中國電影發(fā)展百年經(jīng)歷了幾個階段：一、上世紀30年代是探索的年代，中國電影人尋找著適合中國的表達敘事與美學，比如，《馬路天使》糅合了法國詩意寫實、俄國蒙太奇、德國表現(xiàn)主義等各種藝術風格。二、上世紀40年代是多戰(zhàn)的年代，孤島的逃避主義、通俗劇的家國隱喻等在影像中并存，代表作如《小城之春》。三、上世紀50年代到70年代，民族風格初試。大陸電影嘗試詩詞、音樂入畫，如《林家鋪子》《早春二月》；香港電影與文學繁榮發(fā)展，代表導演有胡金銓和李翰祥，胡金銓的作品糅合京劇、山水畫和中國其他傳統(tǒng)文化，李翰祥將中國民間傳說、傳統(tǒng)戲曲、清宮歷史等拍成電影。此外，李小龍在這一時期開創(chuàng)功夫類型電影。臺灣歌舞片、愛情片作品迭出。四、上世紀90年代，海峽兩岸電視圈在題材、演員、制作班底等方面開始融合，拍攝了《神雕俠侶》《射雕英雄傳》等。五、21世紀海峽兩岸暨港澳地區(qū)影視合作非常多，如《臥虎藏龍》《英雄》。如今，中國電影迎來百年機遇，進入一個新黃金時代。目前，中國電影業(yè)成為全球第二大市場，非傳統(tǒng)資源如地產(chǎn)、網(wǎng)絡、基金等介入電影產(chǎn)業(yè)，未來的改革會開發(fā)更多新類型和進行更多國際合作。

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？一切從生活中來的都是文化。人類的衣食住行，都穿插著時空帶來的特點，這就是文化。影視手段是文化傳承的最佳載體。某些消失的文化可以用影視方法重現(xiàn)，這是影視的優(yōu)勢。然而，影視作品對于傳統(tǒng)文化的重塑需要深度挖掘。廣義來說，取其精華，就是重塑。影視是大眾媒體，最有條件引起大眾討論。在影視作品中，導演客觀呈現(xiàn)一部分人在一段時空中的生存經(jīng)驗，再現(xiàn)那個時代的人文風貌、生活方式、喜怒哀樂，觀眾是主觀理解，根據(jù)個人的人生經(jīng)歷引起聯(lián)想，從而達到文化傳承的目的。在移植一個古典作品的時候，有一句老話可能很有啟發(fā)作用，叫“雁過留毛”。我認為，不是把情節(jié)搬上銀幕就叫傳承了古典文化，如果《三國演義》只拍出互相砍殺的戰(zhàn)爭場面，《水滸傳》拍成黑社會報仇片，這就是只照顧到情節(jié)，沒有帶出人物所依存的遼闊社會和人生，這樣就沒有達到傳承的目的，也失去了討論的余地。

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.

業(yè)余時間，我參與過電視演講、課程直播、談話節(jié)目和音頻節(jié)目。在各類傳播渠道中，我感受到一個問題：我對誰負責呢？我對書本的原作者負責，還是目前的受眾負責？我的受眾反饋，我聽不聽？怎樣聽？怎樣讓更多人喜歡？魯迅那個時代，有大數(shù)據(jù)會怎樣呢？如果他們當年受到大數(shù)據(jù)受眾反饋的影響會怎樣？如今，新媒體存在“舊文化”。俠義公案、官場譴責等“舊文化”未必就是負能量。大眾傳播難免商業(yè)化：晚清民國時期，報紙的嚴肅文章旁邊或許會刊登一個廣告；今天的網(wǎng)頁上一篇嚴肅文章的一旁或許有某女星的圖片。今天一個學者如果堅持以魯迅的風格在大眾媒體上發(fā)言，可能年輕人不理你，甚至同行也笑話你。即便如此，作為魯迅研究學者，我在大眾媒體上傳播魯迅時，也不能根據(jù)大數(shù)據(jù)來改變魯迅的思想原意，以及我對魯迅的原初看法。以后，會有更多的各種內容上傳到云端，當我們這些研究者成為新媒體和大眾之間的“搬運工”的時候，我們到底做啟蒙者、生產(chǎn)者還是操控者？

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?

