标签： 南京外卖工作室微信群

Interview with Hu Ge： Acting in ＂South Station＂ is a reset and restart, isolating yourself during filming

(Photo by Liang Xiaoliang) On May 20, French time, Hu Ge accepted an exclusive interview to talk about the new film "The Wild Goose Lake". The film was shortlisted for the main competition section of the 72nd Cannes Film Festival, with a score of 2.7 points in the field magazine. It tells the story of a car theft gang leader and an accompanying swimmer on the run, chasing freedom.

Talking about joining the film, Hu Ge said that "The Wild Goose Lake" is a movie he has always wanted to try, but did not have a good opportunity. In order to play the film well, he entered the group a month in advance to find a Wuhan dialect teacher to learn the dialect, and deliberately made his figure look thinner.

After the premiere screening, many commentators said that in Hu Ge’s character, they saw the "forbearance and morality" of the hero of the costume film. In this regard, Hu Ge also said, "Zenong is a person who is out of place in the rapidly changing era. Maybe life has no hope for him, but he also has inner persistence, which is this chivalrous."

In the film, Gui Lunmei plays the most against Hu Ge. When it comes to Xiaomei’s performance this time, Hu Ge also believes that she is very dedicated. "During that time, she had a cold and fever, and it was quite cold at night in Wuhan. After each shot, she was panting and pale. She kept gritting her teeth and insisting, and I especially admire her."

Received in 2017.South Station"Invitation, enter the group 1 month in advance to learn Wuhan dialect

How did you get involved in the movie "The Wild Goose Lake"?

Hu Ge: Three lives are lucky, just kidding. Indeed, I think it was a great honor for me. One day at the end of 2017, I suddenly received a phone call saying that Director Diao Yinan asked me to meet. I was quite excited at the time, because I had seen his "Fireworks by Day" before, including his other work "Night Train". In fact, this type of work is something I have always wanted to try, but I have been suffering from no good opportunities, so I went to see Director Diao with great anticipation that time. Then we met for the first time, and they both left a very good impression on each other.

But what I didn’t expect was that he wanted me to play such a role. Of course, my first feeling was, can I? It was this state of lack of confidence that lasted from the first time I saw him until the moment of finishing. The whole preparation process and the shooting process, to be honest, was quite torturous for me. But I also enjoyed it very much, because I also kept telling others that the whole process of this time was a process of clearing and restarting for me.

Most of my previous acting experience was in TV dramas, so this time as a lead actor, being able to be on the big screen is such a realistic subject, a character so far away from me. So from the method of creation and the way of performance, it is a new experience for me.

: This time you were speaking Wuhan dialect the whole time, right?

Hu Ge: Yes.

How long have you been studying?

Hu Ge: The Wuhan dialect is like this. Before I joined the group, the director recorded all my lines in Wuhan dialect and sent them to me. I taught myself first, and then entered the group a month in advance. After the crew found a local Wuhan dialect teacher for me, and then lived with me every day. In addition to correcting my lines, he also tried to communicate in Wuhan dialect in his daily life. It was to create a language environment for me.

Was the Wuhan dialect teacher with you throughout the production?

Hu Ge: Yes.

Is there such an exchange of Wuhan dialect every day?

Hu Ge: Yes. This process is also quite painful for me.

Why is it painful?

Hu Ge: The lines should be passable, but when I wanted to chat with my Wuhan dialect classmates and friends during this period, I was often laughed at by them.

Don’t worry about whether the image is contrasting, the character is conveying a chivalrous spirit

In the film, your style is very different from the past. You often roll in muddy water and get shot. Do you have any image worries before shooting?

Hu Ge: Not at all. In fact, I see my identity very clearly. Sometimes I may be a so-called star, and sometimes I am an actor. I feel that when I am an actor, the role is the biggest, and all my images on the screen are for the role. As long as it can help the audience build a sense of belief in this role, I am willing to try anything.

There is a scene where you wrap your topless body in gauze, and your muscle lines are looming. Did you deliberately exercise this time?

Hu Ge: I exercise every day, but I don’t exercise to build muscles, and that’s what the director communicated to me at the time. He didn’t want me to be strong. In fact, he wanted my whole body to be able to make the audience feel particularly thin on the video, and then feel tired and unhealthy. So during that time, my exercise was mainly aerobic, and then I also controlled my diet.

