中国电影发展百年经历了几个阶段：一、上世纪30年代是探索的年代，中国电影人寻找着适合中国的表达叙事与美学，比如，《马路天使》糅合了法国诗意写实、俄国蒙太奇、德国表现主义等各种艺术风格。二、上世纪40年代是多战的年代，孤岛的逃避主义、通俗剧的家国隐喻等在影像中并存，代表作如《小城之春》。三、上世纪50年代到70年代，民族风格初试。大陆电影尝试诗词、音乐入画，如《林家铺子》《早春二月》；香港电影与文学繁荣发展，代表导演有胡金铨和李翰祥，胡金铨的作品糅合京剧、山水画和中国其他传统文化，李翰祥将中国民间传说、传统戏曲、清宫历史等拍成电影。此外，李小龙在这一时期开创功夫类型电影。台湾歌舞片、爱情片作品迭出。四、上世纪90年代，海峡两岸电视圈在题材、演员、制作班底等方面开始融合，拍摄了《神雕侠侣》《射雕英雄传》等。五、21世纪海峡两岸暨港澳地区影视合作非常多，如《卧虎藏龙》《英雄》。如今，中国电影迎来百年机遇，进入一个新黄金时代。目前，中国电影业成为全球第二大市场，非传统资源如地产、网络、基金等介入电影产业，未来的改革会开发更多新类型和进行更多国际合作。

The development of Chinese film has experienced several stages in the past 100 years: First, the 1930s was the era of exploration, and Chinese filmmakers sought expression narrative and aesthetics suitable for China.For example,Angels on the Roadcombines various artistic styles, such as French poetic realism, Russian montage and German expressionism.Second, the 1940s was the time of wars.The escapism of the island and the homeland metaphor of the popular drama coexisted in the images, featuring the representative works such asSpring in a Small Town.Third, the national style was first tested from the 1950s to the 1970s.Mainland films try integrate the poetry and music into images, such asThe shop of Lin FamilyandFebruary; Hong Kong's film and literature flourished with representative directors as King Hu and Li Hanxiang.Hu's works blended Peking Opera, landscape painting and other traditional Chinese culture, while Li made Chinese folklore, traditional opera and history of the palace story of the Qing Dynasty into films.In addition, Bruce Lee created a kung fu type movie at this period.And Taiwanese films concerning songs and dances, and love, were released from time to time.Fourth, in the 1990s, the cross-Straits television circles began to integrate in terms of themes, and performers, and production crews etc., resulting in filming

The Condor HeroesandThe Legend of the Condor Heroes.Fifth, there were a lot of film and television cooperation in the 21stcentury amongst the mainland, Taiwan, Hong Kong and Macao, such asCrouching Tiger, Hidden DragonandHero.Nowadays, the Chinese films have ushered in a century of opportunities and entered a new golden age.At present, the Chinese film industry has become the world's second largest market.Some nontraditional resources, such as real estate, internet and funds are involved in this industry.Future reforms will develop more new types and conduct more international cooperation.

什么是文化？一切从生活中来的都是文化。人类的衣食住行，都穿插着时空带来的特点，这就是文化。影视手段是文化传承的最佳载体。某些消失的文化可以用影视方法重现，这是影视的优势。然而，影视作品对于传统文化的重塑需要深度挖掘。广义来说，取其精华，就是重塑。影视是大众媒体，最有条件引起大众讨论。在影视作品中，导演客观呈现一部分人在一段时空中的生存经验，再现那个时代的人文风貌、生活方式、喜怒哀乐，观众是主观理解，根据个人的人生经历引起联想，从而达到文化传承的目的。在移植一个古典作品的时候，有一句老话可能很有启发作用，叫“雁过留毛”。我认为，不是把情节搬上银幕就叫传承了古典文化，如果《三国演义》只拍出互相砍杀的战争场面，《水浒传》拍成黑社会报仇片，这就是只照顾到情节，没有带出人物所依存的辽阔社会和人生，这样就没有达到传承的目的，也失去了讨论的余地。

