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Workplace+youth! On the Typological Exploration of Modern Spy War Drama from Qiu Chan

       Original title: "workplace metamorphosis" in modern spy war dramas

The foggy Qiu Chan, as a well-made spy war drama this year, has been greatly anticipated by the audience due to the pre-publicity’s rendering of suspense and the addition of many old drama bones. In fact, the beginning of the plot is desperate. The intense and exciting rhythm of the previous episodes really fits the artistic expression level of the spy war drama. However, with the end of the whole drama, most of the audience’s complaints about the straightforward and simple plot, the rigid emotional line of the heroine, and the unfocused modeling of the male protagonist constantly surfaced. The typological exploration of domestic spy war dramas still faces bottlenecks.

The "Death Game" in the Fierce Workplace Competition

Compared with the successful representative works of spy war dramas in previous years, such as plot against, lurk and pretender, Qiu Chan’s handling of "the struggle between the enemy and ourselves" does have obvious narrative confusion. On the whole, the plot still follows the strong plot narrative of the spy war story, full of danger and suspense, and weaves various tests for the protagonist. Compared with the portrayal of domestic heroes and the description of human nature, the workplace confrontation between Ye Chong and Miyamoto in the play is relatively more exciting.

In the fierce competition in the workplace, two young and energetic colleagues have different positions and beliefs. They use the superficial personal grievances and even the competition for the same position in the office as a seesaw, but in fact they have just completed the hiding of the hidden personnel. In the pursuit, catching the mole and suspecting his colleagues almost never stopped, from the office of the Military and Political Department to the scene of the arrest and interrogation, and even setting up sentry surveillance near the colleague’s residence. From the point of view of the workplace, the two are really devoted to their work. Dai Sato Zang, the Major General of the Military and Political Affairs Department of Xiangdao, is more like a leader who is embarrassed everywhere. The most repeated lines seem to be exhorting two subordinates to "I hope you will stop here". As a superior, while mediating the contradictions between subordinates, I hope they will be used for their own purposes; On the one hand, I hope that they will form a compelling relationship with each other and even deal with powerful subordinates. Here, the humanized contest between the enemy and ourselves, which is common in spy war dramas, has been clearly transformed into a workplace contest.

Generally speaking, in this seemingly infighting in the workplace, in fact, the righteous man will be portrayed as a superhero with superior wisdom and vigorous skills. In the play, Ye Chong did keep his disguise in every crisis, but it was always slower than Miyamoto’s, which led to the continuous failure of the joint, and comrades were constantly exposed and arrested, constantly sacrificed and transferred, and then entered the next cycle. In the play, the role of Xiaozhuang almost swept all the affairs of Ye Chong, and the point of fierce confrontation between the male and the female was also diluted. If it is intended for the suspense mechanism of plot narration, it can only be regarded as a strong spiritual stimulus of "death game", which is useless for shaping the protagonist.

In addition, in the spy war drama, it is also a common skill to sublimate the sense of tragedy in the form of the hero’s sacrifice in the face of potential crisis and the viciousness of hostile forces. Before the arrival of this established sad moment, the complicated story is not the standard to judge whether a play is good or not, otherwise it will fall into the formal game of suspense reasoning and hinder the expression of the theme.

Youth idols and the infinite land of "pan-spy war"

The high confidentiality of hidden front work makes underground workers more like a contradiction. Qiu Chan is the male actor Ye Chong — — Code-named "Qiu Chan", an underground worker, chose a youth idol. Allen’s face is chiseled, with all kinds of uniform suits, suits and white shirts, and he can play the piano. As a hidden and forbearing person, The Infiltrator invariably highlights the modern aesthetics of the characters, which seems to usurp the host’s role. Stereotyped facial stereotypes can’t match the development of characters’ personalities.

From Sparrow, which started with the appearance of "youth" spy war in 2016, to Qiu Chan, which is cold and lonely today and needs to be reborn, it is of certain significance for the younger generation to pay attention to and inspire their growth, and its influence and communication effect are also obvious to all. In the consumption context of youth idols, there are often designs that pretend to be lovers or couples, and Qiu Chan has not jumped out of this pattern, setting up scenes where female characters are jealous or have misunderstandings. In the past spy war dramas, this usually existed as an auxiliary line of family ethics narration. However, if emotional entanglements can’t really play a role in narration, they are just coquetry of female characters, which will lead the plot to a boundless land of "pan-spy war".

The revolutionary cause of spy war is not a child’s play. Female roles can be weak, but they must be honed and grown. The female images in Qiu Chan also lack the smart and capable side of women in traditional spy war dramas. In addition to Junko Qingquan’s excellent business ability, Jin Xiang was portrayed as a "gangster female leader", while He Ying, the female host, focused too much on the emotional relationship with the male host. The embarrassment of identity and emotional displacement make the audience only rely on the existing experience, and they are constantly frustrated in the heavy decryption of the plot. This gamification experience, which is not equal to the real feeling, further dispels the seriousness of spy war.