After the premiere, there were comments saying that you saw the forbearance and chivalry of the ancient heroes in you. What do you think of the role of Zenong?

Hu Ge: In fact, this is also what the director wants to express. You will find that in the image processing of our entire film, it is intertwined with reality and fantasy. Nazenong, he is actually a very marginal bottom-level character, he is out of tune with this rapidly changing era. Maybe life has no so-called hope for him, but he also has inner persistence, and what he insists on is the chivalry and morality you just mentioned.

Is this morality always firm during your performance?

Hu Ge: Of course, even after Liu Aiai betrayed him, he still chose to pin his last hope on her.

Why is that? What do you think of his relationship with Liu Aiai?

Hu Ge: Two reasons, the first reason, objectively speaking, there was no other person besides her. And at that time, the search area was getting smaller and smaller, and he had no time or possibility to find another person, so that was his only hope. The second reason, you betrayed me once, and I still believe in you.

I always felt a little uneasy during the shooting, and Diao Yinan let herself into the film noir

You just said that during filming, there was always a sense of uncertainty.

Hu Ge: Yes.

Is this your personal feeling or the direction the director has set for you?

Hu Ge: The director has helped me a lot. I often use an analogy. I say that the director’s guidance on the actors’ performances is like performing surgery with magnifying glass. Of course, I think this is also the difference between movie performances and TV shows, because after the screen is enlarged, all the details are required to be very accurate. Maybe I was used to performing in TV shows before, and there are some things I will ignore or ignore. This time it is equivalent to re-learning.

What are the benefits of working with Diao Yinan?

Hu Ge: I think I have gained a lot, including this visit to Cannes. I have always felt that it was Director Diao who really led me into the palace of film art. In fact, in our film, you can see all the elements of film noir. But at the same time, you will find that film noir can also be so poetic. This is what I admire the most about Director Diao.

Will he also provide a poetic guide to your performance?

Hu Ge: Director Diao Yinan’s biggest requirement for the role of Zhou Zenong is restraint and forbearance. He doesn’t want to be exaggerated on camera or in the image. All his emotions and emotions are kept in a very inadvertent state of awareness, so he has high requirements for my performance, which is a big challenge.

Infected by Guilun Magnesium’s dedicated attitude, interpreting the surreal elements in the film

: You have played the most opposite games with Gui Lunmei in the film. How does it feel to work with Xiaomei?

Hu Ge: The biggest feeling she gave me was dedication. There was a scene filmed on the court, where I chased her on a motorcycle.

I ran down the bridge on my motorcycle, and then I chased her all the way. During that time, she had a cold and fever, and it was quite cold at night in Wuhan. Every time I finished filming, because the camera finally turned under the bridge, no one could see her, only I could see her. Every time she was out of breath and pale, I felt that she was dying, so I kept persuading her. I said that if she was uncomfortable, we could stop for a while. Let’s finish work today and shoot tomorrow. But she felt that because the arrangement of the whole scene, including the cooperation of all departments, was very difficult. If she came back the next day, it would be serious to the shooting progress. She kept gritting her teeth and insisting. I especially admire her.

Besides filming, what topics do you talk about in private?

Hu Ge: In fact, throughout the filming process, I kept my distance from all the actors.

: Everyone?

Hu Ge: Yes, because I consciously want to isolate myself, this feeling will be more in line with the state of the characters. I didn’t integrate into the crew as quickly as I used to, and then become good friends with everyone.

: There are some surreal magical elements in the film. What do you think of the director’s handling?

Hu Ge: You will find that in our play, you can find a lot of relationships between the characters and the environment. Sometimes you will find that the distance between the characters and the environment is very long, and sometimes you will find that the characters are integrated into the environment, and these are often absurd, dramatic, and dreamy scenes. But in real scenes, there is often a sense of distance. I think this should be the expression of the director in the video as I understand it.

Can you explain a specific scene? For example, you have a scene where you are constantly entering various scenarios in the newspaper, and finally fantasizing about shooting at an airplane.

Hu Ge: In fact, the director did not tell me the intention he wanted to express in this scene, but my understanding at the time was that Zhou Zenong was in a very weak state at this time. At that moment, the director’s request to me was to perform a somewhat confused state of mind. As a trapped criminal, he had nowhere to go at that moment. In a small room in a dilapidated weather station, the walls were covered with various newspapers, and then you would find that every message could represent the characteristics of an era, but for Zhou Zenong, he couldn’t fit in anywhere.