What is culture? Everything that emerged from life is culture.The clothing, food and shelter and transportation of people are all interspersed with the characteristics brought by time and space.This is culture.Means of film and television are the best carrier of cultural heritage.Some disappearing cultures can be reproduced by film and television, which is their advantages.However, the reshaping of traditional culture in film and television works requires deeper exploration.Broadly speaking, taking the essence is reshaping.Film and television is the mass media, most qualified to cause public discussion.In the film and television works, the director objectively presents the survival experience of some people in a certain time and space, reproducing the humanities, lifestyle, joys, angers and sorrows of that era.The audience understand the works subjectively, and the pertinent association is based on the personal life experience, thus achieving the purpose of cultural inheritance.When transplanting a classical work, there is an old saying that may be very inspiring, called "spare no effort in taking advantage of what one puts his hand on." In my opinion, it cannot be considered inheritance of the classical culture via just putting the plot on the screen.If theThree Kingdomsonly presents the scenes of wars and slashing, ifWater Marginis made into a gangster's revenge, it only focuses on the plot, without taking, the vast society and life in which the characters depend, so that they did not achieve the purpose of inheritance, losing the space for discussion.

业余时间，我参与过电视演讲、课程直播、谈话节目和音频节目。在各类传播渠道中，我感受到一个问题：我对谁负责呢？我对书本的原作者负责，还是目前的受众负责？我的受众反馈，我听不听？怎样听？怎样让更多人喜欢？鲁迅那个时代，有大数据会怎样呢？如果他们当年受到大数据受众反馈的影响会怎样？如今，新媒体存在“旧文化”。侠义公案、官场谴责等“旧文化”未必就是负能量。大众传播难免商业化：晚清民国时期，报纸的严肃文章旁边或许会刊登一个广告；今天的网页上一篇严肃文章的一旁或许有某女星的图片。今天一个学者如果坚持以鲁迅的风格在大众媒体上发言，可能年轻人不理你，甚至同行也笑话你。即便如此，作为鲁迅研究学者，我在大众媒体上传播鲁迅时，也不能根据大数据来改变鲁迅的思想原意，以及我对鲁迅的原初看法。以后，会有更多的各种内容上传到云端，当我们这些研究者成为新媒体和大众之间的“搬运工”的时候，我们到底做启蒙者、生产者还是操控者？

In my spare time, I have participated in TV presentations, live courses, live class, talk shows and audio programs.In all kinds of communication channels, I very much bear a question: Who am I responsible for? I am responsible for the original author of the book, or the current audience? Do I need to consider about my audience feedback? How to listen? How to make more people like it? In the era of Lu Xun, what would happen if there were big data? What if they were affected by feedback from big data audiences that year? Today, there is an "old culture" in new media.The "old culture", such as the chivalrous behavior and the condemnation in the official world may not belong to the negative energy.Mass communication is commercialized inevitably: during the late Qing Dynasty and the Republic of China, an advertisement might be published next to a serious article in the newspaper; there might be a picture of a woman star on the side of a serious article on today's website.Today, if a scholar insists on speaking in the mass media with Lu Xun's style, maybe the young people will ignore you, and even the peers will laugh at you.Even so, as a researcher of Lu Xun, I could not change the original intention of Lu Xun according to big data when I spread him in the mass media, and my original view of him as well.In the future, more and more content will be uploaded to the cloud.When we, the researchers, are the "porters" between the new media and the public, are we the initiators, producers, or controllers?

我在创作艺术家纪录片《呦呦自在杨英风》时，考虑有三：一、以影视再现艺术家，作为东西方文明对话的形式，为人类提供反省与前瞻的视野。二、艺术家以作品外显，一生故事与作品有超越国界、族群、政治与意识形态的高度，不拘于一时一地的定位。三、艺术家纪录片因为具有影音再现故事的能力，得跨越时间的距离编织不同时空并综合各种跨国的资料与评论，提出新的论述。