In addition, it is a skill for spy war dramas to create a sense of urgency in time and space to construct unique urban images and complete dramatic conflicts in a certain time and space structure. For example, the New World, with the main battlefield in Beiping, the Peace Hotel, with the closed space in Manchuria in the northeast, and the Kite, with a spy war narrative around the mountain city of Chongqing, etc. Qiu Chan also takes wartime Hong Kong as the main activity scope of the characters, and inserts some actions of Myanmar and Shanghai. From the blockade of virtual space to the breakthrough of external information transmission and exchange, the regulation of time and space provides an enchantment for this clever narrative. But it is a pity that the drama’s creation of Hong Kong’s urban features in a specific period is mediocre in regional characteristics and has not left a clear and profound impression on people.

Since 1958, when the film showed the outstanding underground workers of the Party dedicated themselves to the revolution, the image of hidden front workers in these years has been stereotyped as "dancers at the tip of a knife", and everything except faith and mission has been left behind by individuals. The TV series "Eighteen Years of Enemy Camp", which premiered in 1981, was recognized by the academic circles as a new beginning of domestic spy war drama because it showed the image of a Communist party member who went deep into the tiger’s den regardless of personal safety. It can be seen that the enduring foundation of domestic spy war dramas still lies in the performance of revolutionaries on the hidden front and their indomitable underground work. Qiu Chan’s expression of workplace squeeze in the hidden front, the borrowing of youth idol elements and the expression of special regions in special times are also an exploration of new types of elements in domestic spy war dramas to some extent. Although it is not satisfactory in handling, it is still instructive.(Author: Peng Liuying, Associate Research Fellow, Film Art Center of China Federation of Literary and Art Circles, Editor in Charge of Film Art)


China-Central Asia Summit | Special Feature: The Glory of Silk Road in Ancient and Modern Times —— China and Central Asian countries draw a new picture of cultural exchanges.

  Xinhua News Agency, Beijing, May 15th Special feature: the glory of Silk Road, ancient and modern — — China and Central Asian countries draw a new picture of cultural exchanges.

  Xinhua News Agency reporter Qiu Xia

  The Millennium Silk Road is full of vicissitudes. The imprint of the blending of civilizations is fixed in the historical picture scroll and is not erased by time.

  More than 2,000 years ago, Zhang Qian sent a mission to the Western Regions to open the ancient Silk Road across the east and west.

  For more than 2,000 years, China and Central Asia have exchanged needed goods, learned from each other and helped each other, leaving stories and legends for the history of human civilization.

  Civilizations communicate because of diversity, learn from each other because of communication and develop because of mutual learning. Today, China and Central Asian countries have inherited the Silk Road spirit of peaceful cooperation, openness, tolerance, mutual learning and mutual benefit, and are constantly pioneering and innovating in cooperation fields such as archaeology, education, health, tourism, journalism, and local exchanges, so as to jointly build a pluralistic and interactive pattern of people-to-people exchanges and make the friendship lasting for thousands of years more deeply rooted in people’s hearts.







  "In the process of restoration, China experts and scholars live in Shiva, and discuss how to carry out their work better every day, and communicate and cooperate directly with local experts and people." Ma Chalib Abdulaev, deputy director of the Scientific Development Promotion Center of the Academy of Sciences of Uzbekistan, said that the restoration work is very difficult. While using modern technology, China experts pay attention to the use of local traditional crafts and materials, and always strive to preserve the original features of the ancient city.

  "China experts always work very hard and treat the ruins of the ancient city of Shiva with care. In the process of working with them, I feel the sincerity of China experts and their cherished attitude towards Uzbek culture. I am very grateful and respect China experts. " Cormier Olimov, a local resident who participated in the restoration of the ancient city of Shiva, said.

  This is the ancient city of Shiva, Uzbekistan, which was filmed on April 29th. Xinhua news agency

  From the ruins of Mingtiepei ancient city in Uzbekistan to the ruins of Lachart ancient city in Isei Crate, Kazakhstan, and then to the ruins of Buddhist temple on the west side of Honghe ancient city in Kyrgyzstan, China and archaeologists from Central Asian countries have made concerted efforts to make the relics that witnessed the blending of civilizations reappear in the world through excavation results.

  In June 2014, the Silk Road: Chang ‘an — The road network of Tianshan Corridor was successfully listed in the World Heritage List. The Millennium Silk Road, connecting points into a line and connecting lines into a network, is a powerful force for China and Central Asian countries to work together to protect cultural heritage.

  Spring breeze melts rain and moistens peaches and plums

  With the "Chinese fever" and "China culture fever" heating up in Central Asian countries, Confucius Institutes and Confucius Classrooms have long been "full of peaches and plums". In recent years, as a "rising star", Luban Workshop is building a new platform for vocational education exchanges and cooperation between China and Central Asian countries.