After watching the premiere, how would you rate your performance?

Hu Ge: I can only say that I have completed the task, but there is still room for improvement.

This article is an exclusive manuscript. It is prohibited to reprint it in any form without authorization, otherwise legal responsibility will be pursued.

China stepped into the ＂traffic society＂ and consumed nearly 10 billion g of mobile traffic in the first half of the year.

　　CCTV News:Whether it’s work, daily life, or leisure and entertainment, people can see the scene of holding their mobile phones and brushing their heads.

　　According to the latest data from the National Bureau of Statistics,In the first half of the year, the cumulative usage traffic of China’s mobile Internet users reached 8.89 billion G, up 136.8% year-on-year. It is expected that it will exceed 10 billion G by the end of the year.. Statistics from the Ministry of Industry and Information Technology show that ChinaAmong the 1.17 billion mobile Internet users, the average access traffic per household was nearly 1.6g in June.It is more than four times that of the same period in 2015.

△ Figure/vision china

　　With the increasing correlation between mobile data traffic and life, traffic not only brings convenience to life, but also promotes the development of emerging industries, profoundly changes the social form and affects people’s daily life.　

　　How much traffic do you use every month?

　　China has fully stepped into the "flow society"

　　Nowadays, many people’s days start like this: calling a car to work online, paying for lunch delivery by mobile phone, communicating with social networks at any time, playing drama on their mobile phones after work, and video chatting with friends in the evening … …　Mobile payment, mobile entertainment and mobile office, data flow has become an important support of social information flow..　

△ The first multi-type "mobile payment" bus in China

　　Yu Jianing, director of the Economic Research Institute of the Ministry of Industry and Information Technology, said, "Traffic itself is data and information, but the content it carries also includes social value. China has fully entered ‘ Traffic society ’”。 According to statistics, in 2016, China’s mobile Internet users accessed 9.36 billion g, an increase of 8.48 billion g over 2012, with an average annual growth rate of 80.6%.　

　　The era of 10 billion G traffic has arrived, experts said.Flow economy is the performance of digital economy. Digitalization and digital technology are transforming life and all walks of life.. Online shopping, mobile phone ordering, mobile payment, etc. make mobile phones closely integrated with the real economy. As online payment companies enter overseas markets, people can gradually enjoy the convenience brought by offline payment of mobile phones when traveling abroad.

△Citizens are using unmanned express vehicles.

　　According to the 40th Statistical Report on Internet Development in China just released by China Internet Network Information Center, as of June this year,The number of netizens in China reached 751 million, and the number of mobile phone netizens reached 724 million.The proportion of mobile Internet access continues to increase. In the first half of the year, the number of users of various mobile phone applications continued to rise, among whichMobile phone take-out applications grew the fastest, with the number of users reaching 274 million, an increase of 41.4% compared with the end of 2016.;The number of mobile payment users reached 502 million.,463 million netizens use mobile phones to pay when they spend offline..　

△ Figure/vision china

　　"Sharing" the new format, the income of the top 100 Internet companies exceeded one trillion.

　　What leads to the arrival of the traffic era is not only the expansion of user scale, but also the development of new formats. More precisely, the relationship between the traffic era and the new format is mutually reinforcing. Since the second half of last year, the industry in bike-sharing has achieved rapid development.As of June this year, the number of users in bike-sharing has reached 106 million, accounting for 14.1% of the total netizens.The business coverage has penetrated from the first-tier cities such as Beishangguangshen and Shenzhen to the second, third and fourth-tier cities, and some bike-sharing brands have begun to go international.

　　Live broadcast, flash, maker, online car, bike-sharing, mobile phone takeaway … … These new occupations based on mobile Internet have opened up new space for industrial development.According to incomplete statistics, in 2016, the number of take-away riders registered in China’s take-away platform has exceeded 10 million..　

　　According to the list of "Top 100 Internet Enterprises in China" in 2017,In 2016, the total revenue of Internet business of the top 100 Internet companies reached 1.07 trillion yuan, up 46.8% year-on-year, breaking through the trillion mark for the first time.Among them, there are nearly 50 enterprises related to the field of big data and nearly 20 enterprises related to artificial intelligence.