我在創(chuàng)作藝術家紀錄片《呦呦自在楊英風》時，考慮有三：一、以影視再現(xiàn)藝術家，作為東西方文明對話的形式，為人類提供反省與前瞻的視野。二、藝術家以作品外顯，一生故事與作品有超越國界、族群、政治與意識形態(tài)的高度，不拘于一時一地的定位。三、藝術家紀錄片因為具有影音再現(xiàn)故事的能力，得跨越時間的距離編織不同時空并綜合各種跨國的資料與評論，提出新的論述。

在這部紀錄片的策劃中，創(chuàng)作團隊系統(tǒng)了解了東西方文明史、美術史，訪問了70多個人，在影像表達的空間感上希望呈現(xiàn)藝術家的作品與當下環(huán)境的關系、作品內在空間的結構。創(chuàng)作的一大難點是如何表達藝術家的思想，如楊英風對中國元素的現(xiàn)代雕塑轉型的思考、從寫實轉入抽象的過程以及從雕塑的客體轉入天人合一的思想過程。這部紀錄片的創(chuàng)作讓我深思：當代影視媒介如何再現(xiàn)華人藝術家的東方哲思、抽象內涵？影視媒介如何超越寫實表現(xiàn)抽象與哲學？如何呈現(xiàn)超時間與多面向空間的流動？影視藝術家的傳記仍有其超越性，可避免限于一地一時的評價。宏觀人類文明的長河中，藝術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影視制作是開放性的，不再是平面狀的鏡頭敘事。在360度全景中，導演以往的中心權力被削弱，怎樣的敘事才更適合VR影視成為一個重要的問題。目前，其實沒有純粹的VR影視制作人，而是從電影電視、新聞記錄、動畫、視覺藝術等各個領域中來的人才的整合，所以，VR影視實際上是知識的整合、人才的整合和科技的整合。隨著智能手機的快速發(fā)展，多屏視聽越來越普及，尤其直播市場井噴發(fā)展，以及5G來臨，持有怎樣的“門票”才可以入場？以后，所有的文化、娛樂、電競都是復合式的存在。所以說， VR不再是娛樂，而是開啟了新的商業(yè)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.

一個時代有一個時代的審美需求，創(chuàng)作者要關注所處時代的文化和審美需求。目前，世界范圍內的審美偏向走向了兩個極端：一個極端是以漫威為代表，就是抓著自己的頭發(fā)離開地球；還有一個極端是懷舊，這也是離開現(xiàn)實生活。而中間這部分——直面現(xiàn)實，直面當下的政治、經(jīng)濟、文化、生活真實層面的文藝作品，卻比較缺乏。從大陸改革開放以來的電視劇經(jīng)典中可以發(fā)現(xiàn)，每個時代文化思想的審美需求成就了時代作品。以往我們的審美標準來自于文學，現(xiàn)在可能來自于影視。在科技發(fā)展推動新媒體和文化平臺發(fā)展的情況下，在傳承和創(chuàng)新中劇作家應有所擔當。

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.

