分类归档 fun

　　To a great extent, Hollywood, a field that creates starlight and infinite capital circulation and accumulation, is itself an important part of the development of capitalism. Therefore, when it wants to review or point out the problem of creating its own matrix, it will often show a very shallow state, and with the trend of commercial interests, it will eventually exhaust a newly created type and become a routine and frivolous. On the other hand, the independent nature of film art itself often seems to fall behind in this complex and powerful capital cycle. In Hollywood genre films, it seems that we can’t ask or criticize the film as an art, but we need to treat it as a symptom or the tip of the iceberg, and explore the "subconscious" hidden in it by paying attention to and analyzing some of its main parts.

　　Pokémon Detective Pikachu is one of the members of the Hollywood film assembly line, with a rigid mode and outdated routines. If you know something about this kind of film, you can easily guess the direction of the story, the setting of the role and the meaning it hopes to convey — — If it really means anything. Nevertheless, in this film, there are two issues that deserve a little discussion. On the one hand, these two issues appear repeatedly in Hollywood genre films, on the other hand, it seems to subconsciously show an important aspect and ideology of western capitalist society. The first is the magic of capital in movies, and the second is the eternal father-son stalk in such movies in Hollywood.

　　Tim and Pikachu

　　First, "absolute capital leads to absolute corruption"

　　If we change the famous saying of the British historian Lord acton that "power leads to corruption, and absolute power leads to absolute corruption", we can clearly show the most important clue in Pokémon Detective Pikachu, that is, "capital leads to corruption, and absolute capital leads to absolute corruption". In the film, Lyme City, where man and Pockmarked coexist peacefully, is based on the dream of Howard Clifford, a great entrepreneur. He hopes that through this attempt, both people and Pockmarked can grow into more perfect selves. When Tim, the hero, set foot in Lyme, the female voice in the city propaganda video gently tells the beauty and harmony of the city, and the people on the city road keep abreast with Baokemeng, enjoying themselves … … These scenes are no strangers to this kind of movies in Hollywood, and when we put them into this sequence, we will immediately be alert, that is, the prosperity and peace on the surface often hide the conspiracy behind them.

　　In the movie Zootopia in 2016, isn’t it very similar to Tim’s story that Judy rabbit from the countryside first set foot in the animal city? Animal City and Lyme City are also very similar to a great extent. They are both open and inclusive cities, where different species (man and treasure can dream) and natural enemies (carnivores and herbivores) can coexist peacefully. But according to Zootopia’s experience, we may have to be wary of what Lyme claims.

　　This vigilance comes from the long-standing utopia in the west and the subsequent dystopian literary tradition. With the rapid development of capitalism initiated by the western industrial revolution in the 19th century, many people of insight began to be anxious and wary of the environmental damage caused by large-scale machine production and the changes in traditional social organization forms and moral and ethical relations, so Utopia literature flourished in this concern. Whether it is the early communist thought in France or the yearning and return to the production mode of medieval workshops in the British arts and crafts movement. Its representative, william morris, once wrote a novel called The News of Utopia (1890). In this fantasy novel, Morris imagined the beauty and prosperity of the future society through the comparison between the old and the new, and at the same time attacked the evils of the capitalist society at the end of the 19th century.

　　Morris’s novel probably has the main elements of the same type of utopian novels, and it has also become a template to some extent. But for those who suffered from the two world wars in the 20th century, they were keenly aware that utopia might eventually become an "evil state", so Huxley’s Brave New World appeared in 1933 and George Orwell’s 1984 appeared in 1949, which were called dystopian novels.

　　To some extent, utopia is the product of the Enlightenment. In Hollywood movies, those who firmly believe in utopia have very strong beliefs about "perfection" and "purity", and can’t tolerate any impurities. It is this ideology that gives it the privilege to explain the "perfect future" and do whatever it wants in the present — — That is, the so-called "as long as the purpose is noble, the process can be unscrupulous" — — Violence is also rationalized in it. In Pokémon Detective Pikachu, isn’t Howard, who is disabled, crazy about perfection? For this reason, he spared no effort to combine people with Baokemeng, thus forming a new and more perfect organism.

　　Seemingly perfect cities are just masks.

　　Hollywood genre films have absorbed the anti-utopian literary tradition. From Zootopia to Pokémon Detective Pikachu, seemingly perfect cities are just masks, but the forces that cause this mask or threaten this utopian dream are different in the two films. In Zootopia, it is the desire for power that creates crisis and corruption. In Pokémon Detective Pikachu, it is capital that leads to corruption. These two modes are very typical "evil" forces in Hollywood movies. On the one hand, they reflect some universal desires in human nature, on the other hand, they also expose the strength of the two most important gray forces in modern social/political system.

　　In Pokémon Detective Pikachu, Lyme has its own mayor, city council, police and media, but as Lucy said in the movie, they are all controlled by Howard. Howard was able to do this because of his strong financial resources, which made Lyme almost completely in his pocket from the beginning. Here, we see a very typical model — — This model is often accused of the inherent shortcomings of the capitalist system — — That is, the role of money in social politics, especially its intervention and even control in normal social and political operations.

　　This model emerges endlessly in Hollywood movies of this kind, and the rich are seeking for their own selfish desires — — Sometimes these selfish desires are expressed in a selfless form of "serving the country and the people" — — And use their own financial resources to do whatever they want. Among them, science, politics and propaganda are often the focus of attention, which once again reflects the complex mood of science as a "new religion" in modern society. On the one hand, people are happy with the practical changes it has brought, but on the other hand, they are afraid of its elusive power. In Jurassic Park, scientists used genetic technology to breed new dinosaurs, which caused disasters. In "Venom", scientists study alien creatures and create venom; In Pokémon Detective Pikachu, the powerful dream of Bao Ke Meng also comes from scientists’ cloning technology … … Behind these scientific researches, there is often an ambitious entrepreneur figure.

　　We may say that the panic about infinite capital in Hollywood movies is actually the anxiety about the hidden crisis of capitalist economy. As Marx pointed out, the capitalist economic system has some innate defects, that is, the inevitable economic crisis; And when it develops without restraint, there will be a social problem of "the rich get richer and the poor get poorer", which will lead to social unrest. Therefore, when this point is pointed out again and again in movies, some psychology hidden in it is to be alert to it, and even to provide corresponding solutions. Although these methods are often quite effective in solving disasters in movies, they are often very limited in real life. In Pokémon Detective Pikachu, the solution to the crisis caused by rampant capital is also a very conventional model in Hollywood movies, that is, the power of father and son.

　　Super dream

　　Second, the routine of father and son

　　Two pairs of father and son appeared in Pokémon Detective Pikachu — — Entrepreneur Howard Clifford and his son Roger, Harry Goodman and his son Tim. The story begins when Tim, a boy who has not been in contact for many years, receives the news of his father’s death and goes to Lyme to collect his relics. There is a fixed pattern of the relationship between Tim and his father in Hollywood movies, that is, the search for "lost father": most of these father-son relationships are alienated or even hostile at the beginning for some reasons, which leads to the severance of news for many years, and finally the son comes because of sudden changes (such as birth, illness, death, etc.) of one party (mostly the father); In this process, the son will find another father image that is completely different from his own impression or imagination, and what has separated them for many years before is often some misunderstanding or emotional negligence that could have been explained … … Goodman’s son is a textbook demonstration of this model. In this kind of father-son relationship, there is a detail that needs attention, that is, the absence of being a wife/mother in the family. In Pokémon Detective Pikachu, neither Goodman nor Clifford, who will be discussed next, have the role of wife/mother. Tim’s mother died very early, and Roger Clifford’s mother probably died or was not in the family, but in any case, the female role was absent.