　　Wen Ku, director of the Communication Development Department of the Ministry of Industry and Information Technology, said that the rapid development of the mobile Internet has spawned many new occupations and formats. Many enterprises provide diversified and personalized services to the majority of mobile communication users in combination with their own characteristics and advantages, meet people’s different needs, promote market competition, improve social efficiency and stimulate market vitality.

　　Intelligent industry develops 5G network to promote "Internet of Everything"

　　Based on the rapid growth of traffic scale, intelligent industries such as Internet of Things and VR industry will usher in rapid development in the future.　

△VR equipment helps middle school classrooms

　　Experts believe that with the approaching of the 5G era, the explosive growth of traffic will bring more changes that are worth looking forward to. “It takes one hour for 4G to download a high-definition Blu-ray movie, but it may only take a few minutes for 5G. The powerful transmission capacity will allow more formats to carry traffic express trains."

　　In June this year, China Information and Communication Research Institute released the White Paper on the Economic and Social Impact of 5G, proposing thatThe 5G network will provide at least ten times the peak rate of 4G, millisecond transmission delay and hundreds of billions of connection capabilities.Open a new era of extensive interconnection of everything and deep interaction between man and machine.

　　5G will comprehensively build the key infrastructure for economic and social digital transformation, from online to offline, from consumption to production, from platform to ecology, and push China’s digital economy to a new level. For telecom operators, the rapid growth of traffic consumption has brought huge opportunities, but it also means that there is more room for speeding up and reducing fees, so as to achieve benign development.

Dialect is the ＂big killer＂ for adding color to novels.

Because of these dialect writing, novels in different regions have different faces, different voices, or Wunong soft language, or Shaanxi dialect Jin language, abandoning the one side of thousands of people and different regions, thus having different tastes.

Reporter | He Yingyu

　　Dialect is the soul of a place.
　　Blossoms Shanghai introduced the Shanghainese dialect into the text, and the words and deeds of Shanghainese jumped from the page. In fact, as early as before Blossoms Shanghai, in the late Qing Dynasty, novels such as Biography of Flowers on the Sea and He Dian had incorporated Wu dialect into their novels, making their novels more agile and more life-like. This tradition was once forgotten by people until the publication of Blossoms Shanghai, and the new territory of Wu novels was continued.
　　Dialect writing is certainly not a patent in Jiangsu, Zhejiang and Shanghai postal areas. Writers in northwest China, Sichuan and Yunnan are also keenly aware that the dialect in their hometown is a great killer, and it can add a lot of color to the novel if used well.
　　What local characteristics does dialect writing bring to the novel? Because of these dialect writing, novels in different regions have different faces, different voices, or Wunong soft language, or Shaanxi dialect Jin language, abandoning the one side of thousands of people and different regions, thus having different tastes.