在这部纪录片的策划中，创作团队系统了解了东西方文明史、美术史，访问了70多个人，在影像表达的空间感上希望呈现艺术家的作品与当下环境的关系、作品内在空间的结构。创作的一大难点是如何表达艺术家的思想，如杨英风对中国元素的现代雕塑转型的思考、从写实转入抽象的过程以及从雕塑的客体转入天人合一的思想过程。这部纪录片的创作让我深思：当代影视媒介如何再现华人艺术家的东方哲思、抽象内涵？影视媒介如何超越写实表现抽象与哲学？如何呈现超时间与多面向空间的流动？影视艺术家的传记仍有其超越性，可避免限于一地一时的评价。宏观人类文明的长河中，艺术家是大河的主要部分。

When I was writing the artist's documentaryYang Yingfeng, I thought about three aspects: First, presentation of an artist in film and television, as a form of dialogue between the East and the West, provides an introspective and forward-looking vision for mankind.Second, the artist is explicit in his works, and his life stories and works have a height that transcends national boundaries, ethnic groups, politics and ideology, regardless of the position of the moment.Third, the artist's documentary film, due to its ability to reproduce the story through video and audio, has to weave different time and space across the age and integrate various transnational materials and comments to propose new discourse.

In the planning of this documentary, the creative team systematically understood the history of civilizations and art in the East and West, visited more than 70 people, hoping to present the relationship between the artist's work and the current environment and the structure of the inner space of the work in the spatial sense of image expression.One of the major difficulties in creation is how to express the artist's thoughts, such as Yang Yingfeng's thinking on the transformation of modern sculptures of Chinese elements, the process of turning from realism to abstraction, and that of transforming from the object of sculpture into the unity of heaven and mankind.The creation of this documentary made me ponder: How does contemporary film and television media reproduce the oriental philosophical and abstract connotations of Chinese artists? How does it transcend the realistic expression of abstraction and philosophy? How to present super time and multi-spaceoriented flow? The biography of film and television artists still has its transcendence and can be avoided from being limited to a local evaluation.In observing the long history of human civilization, the artist is the main part of the big river.

VR影视制作是开放性的，不再是平面状的镜头叙事。在360度全景中，导演以往的中心权力被削弱，怎样的叙事才更适合VR影视成为一个重要的问题。目前，其实没有纯粹的VR影视制作人，而是从电影电视、新闻记录、动画、视觉艺术等各个领域中来的人才的整合，所以，VR影视实际上是知识的整合、人才的整合和科技的整合。随着智能手机的快速发展，多屏视听越来越普及，尤其直播市场井喷发展，以及5G来临，持有怎样的“门票”才可以入场？以后，所有的文化、娱乐、电竞都是复合式的存在。所以说， VR不再是娱乐，而是开启了新的商业模式和新的生活方式。

VR film and television production is open, which no longer features a flat lens narrative.In the 360-degree panorama, the director's previous central power is weakened, and what kind of narrative is more suitable for VR film and television becomes an important issue.At present, there are no pure VR film and television producers, but they're from various fields, such as film and television, news recording, animation and visual arts.Hence, VR film and television is actually the integration of knowledge, talents and technology.With the rapid development of smart phones, multi-screen audio and video is becoming much more popular, especially the blowout development of the live broadcast market and the arrival of 5G, what kind of "tickets" can be admitted? In the future, all culture, entertainment and e-sports will be existing in a complex manner.Hence, VR is no longer entertainment, but a new business model and a new way of life.

一个时代有一个时代的审美需求，创作者要关注所处时代的文化和审美需求。目前，世界范围内的审美偏向走向了两个极端：一个极端是以漫威为代表，就是抓着自己的头发离开地球；还有一个极端是怀旧，这也是离开现实生活。而中间这部分——直面现实，直面当下的政治、经济、文化、生活真实层面的文艺作品，却比较缺乏。从大陆改革开放以来的电视剧经典中可以发现，每个时代文化思想的审美需求成就了时代作品。以往我们的审美标准来自于文学，现在可能来自于影视。在科技发展推动新媒体和文化平台发展的情况下，在传承和创新中剧作家应有所担当。

An era has its own aesthetic need.Creators should pay attention to the cultural and aesthetic needs of time.At present, the aesthetic bias around the world has gone to two extremes: one extreme is represented by Marvel, which is to hold hair to leave the earth; there is also an extreme nostalgia, which is also leaving the real life.However, the middle part - facing the reality, the current political, economic, cultural and real-life literary and artistic works, is relatively lacking.From the classics of TV dramas since the reform and opening up of the mainland, we can find that the aesthetic needs of cultural thoughts in each era have made the works of the times successful.In the past, our aesthetic standards came from literature, and now may come from film and television.In the context of the development of science and technology to promote the advancement of new media and cultural platforms, playwrights should take due responsibility for inheritance and innovation.