　　Because of this, the situation of Goodman and his son will appear, and the death of his wife/mother is even an important reason for this problem to a great extent. On the other hand, it is precisely because of the absence of the role of wife/mother that the father and son can become the protagonists of the story, which further shows that in a traditional patriarchal society, the power struggle often occurs between men, and it mainly revolves around both father and son.

　　To some extent, we can regard the father-son model just described as a metaphor, that is, the love-hate relationship between father and son pointed out by Freud, in which rebellion and inheritance are often the main theme. Therefore, in the Oedipus complex studied by Freud, "father" is an important influencing factor, even a decisive factor. With the growth of his son, his father’s authority began to influence him and ordered him to transfer the attachment and desire he had devoted to his mother, so that he began to look like his father, thus preserving and continuing the "male heir chain", which also enabled the patriarchal law and a series of related social systems, political concepts and ideologies to be consolidated and reproduced. Oedipus complex marks the continuation of patriarchal ideology, and in order to achieve this goal, the return of sons has become the main concern.

　　Between Tim and his father Harry, isn’t there a "alienation — — Understand — — The process of identity? To a great extent, there are two connotations in finding the lost father: one is to find the father who thought he was dead; The second is to find the connection between father and son again, and to be their successor again. At the beginning of the film, Tim works in an insurance company, and his friends are sparse, depressed and have no future. His dream of becoming a Baokemeng trainer is out of reach. With the journey to find his father, Tim’s life is also changing quietly, from boring to exciting and adventurous now, and in the process, he not only knows Bao Kemeng, but also knows the girl Lucy, and finally saves Lyme … … Tim’s change is accompanied by his approach to his father, so it is the desire to find his father that makes him stronger and stronger, and finally reaches the level of his father and can be seen again. Tim’s experience seems to be a very traditional journey of juvenile (hero) growth, but because of the image of "father" and its importance in the process, it is more like a process of returning to his father, that is, the return of some prodigal son.

　　In the film "Solyaris" filmed by the famous Soviet director Tarkovsky in 1972, there was also a similar father-son relationship. Because of the power of Solaris, the hero can see the ghost of his dead wife again and suffer from it; But at the end of the movie, the hero who returned to earth came to his father’s door and knelt in front of him crying … … When analyzing this part, Zizek pointed out that the pain of seeing the hero and his wife again not only brought about the reconciliation between them, but also brought about the sacred reconciliation between him and his estranged father. Here, it shows not only the redundancy of women, but also the closed relationship between father and son, that is, in order to maintain the purity of inheritance, women must be excluded, and sons must give up women — — Mother and wife — — Go back to your father.

　　In Pokémon Detective Pikachu, contrary to Goodman’s father-son model, Clifford’s father-son model also lies in Freud’s Oedipus complex, that is, for fear of being castrated by his father, his son must carefully suppress and protect himself, but with the decline of his father and the strength of his son, this traditional power relationship will inevitably turn. Among Clifford’s sons, his father Howard is a successful entrepreneur, famous in the world and powerful, while his son Roger — — As Howard said to Tim in the movie — — I have always felt that I am living in the shadow of my father, and I hope to break free. However, with Howard’s illness and dependence on wheelchairs, the power contrast between father and son began to turn. But as the story progressed, we discovered that the image of "rebellious son" was completely invented by Howard himself to deceive Tim and others, and from beginning to end, the son was under the control of his father.

　　If Tim is looking for a "lost father", then Roger is fighting against a "strong father", but no matter what kind of father, their authority always exists, only fluctuates with different circumstances. Therefore, for Roger, overthrowing his father’s "tyranny" often requires borrowing the hands of others. In the movie, with the plot of Tim and others to finally destroy Howard, Roger can inherit everything that originally belonged to his father. Interestingly, on the one hand, he may criticize and deny his father, but on the other hand, he enjoys his privileges under the wealth and power created by his father. This also makes the continuous connection between father and son intact, so it is still "reconciliation" in a sense. In Freud’s view, with the decline of his father, his son will replace him one day, but this replacement is not to completely destroy everything his father built, but often to inherit and develop it. Therefore, the "resistance" here is often not a positive revolution, but just another dynasty change.

　　In nirvana in fire, the finally defeated old emperor said to his son who will inherit his position in the future, in this position, you will become me one day. This is the biggest curse of this kind of father-son model, that is, because the son did not thoroughly reflect, criticize and reconstruct the things left by his father from the beginning, the traditional father’s law and related structural problems still exist, and often strongly control all the newcomers who enter it, which is the meaning of the old emperor in nirvana in fire, that is, as long as the most fundamental problems are not studied and solved, the metropolis will eventually become a boiling point. This is most evident in China’s imperial system of more than 2,000 years.

　　In Pokémon Detective Pikachu, what will Roger, who gained the power of his father, eventually become? From the last detail in the movie, we can find that he may go back to his father’s old way. On the one hand, because of his own ambition, on the other hand, because when he enters the "father’s world", many things may be beyond his control. At the same time, it should be noted that as a new capitalist with almost hegemony in Lyme, it may be difficult for Roger to break through the numerous restrictions and agitation and destroy this closed wheel.

　　III. Conclusion: Limitations of Blasting Fire Fighting

　　If we look at the two problems discussed above together, we will find that in Pokémon Detective Pikachu, the way to solve the tyranny and corruption from capital is to join hands with father and son, that is, to eliminate the damage caused by one father and son through reconciliation. We often see this solution in Hollywood movies. No matter with the help of the dead father’s power (Thor) or its enlightenment (Black Panther), the son will eventually eliminate evil and restore the world order with the help of his estranged father. But there are many problems in this scheme.

　　Regarding the relationship between capitalism and father and son, to some extent, we can say that it is "father and son" who created the capitalist system and its ideology in modern western countries. When Engels studied the capitalist family and private ownership, he had already found that the patriarchal system itself eventually provided great help for the capitalist system to gain a firm foothold and flourish, and in return, the capitalist system accepted the patriarchal ideology and infiltrated into society, politics and culture under its strong influence. Therefore, from the beginning, capitalism and the patriarchal system have been allies and helped each other, so when the current one has problems, it will directly affect the latter, so it is whimsical for the latter to solve the problems caused by the former.

　　In Pokémon Detective Pikachu, we can see that the restoration of order in Lyme and the reconstruction of the relationship between father and son (Goodman and son) are synchronous with the replacement (Clifford and son), and the damage caused by capital is more like some external warning of the relationship between father and son, which will be rampant once it is in crisis (Clifford and son’s antagonistic relationship). When it is restored, the circulation and accumulation of capital are also restarted, and the security of the father-son relationship is protected through its power. Therefore, there seems to be a closed connection, interlocking, so that as a "son — — Father — — The rights and interests of the son’s capitalists will not be threatened, and further progress will be made towards 1%.

　　Therefore, the use of "father and son" to solve the ravages of capital and power may itself be a boiling point. In Pokémon Detective Pikachu, the problem solved by Tim and his father is only a specific event, and when Hollywood begins to plan its sequel, it means the emergence of a new crisis; On the other hand, the use of "father and son" to solve the problems originally created by them may even lead to the situation of blowing fire, and the final result can only be that the fire is burning more and more brightly, even if it does not appear now, it has become a hidden danger, waiting for the outbreak of one day.

During the 13th Five-Year Plan period, the scale and intensity of China’s R&D investment (hereinafter referred to as "R&D investment") have steadily increased, but there is still a significant gap compared with the expected goal proposed in the 13th Five-Year Plan. During the "Fourteenth Five-Year Plan" period, it is necessary to formulate the target and supporting policies for the growth of R&D investment in light of the situation and needs faced by development.