  The first Luban workshop in Central Asia — — In Luban Workshop, Tajikistan, teachers from China and Tajikistan are conducting exchanges and discussions on thermal energy specialty. Unexpected challenges have made them difficult: there are differences in related formulas and numbers between the two countries. Even if the Chinese teacher speaks a sentence and translates it, the Tajik teacher still can’t understand it. After repeated discussions, teachers from both sides finally found an effective communication method — — Explain theoretical calculation in practical operation.

  Luban Workshop in Tajikistan was jointly built by Tianjin Vocational College of Urban Construction Management and Tajikistan University of Technology, with urban thermal energy application technology and engineering survey technology as the co-construction majors. It has two teaching areas, namely, green energy training center and intelligent surveying and mapping training center, equipped with bilingual teaching materials, training equipment and information-based teaching resources.

  "In Luban Workshop, we can learn to operate advanced equipment, which greatly improves our theoretical and practical knowledge." Saidov, a surveying and mapping student at Tajikistan University of Technology, said.

  On April 12th, in the Luban Workshop in Dushanbe, the capital of Tajikistan, Wu Zhengpeng (first from the back row), a teacher from Tianjin Vocational College of Urban Construction Management, explained the practical knowledge of surveying and mapping to students. Luban Workshop in Tajikistan is the first Luban Workshop in Central Asia. Xinhua News Agency (photo by Ospanov)

  Shahriyol Sadurozoda, president of Tajik Luban Workshop and vice-president of Tajikistan Technical University, said that thanks to the joint construction of the "the belt and road initiative" and the joint efforts of the leaders of the two countries, Luban Workshop settled in Tajikistan, which promoted civilized exchanges and educational cooperation and became an example of friendly relations between Tajikistan and China.

  In recent years, the road of educational cooperation between China and Central Asian countries has become wider and wider, the number of international students sent to each other has continued to increase, cooperation and exchanges between universities have become increasingly close, and the joint school-running model has been continuously expanded … … In January 2022, at the video summit of the 30th anniversary of the establishment of diplomatic relations between China and five Central Asian countries, China announced that it planned to provide 1,200 China government scholarships to five Central Asian countries in the next five years, giving priority to the establishment of Confucius Institutes and Confucius Classrooms in Central Asian countries.

  Intersection across time and space centers

  In Almaty, the largest city in Kazakhstan, there is a street named after China people’s musician Xinghai Xian, and not far away there is a street named after Kazakhstan musician Bahad Jean Baikadamov. Two parallel streets record the friendship between two musicians during the war.

  In 1940, Xinghai Xian was sent by the Central Committee of the Communist Party of China from Yan ‘an to Moscow to post-produce and score the documentary Yan ‘an and the Eighth Route Army. After the outbreak of the Great Patriotic War of the Soviet Union in 1941, film production came to a standstill. In 1942, Xinghai Xian moved to Almaty. Unaccompanied and destitute, Xinghai Xian received selfless help from the Baikadamov family. In Almaty, Xinghai Xian composed famous music works such as National Liberation, and based on the deeds of Kazakh national heroes, he created the symphonic poem Oman Geld, which inspired people to fight against fascism.

  Through time, the touching stories of the two musicians have been passed down from generation to generation. Erect monuments, hold concerts, publish books and co-produce films … … Their friendship has been celebrated and remembered, and it has become a precious spiritual wealth in people’s hearts.

  On May 13th, 2019, China and Kazakstan co-produced the feature film "Musician" and held its premiere conference and ceremony in Beijing. The film tells the story of China musician Xinghai Xian who moved to Almaty during World War II and was rescued by Kazakh musicians in a cruel environment. The picture shows the film’s creative staff and guests taking a group photo at the premiere conference. Xinhua News Agency reporter Shen Bohan photo

  Similarly, taking art as a bridge, in 2021, the animated short film "Song of a New China" created by Turkmenistan girl Chris in China was launched, which became an "explosion" of network positive energy. The short film of nearly 8 minutes vividly shows the birth process of march of the volunteers and tells the story of its going from China to the world.

  During the creative period, Chris and friends from China visited the National Anthem Exhibition Hall, Nie Er’s former residence, Nie Er Music Square, EMI Xiaohonglou and other places, collected a lot of written materials and remake more than a thousand old photos, and finally created a short film in the form of freeze-motion animation. "I am very happy to tell the story of the national anthem of New China in an innovative and interesting way. This story deserves to be understood by more people." Chris hopes to shoot more films in the future and show the world a real China.

  In recent years, more and more young people from Central Asian countries have become attached to China and become ambassadors of friendship — — Ruslan, who donated panda blood, Ken Jebeyev, who fought against the epidemic several times, and Ma Wenxuan & HELIP, who lamented that "I am a foreigner, but not an outsider"; …

  Navai, a famous Uzbek poet, said, "There is nothing better than living in friendship." Friends get closer, neighbors get closer. During the frequent visits, China and the people of Central Asian countries have closer hearts and deeper feelings, and will continue to jointly paint a beautiful picture of knowing each other, dating each other and interacting with each other. (Participating in reporters: Zhang Jiye, Li Ao)