 people must be like family? What kind of fairy collective is that?

Especially at the end of the program, Song Dandan asked everyone to save a bonfire party, and everyone would come out to perform their talents.

If the whole program is like a "group building" organized by the company, then the party proposed by Song Dandan is undoubtedly an "annual meeting" of the company. Older elders with high status have made demands. Even if the younger generation is reluctant, are they really embarrassed to say it? The purpose of socializing is actually communication, but the differences in ideas between generations and the different status in the circle will undoubtedly make communication very difficult. Song Dandan certainly meant well, but when her proposal was heard by young people, it became a source of embarrassment.

To tell the truth, such a performance party is not even as good as the annual meeting of the company. At least you can win an award at the annual meeting, but in the program, you get nothing.

The way Song Dandan lets everyone put on the show looks like a child being dragged out by his parents to perform in front of his relatives.

The extroverted child has a calm face, and the introverted child can’t wait to get into the crack.

Originally, they only had different personalities, but the latter was denied and scolded by adults, and was defined as "worthless". "Fifty Kilometers of Peach Blossom House 2" gives people the feeling that it is so absurd.

Cecilia Boey’s discomfort:

Jesuli Chen’s embarrassment:

Wu Muye at a loss:

Eric Wang’s resistance:

······

Some people are naturally unsociable. Is it wrong?

The program group even regards "solitude" as a punishment, and the person with the lowest contribution will be "exiled" to live alone on the island for one night.

After the first program was broadcast, Song Dandan became the target of public criticism. The audience thought that she was leaning on the old and selling the old, forcing everyone to hold a party and give a program, and supporting Eric Wang, thinking that he was right and cool.

It can be seen that everyone is surprisingly disgusted with this kind of social binding.

The perspective can be expanded. Isn’t the whole Fifty Kilometers Peach Blossom Noon 2 a Song Dandan?

Forcing 15 people to live a beautiful group life together, those who don’t "fit in" will be exiled, and the punishment is "one night alone". I really can’t laugh at this magic.

Looking back, it is really disgraceful to watch the program group clip out the embarrassment of social phobia and present it on the screen as a gimmick for the audience’s entertainment.

The pictures in this article are from the Internet. If there is any infringement, please contact and delete.

Finally, back to the initial question, what is this variety show broadcasting, or what is the point of view?

Is it an embarrassing moment of social fear? Or the peace and love of 15 people from strangers to family?

It takes 21 days to try to reverse the character formed by their 20 or 30 years’ experience, which is probably the only joke in Fifty Kilometers of Peach Blossom House 2.

Ha ha ha ha, I smiled, you are free.

　　Recently, in the construction site of the maintenance project of Jiazhuang Village section of the provincial highway Niangyang line, milling machines, sweepers and other machinery are carrying out operations such as road milling and drainage ditch protection, laying a good foundation for subsequent construction. This is a microcosm of speeding up the implementation of national and provincial trunk highway maintenance projects and continuously creating a safe and smooth traffic environment in our city.

　　As an important part of the comprehensive transportation system, national and provincial trunk highways play a fundamental and leading role in promoting economic and social development and improving people’s livelihood. In recent years, our city has continued to promote the construction of people’s livelihood transportation, aiming at creating a "smooth, comfortable and beautiful" highway traffic environment, vigorously implementing domestic national and provincial trunk highway maintenance projects, constantly improving highway traffic capacity and comprehensive service level, and providing strong highway support for the city’s economic development.

　　With the increase of the service life of national and provincial highways and the increasing number of large transit vehicles in our city, the existing pavement has been damaged to varying degrees, and the preventive maintenance of pavement is imminent. As a provincial key project newly started in our city this year, the road maintenance project of Shuiyu-Majiapo section of provincial highway Niangyang line has a total length of 25.2 kilometers and a total investment of 160 million yuan. The starting point of the project is Shuiyu Village, Jucheng Town, Pingding County, which is connected with the first-class highway around the city of National Highway 207 and 307 in our city, and the end point is Majiapo in the suburbs, which is connected with National Highway 307. The highway runs through Pingding county, suburbs and mining areas, and is an important part of the "four verticals, five horizontals and two cycles" national and provincial trunk highway network in our city during the 14 th Five-Year Plan period.

　　Wei Jinfeng is the project manager of pavement maintenance project in Shuiyu-Majiapo section of Niangyang line of Shanxi Luqiao Provincial Highway. When he came to the construction site, he and the engineers and technicians kept an eye on the construction quality and progress. Wei Jinfeng introduced that since the project started, the project department has always adhered to the principle of "taking quality as the core, taking safety as the premise and taking progress as the goal" and comprehensively and orderly promoted all work. Because the construction section is long, involving many factories and mines in villages and enterprises, in order to ensure the normal production and life of villagers and enterprises, the project department takes control measures such as handling permits to advance the construction progress in an orderly manner on the premise of ensuring safety.

　　During the construction, the construction party shall carry out functional and structural repairs on this section, control local pavement diseases synchronously, build a new central guardrail, improve the electromechanical facilities of the tunnel and drainage facilities along the line, etc., involving the asphalt pavement structure of the section, drainage, culverts, tunnels, traffic safety facilities and other construction projects along the line. According to the first-class highway design standards, the subgrade width is 23 meters and the design speed is 60 kilometers per hour.

　　Guan Bo, deputy director of the Maintenance Engineering Construction and Management Department of Yangquan Highway Branch, said that this section and the first-class highway around Yangquan City on National Highway 207 and 307 jointly form the first-class highway around Yangquan City, which is the central axis and connecting line in the two cycles of north and south, which is of great significance for widening the urban framework and promoting the development of towns along and around it. All construction personnel will scientifically optimize the construction period, reasonably organize the construction, and advance the construction progress at full speed.

　　At present, many national and provincial trunk highway maintenance projects in our city have started construction one after another, with large investment, long route and many spanning areas. Faced with the grim situation of tight time and heavy tasks, Yangquan Highway Sub-bureau planned, arranged and started early, scientifically decomposed tasks around the overall goal of progress, grasped key working procedures and ensured key parts, formulated targeted construction plans, accelerated the construction progress and ensured the project was completed on schedule on the premise of ensuring quality and safety.

　　Guan Bo said that after the completion of the project, it will further extend the service life of the national and provincial trunk highways in our city, ensure driving safety and help the high-quality economic development. (Feng Mengqi, Zhang Yaoguang)