香港的艺术百花齐放、中西并容。粤剧于2009年被列入联合国教科文组织非物质文化遗产名录，因此香港政府对粤剧投放的资源大大增加，社会人士对粤剧的支持亦普遍提高。2018年是粤港澳大湾区规划出台实施第一年，湾区有七千万粤语人口。香港在文化方面应该更积极主动地促进国际人文交流，发挥香港在促进东西方交流、文明互鉴、民心相通等方面的特殊作用。我建议在大湾区建立一个文化产业园区，让有志之士汇聚起来，作为文化事业创业者的孵化基地。这个基地可以达到文化交流、培育、创作三个目的。有了产业园区，再加上简化行政手续，巡演可以一次性报批，艺团可以有更好的计划，能预计票房回报，吸引更多投资，增加节目数量。香港特区政府现时没有专责的政策局负责文化艺术，容易资源重叠又或者是遗漏照顾。期待建立专责部门，统整及推行政策和落实计划，加强传统文化和艺术的承传、教育和推广。

Hong Kong's art develops comprehensively, integrating the East and the West.Cantonese opera was included in the UNESCO Intangible Cultural Heritage List in 2009.As a result, the Hong Kong government's resources for Cantonese opera have increased significantly, and the related support from the public has generally enhanced as well.The year of 2018 was the first year of the implementation of the Guangdong-Hong Kong-Macao Greater Bay Area, which holds 70 million Cantonesespeaking residents.In terms of culture, Hong Kong should be more proactive in promoting international cultural exchanges while giving play to its special role in advancing exchanges between the East and the West, mutual understanding of civilizations, and bilateral support among the people.I propose to establish a cultural industrial park in the Bay Area to bring together people with lofty ideals as an incubation base for entrepreneurs in cultural undertakings.This base is targeted to achieve such three purposes as cultural exchange, cultivation and creation.With industrial parks and simplified administrative procedures, touring perform ance projects can be approved at one time.The arts group can have better plans, predict box office returns, attract more investment and increase the number of programs.The Hong Kong SAR Government does not have a dedicated policy bureau responsible for culture and art at present, which may cause resources overlapping or ignorance.It is expected to establish a dedicated department to integrate and implement policies and plans to strengthen the inheritance, education and promotion of traditional culture and art.

沉浸式科技可以带给人一种身历其境的感觉。结合计算机动画所创造出的虚拟世界，可以带领民众突破时空限制，进入一个想象空间。太极公司和台北“故宫”合作长达15年，见证新媒体科技在文化和艺术展演、教育上的演进和各种可能性。从台北“故宫”常设展区《古画动漫》七幅长卷动画，到VR走入画中，如《鹊华秋色图》 《清院本清明上河图》等，太极公司不断运用新科技，结合对历史文物的深入考证，激发民众对中华文化的兴趣，并以轻松、有趣的方式去传播文化，最后再以相关文创商品让文化和大众生活相结合。沉浸式科技将过去的信息传递进化为“体验”的传递，已逐步成为文化和艺术展演的重要手法，既能吸引更多观众的参与，也有助于社会生活质量的提升。

Immersive technology can give people a sense of immersion.With the virtual world created by computer animation, it can lead people to break through time and space and enter an imaginary space.DIGIMAX has cooperated with Taipei Palace Museum for 15 years, witnessing the evolution and various possibilities of new media technology in cultural and artistic performances, and education.From the seven long scrolls of animations of theOld Picture and Animationin the permanent exhibition area of the Taipei Palace Museum, to the VR, such asAutumn Scereny,The Qing court paintingetc., DIGIMAX constantly uses new technology to combine in-depth research of historical artifacts to stimulate people's interest in Chinese culture, and spread the culture in an easy and interesting way, and eventually combining culture and public life with related cultural and creative products.