First, the basic situation of R&D investment growth during the "Thirteenth Five-Year Plan" period

(1) The scale and intensity of R&D investment have steadily increased.

According to the Statistical Bulletin of National Science and Technology Investment, the total R&D investment in China reached 2.23 trillion yuan in 2019, an increase of 810 billion yuan compared with 1.42 trillion yuan in 2015, with an average annual growth rate of 11.8% in the Thirteenth Five-Year Plan; China’s R&D investment intensity reached 2.23%, 0.16 percentage points higher than 2.07% in 2015. (See Figure 1) By horizontal comparison, China’s total R&D investment has been ranked second in the world since it surpassed Japan in 2013, and China’s R&D investment intensity has exceeded the average level of 2.13% in the 15 EU countries, which is not far from the average level of 2.37% in OECD countries.

Figure 1 Total R&D expenditure and investment intensity in China from 2010 to 2019.

Source: According to the Statistical Bulletin of National Science and Technology Investment from 2010 to 2019.

(B) R&D funding structure further optimized.

The proportion of investment in basic research and applied research has increased. In 2019, the total investment in basic research in China reached 133.6 billion yuan, accounting for 6% of R&D funds, an increase of 0.9 percentage points compared with 2015; Applied research funds reached 249.9 billion yuan, accounting for 11.3% of R&D funds, an increase of 0.5 percentage points compared with 2015; The experimental development funds reached 1,831 billion yuan, accounting for 82.7% of the R&D funds.

The supporting role of research and development in colleges and universities has been enhanced. In 2015, the R&D expenditures of enterprises, government-owned research institutions and universities accounted for 76.8%, 15.1% and 7.0% respectively, and the R&D expenditures of universities were low. Since the "Thirteenth Five-Year Plan", the R&D expenditure of enterprises, government-owned research institutions and universities has increased by 11.7%, 9.6% and 15.8% annually, respectively, and the proportion in the national R&D investment has been adjusted to 76.4%, 13.9% and 8.1%, and the role of universities in innovation investment has been relatively enhanced.

The growth of R&D investment in the central and western regions kept catching up. From 2016 to 2019, the R&D investment in the eastern, central, western and northeastern regions increased by 11.0%, 15.9%, 13.3% and 4.9% respectively, and the central and western regions accounted for 30.4% of the national R&D investment, an increase of 3 percentage points compared with 2015.

(C) It is difficult to achieve the objectives of the 13th Five-Year Plan.

The goal of R&D investment intensity proposed in the "Thirteenth Five-Year Plan" is to increase by 0.4 percentage points in five years, and the R&D investment intensity will reach 2.5% by 2020. In 2019, the R&D investment intensity in China was 2.23%, and only 32.5% of the planned progress was completed in the first four years. Affected by the COVID-19 epidemic, the decline of R&D investment growth rate in China in 2020 may be greater than the decline of nominal GDP growth rate, which makes it more difficult for R&D investment intensity to reach the standard.

Figure 2 Growth rate of total R&D investment in China from 2000 to 2019

Source: According to Statistical Bulletin of National Science and Technology Investment.

The direct reason why the intensity of R&D investment during the Thirteenth Five-Year Plan period is difficult to meet expectations is that the growth rate of R&D investment has slowed down significantly after 2014. The main work of compiling the outline of the 13th Five-Year Plan was completed in 2014, and the average annual growth rate of R&D expenditure in China from 2000 to 2013 was as high as 22.7%. Extrapolating from this growth rate, with the nominal GDP growing at an average annual rate of 9.5% during the 13th Five-Year Plan period, the investment intensity of R&D funds in China can indeed reach about 2.5% by 2020. However, in 2014, the growth rate of R&D expenditure in China dropped sharply to 9.87%, and the average annual growth rate was only 11.8% after the 13th Five-Year Plan. (See Figure 2) The unexpected decline in the growth rate of R&D investment has led to the failure to complete the target of R&D investment intensity in the Twelfth Five-Year Plan and the difficulty in completing the target of R&D investment intensity in the Thirteenth Five-Year Plan.　

Second, the "Thirteenth Five-Year Plan" period, the main factors affecting the slowdown in R&D investment growth

(A) The growth of R&D investment of enterprises slowed down significantly.

According to the main body of innovation activities, the R&D expenditure of enterprises accounts for more than 75% of the total R&D investment in the country, which is an important force supporting the growth of R&D investment. Compared with the "Twelfth Five-Year Plan" period, the average annual growth rate of enterprise R&D expenditure decreased by 4.3 percentage points during the "Thirteenth Five-Year Plan" period, which had a great impact on the growth of total R&D investment.

There are both cyclical factors and trend factors that lead to the slowdown of R&D investment growth. From the perspective of cyclical factors, the total profits of industrial enterprises increased by 4.5% annually during the Twelfth Five-Year Plan period, and decreased by 0.6% annually since the Thirteenth Five-Year Plan period. As the most important source of funds for enterprises’ innovation investment, the slowdown in profit growth will inevitably affect R&D investment. From the trend factor, with the changes of internal and external factors, the incentive of R&D investment of foreign-funded enterprises in China has been declining in recent years. During the "Twelfth Five-Year Plan" period, the R&D investment of domestic-funded enterprises, Hong Kong, Macao and Taiwan-invested enterprises and foreign-invested enterprises in the national industrial enterprises increased by 14.4%, 14.0% and 9.7% respectively. Since the "Thirteenth Five-Year Plan", the R&D investment of the three types of enterprises has increased by 9.8%, 4.7% and 4.5% annually, respectively, and the growth rate of R&D investment of enterprises invested by Hong Kong, Macao and Taiwan and foreign-funded enterprises has dropped significantly.

(B) Some technology-intensive industries’ revenue share and R&D investment growth slowed down.

Industry is the industrial sector with the highest R&D investment intensity. Since the 13th Five-Year Plan, the industrial sector in China has undergone structural changes that are not conducive to the growth of R&D investment. As shown in Figure 3, the major industrial sectors are ranked according to the intensity of R&D investment from low to high, and compared with the changes in the proportion of income of all industrial enterprises in the "Thirteenth Five-Year Plan" period, it can be seen that the proportion of income of 9 of the 12 industries with R&D investment intensity higher than the average value of industrial sectors has declined, and the growth rate of R&D expenditure of transportation equipment manufacturing and chemical fiber manufacturing is also lower than the average value of industrial sectors. In the low-input industries, the income proportion of electric power and heat production and supply, oil, coal and other fuel processing industries, ferrous metal smelting and rolling processing industries has increased significantly. These changes will have a negative impact on the growth of R&D investment in the industrial sector.

Figure 3 Changes in the revenue structure of China’s industrial sector during the 13th Five-Year Plan period.

Source: According to Statistical Bulletin of National Science and Technology Investment.

(C) In some areas, the growth of R&D investment slowed down significantly under the downward pressure of the economy.

During the "Thirteenth Five-Year Plan" period, due to internal and external factors, some regional economies in China are facing greater downward pressure. Because innovation activities are more affected by economic prosperity than general economic activities, the growth of R&D investment in these regions has obviously slowed down. From 2016 to 2019, the growth rate of R&D investment in 20 provinces (autonomous regions and municipalities) in China decreased compared with the Twelfth Five-Year Plan period, among which the growth rate of R&D investment in seven provinces (autonomous regions and municipalities) including Tianjin, Inner Mongolia, Jilin, Heilongjiang, Shandong, Xizang, Gansu and Xinjiang decreased significantly. (See Figure 4) Among the seven provinces (autonomous regions and municipalities), the R&D investment in Tianjin and Heilongjiang is negative, while the R&D intensity in Shandong, Xizang and Xinjiang is declining, so it is difficult for these regions to achieve the goal of the "Thirteenth Five-Year Plan".　