China’s First Dialect Novel

Left: Han Bangqing’s Biography of Flowers on the Sea is the first dialect novel. Right: One of Li Jieren’s "trilogy of river novels": "A stagnant water ripples".
　　Biographies of Flowers on the Sea written by Han Bangqing in the late Qing Dynasty is China’s first dialect novel. It was originally called Spring and Autumn of the Flower Country, also known as Drawing a Treasure Mirror of a Brothel, and Drawing the Romance of a Brothel on the Sea. The book has 64 chapters and was first published in 1894. The main content of this novel is to write about the brothel life in Shanghai Shili Foreign Market in the late Qing Dynasty, involving the officialdom, business circles and the social level connected with it. When Han Bangqing wrote this novel, he said, "This book was written for exhortation". In the book, many vivid images of prostitutes and clients were portrayed by the experience of Zhao Puzhai’s family. The dialogues of the characters in the book are all in Suzhou dialect, which is lively and creates a precedent for dialect novels. Zhang Ailing loves this book very much. She once translated it into English and Mandarin, and the Mandarin version was renamed Flowers on the Sea, which is divided into two parts: Flowers on the Sea and Flowers on the Sea. Zhang Ailing also said: "The Marriage of Awakening the World and Flowers on the Sea are both the best realistic works. I often feel unfair for them, and I always feel that they should be world masterpieces. " It can be said that it is a very high evaluation.
　　Hu Shi believes that Su Bai’s literature originated in the Ming Dynasty, but Su Bai is in a subordinate position, whether it is the role of speaking Bai in legend or singing Bai in Tanci. It was not until Biography of Flowers on the Sea was born that Su Bai was widely used in the book. Since then, Su Bai’s subordinate position has changed, and Su Bai literature was formally established. Hu Shi said: "Flowers on the Sea is the first masterpiece of Wu literature. The formal establishment of Su Bai’s literature starts with Flowers on the Sea. Han Ziyun and his Biography of Flowers on the Sea have really opened up a new situation for China literature. I hope they (Wu-speaking literati) will continue to develop this mature trend of Wu-speaking literature. The victory of Flowers on the Sea is not only the author’s personal victory, but also the victory of the movement of Wu literature. "
　　After Biography of Flowers on the Sea, Wu novels frequently appeared. Although Biography of Flowers on the Sea is "the first masterpiece of Wu literature", it is considered as a "lost masterpiece", that is, Hu Shi only dares to make a conclusion that "the literary value has finally attracted the appreciation and imitation of a few scholars". The achievement of Biography of Flowers on the Sea is not only that "the work of writing Su Bai greatly reduces the difficulty for later generations to write Su Bai literature", but also that its unique bilingual system takes Mandarin as the narrative language and dialect as the dialogue of characters, which combines the vivid description of Mandarin with the vivid description of people in dialects in one book, which has both advantages and disadvantages, thus causing the later scholars to follow suit, setting off the climax of Wu Yu novels in the late Qing Dynasty, and determining the basic features of Wu Yu novels involving many narrow evils. In addition, the word "shou" created by Biography of Flowers on the Sea has been used up to now and has been included in the dictionary of Wu dialect, which is also a great contribution of Biography of Flowers on the Sea to Wu literature.

The representative of Sichuan local literature

　　Some people say that Li Jieren’s novels must be read in Sichuan dialect.
　　As a representative of Sichuan local literature, Li Jieren "lives in a humble abode" between Bashan and Shushui, and depicts the warmth and coldness of human feelings in the land of abundance with simple Sichuan dialect and unique narrative style. From the time he published his first literary work at the age of 21 to his death at the age of 71, Li Jieren published four novels, four novellas and more than 30 short stories, and also wrote plays and a large number of local chronicles. Except for the novella Sympathy, which describes French students studying abroad, almost all his works are based on Bashu, describing Bashu social customs, telling stories of Bashu people and showing Bashu cultural interests with dialect vocabulary.
　　From 1935 to 1937, Li Jieren published "Trilogy of River Novels", including "Stagnant Water", "Before the Storm" and "Big Wave", which left a deep impression in the history of China literature. It is worth mentioning that among these popular works, Sichuan dialect is a highlight. Li Jieren is the first writer of Sichuan vernacular novels, and his novels use more Sichuan dialect words, which is groundbreaking. Li Jieren’s innovation lies in consciously describing Chengdu people and Chengdu stories in Sichuan dialect.
　　There are many words in Sichuan dialect that are divorced from classical Chinese. Li Jieren skillfully transplanted Sichuan dialect into literary creation, which is full of charm and refreshing. These words, which are closely related to the daily life of Bashu, describe a scene full of life flavor to readers. Dialect words such as Youda (meat dishes), Chongkezi (chatting) and Maozi (being assassinated) are often found in his works. In addition, Li Jieren is even familiar with Sichuan Paoge’s slang, such as opening Hongshan (killing people at random), helping others (helping others), fat pig (kidnapped people), rising water (critical situation), etc., which is used more when describing specific characters, bringing readers into the Jianghu world of Bashu.
　　Li Jieren naturally knows the difference between foreign language and native language, but it is strange that he chose the most native dialect in his writing. In fact, this shows his language consciousness. Li Jieren dabbled in Sichuan local and historical themes, and he chose to write in Sichuan dialect, which has a unique charm in characterization and story telling. Dialect writing is vivid, lively and thorough. Reading Li Jieren’s novels often amazes him for his proper use of Sichuan dialect, which can be described as delicious and wonderful, but not in another language. In fact, Li Jieren also kept the most vivid Sichuan dialect in his works, and gave literature a spiritual and free soil to prevent it from being eroded by normative language. This is not narrow-mindedness, but a contribution to literature.