香港的藝術百花齊放、中西并容?；泟∮?009年被列入聯(lián)合國教科文組織非物質文化遺產(chǎn)名錄，因此香港政府對粵劇投放的資源大大增加，社會人士對粵劇的支持亦普遍提高。2018年是粵港澳大灣區(qū)規(guī)劃出臺實施第一年，灣區(qū)有七千萬粵語人口。香港在文化方面應該更積極主動地促進國際人文交流，發(fā)揮香港在促進東西方交流、文明互鑒、民心相通等方面的特殊作用。我建議在大灣區(qū)建立一個文化產(chǎn)業(yè)園區(qū)，讓有志之士匯聚起來，作為文化事業(yè)創(chuàng)業(yè)者的孵化基地。這個基地可以達到文化交流、培育、創(chuàng)作三個目的。有了產(chǎn)業(yè)園區(qū)，再加上簡化行政手續(xù)，巡演可以一次性報批，藝團可以有更好的計劃，能預計票房回報，吸引更多投資，增加節(jié)目數(shù)量。香港特區(qū)政府現(xiàn)時沒有專責的政策局負責文化藝術，容易資源重疊又或者是遺漏照顧。期待建立專責部門，統(tǒng)整及推行政策和落實計劃，加強傳統(tǒng)文化和藝術的承傳、教育和推廣。

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.

沉浸式科技可以帶給人一種身歷其境的感覺。結合計算機動畫所創(chuàng)造出的虛擬世界，可以帶領民眾突破時空限制，進入一個想象空間。太極公司和臺北“故宮”合作長達15年，見證新媒體科技在文化和藝術展演、教育上的演進和各種可能性。從臺北“故宮”常設展區(qū)《古畫動漫》七幅長卷動畫，到VR走入畫中，如《鵲華秋色圖》 《清院本清明上河圖》等，太極公司不斷運用新科技，結合對歷史文物的深入考證，激發(fā)民眾對中華文化的興趣，并以輕松、有趣的方式去傳播文化，最后再以相關文創(chuàng)商品讓文化和大眾生活相結合。沉浸式科技將過去的信息傳遞進化為“體驗”的傳遞，已逐步成為文化和藝術展演的重要手法，既能吸引更多觀眾的參與，也有助于社會生活質量的提升。

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.

澳門文學既受著西方文化的影響，又深受中國傳統(tǒng)文化的影響，可以說，中華文化對澳門文學的影響從未間斷過。近十年，澳門基金會和澳門作家組織“澳門筆會” ，合作推動澳門中篇小說的創(chuàng)作和出版工作，而且目標明確：為回應澳門政府著力發(fā)展影視產(chǎn)業(yè)而累積澳門故事，讓文學作品為影視創(chuàng)作提供良好的劇本基礎。從這些作品中可以看出，這一代澳門作者比之他們的前輩，更為熱衷于游走在中西文化之間——不管是生活思考還是人生價值判斷，都有了更多元包容的觀念；而且故事內容和小說創(chuàng)作手法，也都不拘泥于傳統(tǒng)的小說創(chuàng)作手法，借鑒了不少西方現(xiàn)代創(chuàng)作技巧，更有意識地尋找故事創(chuàng)意，拓展更開闊的小說世界。與此同時，由于十分清楚作品有機會改編成電影劇本，所以，作者都自覺或不自覺地進行影像化創(chuàng)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.

為什么只有中華民族保持了自己較為完整的文化形態(tài)，而且一直能夠保存到今天？有一種地理決定論，認為中華民族所賴以生存的這片土地，北邊有廣袤的沙漠，西邊不僅有廣袤的沙漠戈壁，還有像喜馬拉雅山、昆侖山、阿爾泰山這樣的高大雪山，東面和東南邊是大海，茂密的原始森林和高山大河使得我們這個延續(xù)了幾千年的文明在一個比較封閉的環(huán)境中不容易受到異族的入侵。這并不能令人完全信服。

我認為我們這個民族之所以能夠生存，更多的還是因為文化?！吨袊何覀兊墓适隆肥俏覀兗磳⒑陀⒚劳泻献髋臄z的一部紀錄片，主要是講述中華民族的故事，向人們揭示隱藏在中華民族歷史中的獨特的遺傳基因和遺傳密碼，讓人們認識到中華民族是愛好和平的，不愿意走極端的民族。在古代，有世界大同的思想，在今天就是命運共同體，而我們連接這個世界的方式，是與全世界互利互惠的方式。

(專家觀點文字由本刊記者蒲波整理)

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.