Figure 4 Comparison of the average annual growth rate of R&D investment in different regions during the 13th Five-Year Plan period and the 12th Five-Year Plan period.

Source: According to Statistical Bulletin of National Science and Technology Investment.　

Third, the situation and requirements faced by the growth of R&D investment in China during the 14 th Five-Year Plan period

(A) There is still a big gap between the intensity of R&D investment and the scale of R&D investment in key industries in China and major countries.

Although China’s total R&D investment has reached the second place in the world, there is still a big gap between its R&D investment intensity and that of major developed countries. In 2017, the R&D investment intensity of the United States, Japan, Germany, South Korea and other countries reached 2.8%, 3.2%, 3.0% and 4.6% respectively, which were significantly higher than that of China (2.23%). In some key industries and emerging industries, the scale of R&D investment in China also lags far behind that in industrialized countries. According to the data analysis disclosed in the financial reports of relevant companies, in 2018, in the field of information technology, the annual R&D expenditures of Amazon and Google in the United States reached US$ 22.6 billion and US$ 16.2 billion respectively. In the same year, the total R&D investment of the top 100 Internet companies in China was only US$ 15.7 billion; In the biomedical industry, the annual R&D investment of Johnson & Johnson and Merck in the United States reached US$ 10.6 billion and US$ 10.2 billion, respectively. In the same year, the R&D expenditure of China pharmaceutical manufacturing industry was only US$ 7.9 billion. In the automobile industry, the annual R&D expenditures of German Volkswagen and Japanese Toyota were US$ 15.8 billion and US$ 10 billion respectively, and the R&D investment of China automobile industry in the same year was US$ 17.2 billion. China needs to make great efforts to continue to increase investment in R&D if it wants to catch up with technology and industry.

(B) China entered a new stage of development and put forward higher requirements for innovation investment.

According to the international comparison data of the United Nations, the current per capita physical capital stock of China is more than 40% of that of the United States. After years of catch-up, the gap between China and the United States in per capita capital stock of more than 40 times at the beginning of reform and opening up has been obviously narrowed. Accelerating the catch-up of technology and production efficiency to open up space for further capital deepening has become an urgent task for economic growth in the new stage. In 2019, China’s per capita GDP exceeded $10,000, which is about $2,300 away from the threshold of high-income economies. From the international experience, when the late-developing economies reach the high-income threshold, they often face greater structural transformation pressure and downside risks of economic growth. The key for China to avoid the rapid slowdown of economic growth before the high-income threshold and the decline or even retrogression of economic growth after crossing the high-income threshold lies in whether it can effectively improve the growth rate of total factor productivity and the contribution rate of scientific and technological progress, and smoothly realize the transformation of growth momentum. To achieve this goal, increasing investment in research and development is an important foundation.

(C) During the 14th Five-Year Plan period, the total demand was insufficient and the pressure of economic growth was still considerable.

When the growth rate of R&D investment remains unchanged, the slowdown of economic growth will "enhance" the intensity of R&D investment. However, from the experience at home and abroad, when the economic growth slows down, a country’s innovation activities will be greatly affected, and the growth rate of R&D investment tends to decline by a larger margin. If the slowdown in economic growth is mainly caused by the decline in potential growth rate, the impact on the general price level and corporate profits is limited, and it will even push up the price level and corporate profits. However, if the slowdown of economic growth is caused by the contraction of total demand, it will have a great impact on the price level and corporate profits. From the producer price index, enterprise profit growth rate, asset turnover rate of industrial enterprises and other indicators, China has suffered a strong demand-side impact since 2018, and the COVID-19 epidemic in 2020 has strengthened demand shocks, so the growth of China’s total demand during the 14th Five-Year Plan period is not optimistic. Under this circumstance, industrial enterprises and areas with difficulties in transition will continue to face greater economic pressure. To ensure the growth of R&D investment in these subjects and regions, more powerful measures must be taken to stabilize growth.　

Four, the "Fourteenth Five-Year Plan" period to enhance R&D investment goals and ideas

(A) reasonably determine the "Fourteenth Five-Year Plan" R&D investment intensity target

Judging from the medium-term trends of supply side and demand side, China is expected to achieve an average annual GDP growth rate of about 5.5% during the Tenth Five-Year Plan period. If the GDP deflator remains at the average level in the past 10 years, the average annual growth rate of nominal GDP in China will reach about 8.3% during the Tenth Five-Year Plan period. For example, the R&D investment intensity in China will reach about 2.3% in 2020, with an average annual increase of 10% during the 14th Five-Year Plan period. In 2025, the R&D investment intensity in China can reach 2.5%, basically catching up with the expected target set in the 13th Five-Year Plan. Considering that the expected indicators should leave appropriate space, the intensity target of R&D investment during the "14th Five-Year Plan" period can be set at about 2.6%.

(B) to expand investment in research and development as an important means of countercyclical management

At present, the pressure of insufficient aggregate demand continues to increase, and the counter-cyclical regulation in China is generally moderate. One of the concerns that the current macroeconomic policy is difficult to exert is that the investment fields with high long-term return rate in China have obviously decreased compared with the past, especially the return on investment in infrastructure, real estate and other fields has dropped significantly. In this case, the strong stimulus policy has limited driving force for economic growth, and it will also increase financial risks. To change this dilemma, we need to break through the policy mindset. Innovation investment incentive policy is traditionally a long-term policy, but from the long-term return of the whole society, innovation undoubtedly has a high rate of return. At the same time, whether R&D investment is used to buy R&D equipment or to pay R&D personnel, it can form an extended consumer demand, thus generating a multiplier effect of demand expansion. Under the current situation, expanding R&D investment can be regarded as an important means of countercyclical regulation, which is not only conducive to stabilizing aggregate demand, but also conducive to long-term growth, and is a two-pronged strategy for both short-term stable growth and long-term quality improvement.

(3) Focus on increasing the proportion of investment in basic research

Compared with the major industrialized countries at similar stages of development, China’s current investment in basic research is obviously insufficient. In the process of rapid growth in Japan, the proportion of basic research investment in total R&D expenditure has remained above 20% for a long time. After the high-speed growth period, Japan entered a development stage similar to that of China, and began the process of "deindustrialization". Even so, the proportion of basic research investment in Japan has remained stable at 12%-16% for a long time. Long-term emphasis on basic research has greatly benefited Japan’s scientific and technological innovation, and the increasing number of people who have won Nobel Prizes in natural sciences in Japan is a concrete reflection. In recent years, China has paid more and more attention to basic research investment, but at present, the proportion of basic research investment is only 6%. In the future, in response to the technological blockade of becoming a big country, China should focus on catching up with the gap in basic research investment. From the investment subject, China’s basic research investment is mainly from the central government, while local finance and enterprise basic research investment are less. In the future, on the one hand, it is necessary to adjust the structure of fiscal expenditure on science and technology, increase financial investment in basic research, and guide enterprises to increase investment in basic research by increasing the income tax deduction ratio of basic research expenditure of enterprises.

(D) improve the pattern of industrial organization, and give full play to the main role of innovation of large enterprises.