Shaanxi dialect is simple and heavy.

　　Shaanxi dialect is simple and heavy, such as Chen Zhongshi’s White Deer Plain, Jia Pingwa’s Shaanxi Opera and Chen Yan’s novel The Protagonist, which is an open writing based on life and tradition, drawing materials and nutrition from life and the smallest livelihood.
　　"White Deer Plain" is all about people and things in Guanzhong, so the author chooses to use a large number of Guanzhong dialects. For example, say "dark room" at night, the house is called "mansion house", and the afternoon is called "afternoon". These languages with Shaanxi characteristics have become the finishing touch in White Deer Plain, which is impressive.
　　Similarly, Jia Pingwa grew up in Shangluo area, and his growing environment deeply influenced his language expression, which fully reflected the strong emotional color in Jia Pingwa’s language works. A large number of localized languages-Shangluo dialect were used in the creation of Qinqiang Opera. Shangluo dialect belongs to northern dialect in essence, which is very similar to Mandarin in expression and can arouse readers’ emotional resonance. In addition to using a large number of Shangluo languages, a large number of proverbs and sayings are also used in the creation of this work, which plays a very important role in expressing the profound connotation of the work. For example, "What I hate most is winter. People are not alive in their hearts, but they are cold. I only have to lift stones in Qiligou with my head stuffy." "You are used to listening to the Qin opera in the tweeter, and sometimes you feel bored, but once you can’t hear it, your heart is empty and you feel lonely in your ears and mouth." Among them, "accepting life" means comfortable and comfortable in the local people, and "few" means little and tasteless. These words scattered among the people seem to be "rustic", but with the author’s flexible application, they are endowed with new vitality and vitality, which can make readers fully feel the quaint and civilized language of the works and enhance the vitality of the articles.
Above: Chen Yan and his novel The Protagonist written in Shaanxi dialect.
　　In 2019, the winners of the 10th Mao Dun Literature Prize were announced, and the work "The Protagonist" by Shaanxi writer Chen Yan was on the list. This book is based on the memory of Qin E’s half-life acting career, involving the vast sentient beings’ mode and the changes of the times since the reform and opening up 40 years ago, and showing the true appearance of "human" in the interlacing of life and traditional culture, society and individual.
　　The protagonist is also praised by the Shaanxi dialect in the dialogue of the characters:
　　"Singing in an opera is to see how your kung fu and voice are, not how you dress. Even if you dress up in a glazed leather palm, what’s the use of lifting your feet to make a cold skin and opening your mouth to make a pack of cigarettes? "
　　"A ditch knows that you are doing well in the provincial capital and have great fame. That fame is the door and the way. Even the people who can’t compete with you in the group have made a windfall and bought a Rolls Royce. If you want to make a fortune, don’t be sloppy. "
　　Talking about the characteristics of Shaanxi dialect in the novel, Chen Yan told reporters: "Now our novel writing is more in the language of translation. After urbanization, there are fewer and fewer rural memories and regional cultural memories. We look at China’s traditional novels, whether it’s Jin Ping Mei, A Dream of Red Mansions or Water Margin The Journey to the West, and there are many local dialects that we don’t understand today, so we need experts to annotate them. But even if we can’t understand them at once, when we try to figure out the meaning of these words, we will find them very wonderful. I am rereading Four Great Classical Novels again this year, and I have been thinking about the language repeatedly. It should be said that there are many languages with regional and national characteristics, which are very interesting to read. When I write about Sanqin culture, I must use the local dialect. I think language is the biggest feature of a place, just like a traditional opera, if it doesn’t use dialects, this kind of drama will not exist. Now some troupes are exploring, and it is suicide to call it that kind of drama in Mandarin. The same is true of novels. I want to pursue the aesthetics of China, the nation and the traditional literature of China, and always have some characteristics in language. If I follow the crowd, the novel will be tasteless to read. The use of dialect slang in novels is a good tradition. When we read such classics as Water Margin, we often marvel at those vivid dialects. In my novel and drama creation, I always insist on salvaging some local dialects and proverbs that are about to be lost. I think it will be more appropriate to write about which side of the country, water, soil and people, and to express it in which side’s language and habits. The language of novels must be vivid and vivid,It should be more like talking, a narrative style that sticks to the land. "