澳门文学既受着西方文化的影响，又深受中国传统文化的影响，可以说，中华文化对澳门文学的影响从未间断过。近十年，澳门基金会和澳门作家组织“澳门笔会” ，合作推动澳门中篇小说的创作和出版工作，而且目标明确：为回应澳门政府着力发展影视产业而累积澳门故事，让文学作品为影视创作提供良好的剧本基础。从这些作品中可以看出，这一代澳门作者比之他们的前辈，更为热衷于游走在中西文化之间——不管是生活思考还是人生价值判断，都有了更多元包容的观念；而且故事内容和小说创作手法，也都不拘泥于传统的小说创作手法，借鉴了不少西方现代创作技巧，更有意识地寻找故事创意，拓展更开阔的小说世界。与此同时，由于十分清楚作品有机会改编成电影剧本，所以，作者都自觉或不自觉地进行影像化创作。

Macao literature is both influenced by Western culture and Chinese traditional culture.It can be said that the influence of Chinese culture on Macao literature has never been interrupted.In the past decade, the Macao Foundation and Macao Writers organized the "Macao Writers' Circle Association" (Pen of Macao) to promote the creation and publication of Macao's novels, and the goal is clear: in response to the Macao government's efforts to develop the film industry so as to accumulate the story of Macao, leading to provide sound foundation of scripts for creation of film and television.As can be found from these works, this generation of Macao authors are more enthusiastic than their predecessors to wander between the Chinese and Western cultures - whether concerning life thinking or life value judgment, there is more concept of inclusiveness; the content of the story and the novel creation techniques are not limited to the traditional, but drawn on many Western modern creative techniques, and more consciously look for story ideas and expand novel's broader world.Meanwhile, since it is very clear that the work has the opportunity to be adapted into a film script, the authors consciously or unconsciously perform visual creation during the process.

为什么只有中华民族保持了自己较为完整的文化形态，而且一直能够保存到今天？有一种地理决定论，认为中华民族所赖以生存的这片土地，北边有广袤的沙漠，西边不仅有广袤的沙漠戈壁，还有像喜马拉雅山、昆仑山、阿尔泰山这样的高大雪山，东面和东南边是大海，茂密的原始森林和高山大河使得我们这个延续了几千年的文明在一个比较封闭的环境中不容易受到异族的入侵。这并不能令人完全信服。

我认为我们这个民族之所以能够生存，更多的还是因为文化。《中国：我们的故事》是我们即将和英美同行合作拍摄的一部纪录片，主要是讲述中华民族的故事，向人们揭示隐藏在中华民族历史中的独特的遗传基因和遗传密码，让人们认识到中华民族是爱好和平的，不愿意走极端的民族。在古代，有世界大同的思想，在今天就是命运共同体，而我们连接这个世界的方式，是与全世界互利互惠的方式。

(专家观点文字由本刊记者蒲波整理)

Why is only the Chinese nation maintaining its relatively complete cultural form and has been able to save it to this day? There is a type of geographical determinism, saying that the land on which the Chinese nation depends is rich in deserts in the north, not only vast desert Gobi in the west, but also the tall snow-capped mountains like the Himalayas, Kunlun Mountains and Altai Mountains, the sea in the east and southeast, virgin forest and the high mountains and rivers making our civilization lasting for thousands of years not easily invaded by aliens in a relatively closed environment.However, this is not completely convincing.

I think that the reason for our nation's survival is more because of culture.China: Our Storyis a documentary based upon our upcoming collaboration with British and US counterparts.It mainly tells the story of the Chinese nation and reveals the unique DNA and genetic codes hidden in the history of the nation, allowing people to know that the Chinese nation is peace-loving and unwilling to take the extreme.The thought of universal brotherhood in the ancient times is the Community with a Shared Future at present, and the way we connect this world is to realize mutual benefit with the whole world.