Innovation investment has a strong scale effect. From the international and domestic experience, whether in traditional industries or emerging industries, the innovation incentive and innovation investment ability of large enterprises are generally higher than other enterprises. For example, in 2019, the R&D investment intensity of China iron and steel industry was only 1.25%, but the R&D investment intensity of baoshan iron & steel Company, as the industry leader, was as high as 3%. Since the financial crisis, the concentration of some industries in China has declined, which has adversely affected the industry’s innovation input incentives and capabilities. In the future, it is necessary to stabilize the growth of R&D investment of enterprises and give full play to the main role of enterprise innovation. It is also necessary to further promote the structural reform and deployment of the supply side in accordance with the deployment of the central government, and continuously improve the industrial organization pattern, so that the proportion of enterprises with high R&D investment intensity and the proportion of industries will continue to increase.

(The author Jia Shen is an associate researcher in the Development Strategy and Regional Economic Research Department of the State Council Development Research Center, and Wang Minghui is an associate researcher in the General Office of the State Council Development Research Center).

The last master class of the 3rd Hainan Island International Film Festival was a dialogue between actors and directors.

The actor is Hao Lei, whom we are familiar with; The director is Alice Lowcher, who directed Happy lazaro and Miracle.

In this game called "Freud’s The Interpretation of DreamsIn the discussion of the theme, the two guests invited by the film media still presented many wonderful views and thought-provoking experiences.

Moderator: Good afternoon, everyone. Welcome to the master class of the 3rd Hainan Island International Film Festival.

I’m wangtong, the host of today’s event.

When the team gave me the theme of this activity planning, it was the analysis of the dreams projected on the screen.

The first sentence that popped up in my mind was the sentence in the Diamond Sutra: "Everything is like a dream bubble, like dew, like electricity, so we should look at it this way."

This sentence is quite clever, and it also pays attention to the film itself as a medium.

Because everything in the world or dream imagination is ever-changing.

As a very delicate medium, film can just carry this kind of reality and dream.

Today’s master class activity is actually the last heavy event of this film festival.

It’s an honor to inviteItalian director and screenwriter Alice LorvacheandTeacher Hao Lei, an actor.Take us into the dream of movies together.

I’d like to introduce two conversation guests first.

Directed by Alice LorwacherIt is a new force for Italian authors’ films.

Her first novel.EucharistBe short-listedDirector Cannes biweekly unit.

Later works[miracle]、[Happy lazaro]Are all shortlisted.Main Competition Unit of Cannes International Film Festival, respectively.Jury awardandBest screenplay award.

Her latest short film with French artist JR also premiered at the Venice International Film Festival in September.

The director’s works are always full of neo-realism and magic, and the two carriages are neck and neck, with light and smart pictures and characters.

Let’s enjoy the fascinating audio-visual language directed by Alice Lowcher through a short film.

The second part is to introduce excellent actresses.Teacher Hao Lei..

Since the film, she has easily portrayed and shaped many female images of different types and personalities in film, television and drama works, and has been nominated for the Golden Horse Award and other awards several times.[Picture 4] Won the Golden Horse Award for Best Supporting Actress..

Let’s learn about her wonderful performance in film and television works through a short film.

Due to the epidemic, director Alice Lorwacher failed to visit the film festival offline.

Now we ask technicians to invite her to the scene through video connection.

Please give a warm applause to welcome Mr. Hao Lei to the stage. Teacher Hao Lei would like to say hello to everyone first.

Hao Lei:Good afternoon, everyone. I’m glad to meet you here today.

Alice Lorwacher:Thank you very much. I am very happy to be here to meet you today.

Wangtong: We also prepared some questions for the two guests. A series of questions are very personal and private, and are closely related to the film.

Let me ask Mr. Hao Lei first, when did you first come into contact with movies, and what was your feeling at that time?

I first came into contact with movies when I was young.

Hao Lei:It’s too early, because when my mother was pregnant with me, there was a cinema next to our house.

She goes to the movies after work, and I think my ability to do this may have something to do with prenatal education.

Wangtong: What movie did Mom watch at that time?

Hao Lei:In her day, for example,[romance on lushan mountain]These films.

Our family doesn’t do this line of work. I think that prenatal education may be really important.

Later, because I started to be a student in changchun film studio at the age of 15, I started to walk on at that time. At that time, there were not many TV dramas, all of which were movies.

I started to give a walk-on to all kinds of movies. I remember that the first walk-on was a film movie played by teacher Gong Hanlin, which seemed to be called [Magic Master], and I played a fan of idolize.

Wangtong: How did you feel at that time?

Hao Lei:I think it’s amazing because I don’t know the studio or even where the machine is.

It’s amazing how I appeared on the screen and didn’t understand the industrial process. It’s an amazing experience.

Wangtong: We know that director Alice Lowcher’s family is similar to yours, and it doesn’t seem to be particularly related to movies.

My father should be a beekeeper and my mother is a school teacher.

Director Alice Lowcher, when did you first come into contact with movies when you were a child, and how did you feel at that time?

Alice Lorwacher:When I first came into contact with the film, it was very young.

In our family, none of us is engaged in the film industry.

At that time, we lived in the country, that is to say, when we were young, we had no concept of movies.

When I first came into contact with movies when I was a child, I felt amazing when I first entered the cinema.

In the movie, music, images, everything, including your imagination, all appeared in one movie. For me, this discovery was really amazing at that time.

It feels like a celebration, which is a feeling that my first contact with the film gave me.

Wangtong: So for you, the age of 17 is an enlightenment for your film career.

Because when you were 17 years old, you saw a film that was of great significance to your career choice.

Alice Lorwacher:Of course, from that moment on, I thought that I was interested in movies, but it was still a distant thing for me to enter this industry.

Then I studied this classic literature, and at the same time I moved from the countryside to the city to live, so that I was closer to the film.

For me, as a profession, I chose it. I started with documentary.

I knew a family who made documentaries, and they told me this story, so I decided to make documentaries with them.

When I heard their stories, I not only wanted to tell the true story in a real way, but also wanted to add some artistic creation to it.

I also hope to convey more information through such a documentary form.

So I later started as a screenwriter and wrote such a script, which was later filmed [Eucharist], and my career took off from this story.

Wangtong: Seventeen years old is a particularly important age for director Alice Lowcher.

Mr. Hao Lei, for you, your first highly praised and concerned work was 17 years old.

seventeen no cryHow did you feel when you took a play like that? Were you determined to make a film, do film and television and do drama work?

Hao Lei:I started acting at the age of 15, and "Don’t cry at seventeen" was filmed at the age of 19.

Before I entered Shanghai Theatre Academy, I had made three TV plays in the film factory.

When I was in the first grade of middle school, the school organized an activity, and finally a film [The True Story of Teddy Boy] was shown.

I don’t know why the school showed this film. When I saw one third of it, the cinema was empty.

I took my classmate’s girlfriend and said that I must see the end, because idolize must see it.Tony Leung Chiu Wai.

I saw the end. I saw him comb his hair a few times at the end, and the film was over.

I feel very strange, because I haven’t studied this, and I don’t know why my idol has only such a little drama, but I have a feeling that this movie is quite special and different from other movies.

Because it is not as strong as a story, and there is no complete story.

It’s just that I think it’s wonderful. From then on, I began to like Wong Kar-wai’s movies, until I got to know it in this line, which can be regarded as my enlightenment.

Wangtong: For example, after "Don’t Cry at Seventeen", do you feel that its success has suddenly turned you into a person in the spotlight?

Hao Lei:No, because it was shot in 1997 and broadcast in 1998.

At that time, the information was very underdeveloped, and I was still studying in drama at that time.

I don’t feel that I have become a star at all. This play is concerned by many people, but I can’t feel it.

Wangtong: Apart from the experience of adolescence, are there any other personal experiences that have shaped you as you are now?

Because everyone says that time is a linear flow, what we have experienced before may shape us now.

Do you think there are other special and unique experiences that you can share with our audience?

Hao Lei:The unique experience is to be brave and be yourself.