Witchcraft in Yunnan

　　In 2023, Xinxing Publishing House published a collection of short stories by young writer Jiao Dian, Peacock Bodhi.
Above: Young writer Jiao Dian’s masterpiece Peacock Bodhi has a strong breath of Yunnan rainforest.
　　In the gap between cities, there is a large rainforest. One foot in, here the elephant is light, the crocodile is merciful, and time breaks free from linear rules and flows at will. There is really a six-legged horse here, and there is a relic in the horseshoe, which flies to the sky when riding; There is a Mulan boat here, and there is no need to prepare paddles. Half a cup of rice wine is drunk and floats far along the river. Even if you break your leg and walk for two moons in a wooden wheelchair, you can return to your home in the Woods. Of course there are women here. They can understand the rainforest, and they are too smart and brave. I can’t control anyone, whether riding a horse or riding a boat. As long as my legs are still in my body, they will definitely run …
　　Turning to Jiao Dian’s Peacock Bodhi, Yunnan Rainforest is in sight. Born in Jiaodian, Yunnan Province in 1996, he was admitted to Beijing Normal University in 2021, majoring in literary creation, and studied under the famous writer Mo Yan. However, her writing seems to have nothing to do with her teacher. Her writing is her writing, coming from Yunnan, her hometown.
　　Jiao Dian’s writing has always been like "Suni" or "Bimo" in her hometown of Yunnan (Yi people refer to witches or priests), trying to "channel" in that "frontier" world. She said that she never took the initiative to "choose" Yunnan as the location of the story. It was Yunnan that chose her and Yunnan came to her with its breath and story.
　　When talking about the use of dialects, Jiao Dian told reporters: "Our generation is actually a generation of Putonghua, and the popularity of Putonghua is absolutely good in all aspects. But for literature,’ standard’,’ common’ and’ same’ are just some taboos. This does not mean that we should go back to the ancients and speak with the ancient accent, nor do we mean that we should only speak dialects and engage in the mountainism of language. The fundamental direction should be the free expression of words and things, which is a free spirit. Of course, in specific works, excessive and too crude use of dialects will bring obstacles to reading, so it is necessary to change, not to use local dialects and dialects directly, but to use classical vernacular and dialects on the basis of written common language and Putonghua. What I hope is that even if I am not from Yunnan or Southwest, it will not affect the reading of novels. In this respect, I need to continue to improve. "
　　Jiao Dian believes that it is not so much a writing style for Yunnan that it is better to say that Yunnan’s local conditions have allocated these characters. Some people think that her writing is very poetic, and she thinks that this is the mountain road in Yunnan. When she was walking, a sharp corner suddenly appeared, and then there was a big turn. Suddenly she met a deep and wide cave, threw a stone into it, and heard an echo after a long time. The strangeness of natural scenery is the strangeness of words.
Reporting/feedback

Neusoft Group’s big car business is still losing money. The company hopes to have stable profits after the painful period ｜ Interpretation of financial report

Cailian News on January 29th (Reporter Wu Xin)The automobile industry is full of smoke, and Neusoft Group (600718. SH) carrying automobile genes turned losses into profits in 2023.

This evening, Neusoft Group released a performance forecast, predicting a net profit of 72 million to 86 million yuan in 2023 (a loss of 343 million yuan in 2022).

"The overall business of the company is growing healthily." The director of the company told reporters that there will be more strategic adjustments in 2024, and there will be corresponding actions in areas where new products are released, the state encourages and the company has advantages.

According to the announcement, Neusoft Group’s operating income in 2023 continued to grow steadily year-on-year, and its gross profit margin increased compared with the previous year. During the reporting period, the overall performance of Neusoft Medical, Neusoft Xikang, Wanghai Kangxin, Neusoft Ruichi, Rongsheng Insurance and other innovative business companies constructed by the company in the sectors of "Big Health" and "Big Automobile" decreased, but the net profit of listed companies and the net profit after deducting non-recurring gains and losses were still negatively affected.

The performance forecast shows that in 2023, the company deducted non-net profit from-140 million yuan to-115 million yuan.

Cailian reporter learned from Neusoft Group’s semi-annual report in 2023 that its smart car interconnection business achieved revenue of 1.606 billion yuan in 2023 H1, exceeding 40% of the total revenue. In this field, Neusoft Group provides a series of solutions from automotive electronics, automotive software, intelligent driving to intelligent transportation.