Of course, we can say that life arranged for you to accept some things and meet some things, which shaped you now.

But in fact, it can be reversed. I think many things are my own choice.

For example, after I played "Don’t Cry at Seventeen", many students and high school students came to me.

Since then, I have played the role of queen, lawyer and doctor, and there will be similar roles looking for me.But I don’t wantrepeat.

Every time I choose a different one.

At that time, someone told me that people are not so familiar with you. You must first grasp a role that makes you irreplaceable.

I said that if you stay in a role, it is really single.

I think I made almost 100% choices in my acting career.

Wangtong: Alice Lowcher, the director, just told Teacher Hao Lei because she is an actress.

In fact, you can be addicted to drama, try different roles in different drama and film works, and have different lives.

For example, you are also very sure that I want to be a director.

But when you were an ignorant teenager, did you have any other dreams besides making movies or plays?

Alice Lorwacher:Yes, I have.

It should be said that I have never really had such a dream that I will become a director one day. I was dreaming all the time. What kind of dream did I have?

I hope that this dream of mine can become a part of my life. Maybe I wanted to be one at that time.beekeeper.

When I was young, I wanted to be a beekeeper, and all this was in contact with nature. At that time, I wanted to do such a job, that is, to be in contact with nature.

Being a director is actually a job choice, but I don’t think it is a job.

I think being a director is a way of life, because it allows you to observe life from different angles.

Because of this, this job actually landed on me suddenly.

From childhood, my dream was to do what I wanted to do, and at the same time, it was a life full of adventure.

So this job, it is associated with many things, as I just said.

Directing this job combines my passion in music, painting and other aspects with my work.

In particular, my dream is to tell you and describe a truth and a fact. In Italy and Europe, when we see something, such as flowers and butterflies, it is very, very beautiful.

The first thing we want to express is that it looks too beautiful to be true.

When we see something, such as flowers or butterflies, created by artists, we will say that it looks real when we think it is very good.

So in my opinion, comparing these two examples just now means that what we value most is the fact, not the truth. We should love this world, and we should be full of enthusiasm for it, especially for a truth and truth.

Wangtong: Just now you said dreams. For example, when we dream, we have good dreams and bad dreams, if we have nightmares.

We are under too much pressure in real life, so maybe our experiences in real life will be projected into dreams and good dreams.

People often say that dreams come true, because some of our desires and demands in reality have not yet been reached, and we may dream when we dream well.

So for the director, do you think if the film is a dream, is it a projection of reality or more unfinished dreams for you?

Alice Lorwacher:When we come into contact with the world in our dreams, I feel so charming at that moment, and the movie is connected with that moment.

Situations and facts in dreams can be linked together.

Wangtong: Is the movie an unfulfilled dream or a realistic projection for you, Mr. Hao Lei?

Hao Lei:It is possible. First of all, as Alice Lowcher said, we have never been able to find out exactly whether dreams are reality or reality is a dream.

Because everyone has had a dream, the dream gives you a very real feeling. Many times, you will wake up when you have a nightmare, and you will be sad for a while after you wake up.

Even when I do things during the day, I may think that I had a very sad dream last night.

I think as a filmmaker, we are actually creating an image that doesn’t exist in real life, but we must be as realistic as reality.

That’s what makes it credible.

This process, as you said, it is also possible that some things in reality are projected into my dreams and affect my dreams.

Many creative materials of movies come from life.

Wangtong: In many of your works, the role you play is actually aggressive, as if this role is against external forces.

You just said that reality and dreams are intertwined. Is it related to your own personality or experience, or do you have a special fate and a special fit for this role?

Hao Lei:It has something to do with age. When I was young, I didn’t want to choose a mediocre role. If nothing happened in a person’s life, why should I write him into a movie and become the protagonist?

Only when his life is very different will he write his story, for example, like many characters from ancient times or real people, will he write a story based on his autobiography.

An actor must choose a very different role when he is young.

Maybe at this age, my mind will change.

I think I’m trying very hard to choose some very mediocre roles, but it’s not a mediocre story. I don’t want to find a particularly strong role, because I think it’s relatively easy to play.

This choice is related to maturity.

Wangtong: Give an example.

Hao Lei: For example, some of my recent plays, especially TV plays, are relatively ordinary.

For example, the role of "Courtyard Full of Love" is really a possibility to push the door open, and your neighbor’s aunt is like this.

I think people like that are actually more difficult to play, because they need a lot of details to support them, because there is not so much resistance and subversion in life, so I think it is more interesting.

Give another example of a movie, [Spring Tide]. Although this person’s life is very depressing, his attitude is not intense. I prefer this role now.

Wangtong: Let’s talk about the director again. At present, there are three successful works.

Actually, the director’s works are full of so-called mediocre or ordinary characters, or the main characters in the film are actually like what Teacher Hao Lei just talked about.

Their experience, seemingly flat, nothing happened.

In fact, everyone’s personal feelings are almost divine, so why is the director interested in these characters?

Ordinary but not mediocre, it should be summarized like this.

Alice Lorwacher:That’s a very good question. These characters belong to some small people, very ordinary people.

No matter what kind of religious background and life background they have, there are always some sacred things in it, and at the same time, there are some children’s thoughts in their inner world, and they feel that there is such a teenager living inside.

When we make movies and choose characters, we have principles, either choose a funny person or a cunning person.

I have always looked at these characters in my movies from the perspective of children, including lazaro, who is not a child, but an adult. However, we can see that there is a child side left in his heart, that is, a very innocent side, and he is not a particularly complicated person.

I specially selected such people, through such movies, through my movies to show these characters’ special personalities.

In fact, everyone can see a main line in this character, that is to say, they are ordinary little people.

There are such people all over the world.

They live among us, ordinary but extraordinary, and have some divinity, which connects us human beings together.

Wangtong: Why are you so fascinated by the perspective of children?

Just now, the director mentioned that people like lazaro are not young and may have a pair of pure eyes. Why do you look at this complicated world from the perspective of children?

Alice Lorwacher:It should be said that in a story, there must be good people and bad people, so when describing this story, it must be from different angles, and it must be part of it.

There are some simple people and some complicated people, but it is precisely because a child can see our world from his perspective and vision that he can judge the world by himself.

It is the world that judges itself, not through our eyes or our perspective. Children’s eyes, like a ray of sunshine, can make plants grow.

I believe that if we can always use pure eyes, we can also increase our purity.

Many possibilities can be seen through children’s eyes, because after a certain life experience, our eyes actually have their own filters.

And through children’s eyes, we can see the world for the first time, rediscover the difference of this world and rediscover a new world without any filter.

Hao Lei:I think it’s really important to be an artist.

There is no way to be so rational, and there is no way to be particularly sleek and sophisticated.

I think it’s interesting for the director to choose such a character. Maybe this is also a way for her to observe the world.

Wangtong: Do you usually have any so-called methodology in interpreting roles?

Hao Lei:In fact, the method is very complicated, because for me, performance is actually a comprehensive subject, and it also needs many scientific methods to shape a role.

But I think the most basic thing is truth and sincerity. If you can’t fully understand yourself and see your true nature, there is actually no way to play a role wholeheartedly.

Wangtong: Different art forms, such as the recent spring tide, are realism.

Colleagues are curious. For example, in early dramas, surreal passages are interspersed. What is your mood when you interpret different roles?

Hao Lei: It’s a bit biased.BrechtDrama education in our country is based onStaniMainly.

If explained in the simplest way, the expression of modern dance and artistic form often externalizes my inner activities and glows through some performance methods.

Some viewers may not be used to watching this way, and they will find it difficult to accept breaking the tradition.

But many viewers think it’s quite new. I want to see something new.

But in fact, in foreign countries, various methods have already existed.

Wangtong: As far as you are concerned, it always seems that there is such a binary opposition between the movie and the business.

For example, I summed up the binary opposition, such as objectivity and subjectivity, rationality and sensibility, realism and romanticism.

As an actor and a creator, for example, how do you balance the so-called binary opposition elements when interpreting this work?

Hao Lei:We can only make a balance in our own thoughts, because our world is full of binary opposites, such as day and night.

It is a question of personal understanding and personal cultivation. If we can’t really confirm the existence of binary opposition first, we can’t break the binary.

But many times people are confused and say that we should not be so absolute or so black and white, but I always say one thing:

If I can’t distinguish between black and white in my life, how can you see the advanced level of gray again?

So many things I think are really different for everyone to understand.

There is also an example just now. On the issue of commercial films and art films in our industry, everyone has an inertia thinking that art films look better and commercial films are more rotten.

Actually, it’s not like this at all. There are many bad art films, good-looking commercial films and many good-quality ones.

So for me, it doesn’t matter whether you are a good-looking movie or an excellent movie, which so-called label.

Wangtong: Are your recent attempts both?

For example, in recent days, what do you think will attract your works or projects?

Can they sum up the rules, or have some commonalities?

Hao Lei:Not particularly regular, because my thoughts are always changing.

It is what I want to express at every stage, and my understanding of this world is constantly changing.

Can I happen to have a work with the same expression as mine come to me? Not necessarily.

But many times I think it’s ok. From all aspects, it may be a more professional team, and maybe I will choose him.

Maybe everyone thinks it’s better. For example, works like "Spring Tide" just fit in with my current desire to express my attitude and understanding of the world.

Wangtong: I also want to ask the director this question. I saw the director’s interview before, and it was also said that there are actually three films, and the financing situation of this one is quite hard.

Whether in China, Italy or Europe, it is quite hard to make a literary film.

So can the director tell us something, such as what you experienced when you introduced your film project to others?

Alice Lorwacher:My experience should be said to be difficult but also very beautiful.

It should be said that it was a positive difficulty. I remember one very important thing.

When I asked[miracle]The producer of this film introduced my first film. I didn’t have much confidence at that time, because I had never studied before and I didn’t know much about the movie world.

It should be said that I entered this world, but actually I don’t know some rules of this movie world.

When I talked to him, I said I didn’t know if anyone would like this film.

Then the producer said to me, who do you think you are? I said, what? Do you think you are so special? Is it special? Can your film be enjoyed by all people? You’re not the only one.

Your film may not please everyone, but you may only please some of them.

So there must be a group of such audiences who will like your film, and some will not.

Please remember that you are not the only director in this world. Many people in this world, like you, hope to get this audience.

This principle can be said to have dominated my choice of making this film.

When I make a choice, I don’t mean that it must be what I like.But it must be a film that I want you to see, and it can bring you different experiences, and at the same time, I want to experience this experience with my partners.

Of course, we always have to abide by a certain budget when making films. We are not the kind of films with big investment.

We can at least achieve the level and content we want to do within the limited budget.

We have cooperated with producers of different organizations and structures.

For me, I think what I like more is not to discover, but to be able to tell you a true story. Both are very important to me.

Wangtong: Will it be easier for your work to win prizes at major film festivals?

Alice Lorwacher:Of course, the film was well received, and it will be much easier for me to find a new producer after winning the prize.

I never said how much production cost I was going to find.

I always don’t like things that are particularly easy to do. I always think that you have a little difficulty in doing things, which will increase your strength.

It is a very important point for individuals to grow up.

So I want to say that so far, we have been having difficulties.

It is precisely because we face these difficulties and solve them that we will become stronger and stronger.

Every time we encounter difficulties, it can be said that the difficulties are greater than the previous ones.

Especially at this time, a year has passed, and our cinema has not been opened, and it was never related during the World War.

Italian cinemas have never been closed since there were movies. This year has been closed for one year, which is a very, very difficult time for us.

I have always thought that movies should be a part of our lives.

I always hope to combine many life experiences. I hope to be an artist, and then this artist can gather all the people in one room through one of my artistic creations, instead of isolating them from each other.

I want everyone involved in this movie to feel the true meaning of life.

Now the film is in a very difficult period, and we should also consider that people may be in a state of separation.

For example, I’m thinking about a movie like Happy lazaro, which leaves many problems.

It’s not just the movie, but the audience who watched the movie. When they leave the cinema, they can take this question as gossip material and bring it into your life.

This can be used as a topic of conversation. Now, in this isolation period, everyone lives in his own small circle.

At this time, we may pay more attention to what kind of film we want to make, and may consider more than the dark side of life.

Wangtong: This year is a special year, with ups and downs from the beginning of the year to the recent epidemic.

This special year has also changed one of our lifestyles, including social habits, because everyone wants to keep such a social distance.

The director actually keeps a positive and optimistic attitude.

For you, because some people will get more inspiration from generate because of such a condition and such a restriction, what have you tried this year, Mr. Hao Lei?

Hao Lei:For me, I think it may still be a good thing.

Because we have to go out all the year round in this kind of work, we can’t go anywhere now, so we just stay at home.

I feel that I haven’t stayed at home with my family for so long for several years. This is another life.

It’s okay. I don’t think there’s anything wrong.

And finally you can calm down. In fact, many things are not for you, but for you.

So if you have to be quiet because of this epidemic, in fact, I think it is also a good thing.

Wangtong: If you were in the film industry, what other career would you choose or what other things would you like to do?

Hao Lei:I haven’t thought about it. Maybe I will be a director, and maybe I will work behind the scenes.

Wangtong: Just now, you said that you have played different roles in various projects before. What kind of roles will make you feel particularly exciting and interesting? You can try more.

Hao Lei:Nothing is more special, it’s all the choice of the moment.

It is also possible that I feel fine at this moment, and I feel very energetic at that moment, and there is nothing special to treat a certain play or a certain role.

Is that your choice is the most important.

Wangtong: Let me ask the director. Just now you said that if you don’t become a director, you might become a beekeeper.

Did you mention your next work? Do you have a more specific description of this next work?

Can you disclose it?

Alice Lorwacher:I have a movie now. I haven’t filmed it yet, but it depends on the development direction of the epidemic.

My thoughts and ideas are clear now, and I am writing this script.

This script is difficult to speak now, because it is still an unfinished script.

It is a story about human civilization in the past, and the collision between past civilization and modern civilization is reflected through archaeology. It should be said that this is a film involving many aspects.

I want to take the middle line in this movie, not particularly relaxed, but also not particularly serious.

It is a story that seems to make people feel more interesting. But I will talk about a more serious topic.

I have a lot of work to do at the same time, and now I am watching the epidemic trend, and then I will decide when I can start shooting this film.

Wangtong: If you can travel through time and space, what would you like to say to yourself who has just stepped into the film and television circle?

Hao Lei:Just a little girl, you will be very powerful in the future.

Wangtong: What about the director? If I could travel through time and space, what kind of words would I like to say to my original self?

Alice Lorwacher:What to say? Keep dreaming, but be down to earth.

CCTV Foreign Language New Media Reporter: Hello, Teacher Hao Lei. Many forums and master classes in the film festival have paid attention to women’s power.

You mentioned before that you want to speak more for women. Why do you think so? What do you want to do next?

Hao Lei:I think women’s power is really easy to be ignored or even ignored.

I didn’t advocate emphasizing any kind of power.

But when this kind of situation really exists in this world and this society, I think it is necessary to speak out.

But as for what to do specifically, I think it is difficult for us to do things other than movies.We will help women more.subject matterFilm, female film workerThis is what I can do.