At present, "involution" is the main tone of the domestic automobile industry, with price-for-quantity as the main way of playing, which greatly reduces the profit space of automobile enterprises and affects the upstream and downstream of the industrial chain. According to the data of China Association of Automobile Manufacturers, from January to November 2023, the profit of automobile manufacturing industry was 448.98 billion yuan, a year-on-year increase of only 2.9%.

The above-mentioned company source said, "The related business is still relatively healthy, but the competition among car companies is fierce, and there may be some (impact), and other companies will definitely have some losses in gross profit margin."

"There are many new models now, but the market is biased towards saturation, which leads to the compression of the upstream and downstream profits of the entire industrial chain. There are still some influences, and we can’t escape from this area."

Looking forward to the market outlook, with the automobile industry going through the painful period and forming a new pattern, the upstream and downstream of the automobile industry chain are expected to enter a stable period simultaneously. A person from Neusoft Group said that the big waves will leave behind high-quality enterprises. At present, new car companies have been eliminated, and Neusoft Group will also achieve "stable profits".

(Cailian reporter Wu Xin)
Reporting/feedback

This summer, we selected more than 100 new fashionable hairstyles, which are good-looking and thin-faced, and the cut is very different.

Hairstyle is a way to show personal charm. Choosing a hairstyle that suits you can not only increase your confidence, but also make the whole person look more fashionable and dynamic.

In this article, I sorted out 100 popular hairstyles, including short hair, long hair, straight hair, curly hair, collarbone hair and micro-curly hair.

I hope I can provide you with inspiration and make you glow with new style!

Flying short hair: neat short hair cut, with a light layering, suitable for showing self-confidence and capable image.

Bobo head: classic wave curl, showing romance and elegance, which is the first choice for fashionable women.

Asymmetric tailoring: one side is long and the other side is short, creating a sense of avant-garde and suitable for women with personality.

Short hair dyeing: through dyeing and perm technology, it adds layers and colors to short hair and shows fashion attitude.

Straight hair: Simple and classic straight hair, showing dignity and elegance, suitable for various occasions.

Big curly hair: curly and natural big wavy curly hair adds feminine temperament and makes you more charming and moving.

Yu Gubian: Exquisite and elegant braiding can be a simple two-strand Yu Gubian or a complicated braiding style, which is suitable for formal or leisure occasions.

Ring-buckle long hair: a part of long hair is fixed behind the ear through buttons or hair accessories, showing a fresh image while retaining the elegance of long hair.

Natural micro-curls: show natural and casual micro-curls, add a playful and lovely atmosphere, suitable for daily life.

Tight curly hair: by using curling iron or perm technology, we can create a tight curly hair effect and show personality and fashion.

Large volume in middle: divide the big wavy curly hair into middle, increase the layering and romantic atmosphere, suitable for various occasions.

Mermaid curly hair: through curly hair and rising tailoring, we can create a vibrant and dynamic mermaid curly hair, showing the mysterious and charming image of the sea goddess.

Natural straight hair: straighten the hair tail to create a natural and elegant straight hair effect, showing simplicity and fashion.

Clavicular hair with internal buckle: Turn the hair tip inward to create a soft and elegant image, suitable for various occasions.

Ring braiding: a part of hair is braided into a ring shape, which matches the length of clavicle hair to add layering and personality charm.

Split micro-curl: through micro-curl technology, the clavicle hair is made into a delicate and charming micro-curl hairstyle, showing fashion and femininity.

Natural micro-curly long hair: keep the length of long hair, create a natural and casual effect through micro-curling, and add feminine charm to women.

Side-divided micro-roll: divide the long hair into one side, and then use the curling iron to create a delicate micro-roll, showing elegance and fashion.

Lightweight layered long hair: through layered cutting, a light long hair shape is created, and with micro-volume, it shows a light and dynamic effect.

Twist the flower head: twist the long hair into the shape of the flower head, with micro-rolls, showing a different personality charm.

Whether you like short hair or long hair, straight hair or curly hair, clavicle hair or micro-curly hair, you can find a suitable choice among these 100 popular hairstyles. Hairstyle can not only show personal style, but also enhance the overall image. I hope this article can provide you with inspiration, let you shine on the fashion stage and show your unique beauty potential!