Question: I am also a reporter from CCTV.

I know that you recently wrote a book about performance. What do you want to express through this book?

I also want to ask you a question. You have been studying Buddhism for a long time. How do you think this experience has affected your artistic creation? Thank you.

Hao Lei:Let me answer the first question first. The basic content of this book comes from the complete works of stanislavski, which means that I read this book for everyone. This is the granddaddy of the performance.

But today young people don’t like reading. Many people say how to learn acting or where to learn acting.

It’s very simple. Actually, reading is good, because people don’t like reading, so I use my language, a more refined and easy-to-understand language to help you read this book.

This book will share a lot of my experience as an actor for more than 20 years.

The second question: Buddhism has given me a broad vision and a tolerant attitude. I often think about roles one-sidedly, but I think Buddhism has given me a high view of people in life and the roles I play. Thank you.

Question: I like your [Happy lazaro] directed by Alice Lowcher very much. I think it is a very realistic story about human nature, and you express it in a magical way.

How do you guide the actors when shooting such a story?

Do you want actors to believe this story more, or do you want them to be immersed in a more uncertain state?

Alice Lorwacher:Thank you for your question. When filming this [Happy lazaro], this script was the first difficulty, not the difficulty in the script.

At first, after reading this play, everyone thought that the role of lazaro was a fool.

At that time, I tried to tell the actors this story. I said that lazaro was not a fool, and lazaro would learn. He was not a fool.

When telling stories to Adriano Tardiolo, I found that he knew lazaro very well, and he understood it in a dreamy way.

I made this film, and I think the biggest challenge is to find a very good actor like Adiano.

He really added a lot of value to our play. So Adriano and I co-produced this film, and it really felt like a wonderful experience.

We all felt the dreamy language of this film during the filming.

It can’t be said that everyone became stupid after making a movie. It should be said that after making this movie, everyone didn’t think of such a character, a surreal character. In fact, we can see the shadow of such a character in real life.

After his first death, many years later, the world changed, changed, and he watched the world change again.

So during my cooperation with Adriano, a very excellent actor, we further sublimated this character.

Question: Hello, Mr. Hao Lei, I’m a director from Guangdong, a little director.

Would you like to ask if you will continue to play in the drama in the future?

Because I have a group of friends who like watching drama very much, and I am very much looking forward to your continued performance of Rhinoceros in Love. I want to ask you.

Hao Lei:There is a drama, as it was last year, but there is no drama this year because of the epidemic. If there is no epidemic, I will play a drama every year.

I don’t want Rhino. I don’t believe in playing a little girl who is persistent in love at my age.

Question: Hello, Sister Hao Lei. I am an actress myself. My enlightenment began with your Rhino in Love. I like your play very much.

As an actor, I have a puzzle. Now most movies are shot at a high-intensity and fast pace.

Probably not like in our school, we have a long time to rehearse, make our own biographies, study characters, observe life and practice for a long time.

I think this is a creative process that is relatively in line with the rules of actors’ creation.

I especially want to ask Mr. Hao Lei here, if you encounter such a situation, how to solve it.

Because we often get the script, maybe it’s really three days in advance, and I just got the book, so I simply played around reading.

If I am not satisfied with my understanding of the role, I will devote myself to creation.

I am not satisfied with this creative process, but there is no way. I can only solve this problem from the actors themselves, and I especially want to ask the teacher.

Hao Lei:There is an old saying in the actor business that I believe you have heard.One minute on stage and ten years off stage.It is necessary to accumulate more training in peacetime.

As for how to deal with practical problems, I think so and do so.

If you don’t want the world to change you, the world can’t change anyone. Come on.

Question: Alice Lowcher recently filmed the drama My Genius Girlfriend, and China was also very popular.

I would like to ask if the shooting technique and narrative method of this TV series are different from those of the previous three feature films. Thank you.

Alice Lorwacher:Thank you very much for this question. The technique is definitely different.

First of all, it is technically different, because I have been shooting with film before.

The previous technology is very old, a traditional shooting technology, and it is also a kind of technology that I love very much.

Because in this case, you can fully control, all aspects can be under your control, and the shooting process will make you fall in love with this job.

You can also guarantee that the final result will completely reach the result you want.

In the process of shooting, there will be a certain gap between the material you shot and the final result.

When you try to make movies, I suggest that you should try traditional techniques.

In the process of shooting, the pressure it brings to you brings me a lot of strength and makes me have great enthusiasm for my work.

The use of digital technology this time, from a certain point of view, is very charming.

On the other hand, it is different from the way I am used to.

In this process, we should respect the materials you want to use, and at the same time, we should invent and create some different ways to use these pictures.

At the same time, I should respect the story of the characters I want to describe. This is the first time for me to use this technology to describe other people’s stories.

So I worked in a completely different way, different from when I made three feature films, because when I made such a feature film, I was not very sure about my final result.

There will be some changes among us, and new things are constantly discovered during this shooting process.

Using digital technology is very clear about what to do and what kind of results will be obtained.

Although the methods are different, both methods are very popular.

The most important thing is how to describe the stories we like and love in the right way.

Question: I would like to ask Mr. Hao Lei that for actors, we also know that Mr. Hao Lei is the queen of literary films, which are closer to the heart, but commercial films may be closer to the audience.

I want to know what teacher Hao Lei thinks of this balance, or from the Buddhist point of view, what is this choice?

Hao Lei:As the director said before, you should know from the beginning whether you choose more audiences or fewer audiences.

When I was very young, I was told that you should think it over, because if you play a film with a small audience, you may not have the so-called red, so-called star status.

But for me, I don’t think it’s important. I have to follow my own heart. I think this is the most important thing.

No big star, like Madonna, can make people all over the world like you. I have long known that that is not what I pursue.

I have to choose what I like, and I would be honored if some viewers are of the same kind as me.

If not, I don’t want to force it. This is my understanding. Thank you.

Question: Alice Lowcher, I like your work Happy lazaro in 2018 very much, and I like a scene in which the hymn in the church leaves with lazaro.

My feeling is more like the redemption of a character like lazaro from a more divine and higher power.

What I want to ask is why you are so interested in such a theme of possible higher and more divine redemption, whether it is power or not, in some works now or before.What about shooting such a theme, a brand-new salvation force? Thank you.

Alice Lorwacher:Thank you very much for asking this question.

Each of us has a limited life, and we have to answer many questions and different types of questions in our life.

Essential problems are some problems that we human beings face together.

I want to answer these questions through the character lazaro, who was in a dilemma and dying.

He faced many problems at that time, not to say that he died immediately. He also encountered many such problems before. For example, when he went to the bank, he had to borrow money.

Before I made this film, I thought it would be too painful for lazaro to be too lonely and dying at that time, if he was particularly lonely.

So at this time, I think we should add some music.

To convey such a message, lazaro is now facing such a dilemma.

At this time, music, music from the church, music of redemption, gave him a kind of spiritual support and pillar when he was in the most difficult time.

This scene of redemption, it is actually at this time that such music came, which is very appropriate, but it is not common.

When he entered the bank, there was such a redemption.

This mainly means that lazaro is never alone.

I interpret some uncertain factors in life through this sacred way of redemption.

Wangtong: OK. Thank you, director. Thank you, Mr. Hao Lei.

As a conclusion, our theme just now was the interpretation of dreams, including teacher Hao Lei’s saying that there is no absolute black and white, and the director also said that there are no absolute good guys and bad guys.

Before, when we were faced with the ever-changing technology, we always felt that it hindered people from getting closer.

But thanks to technology, friends from different regions can gather together in such a special year.

Listen to two guests sharing their lives with us, including their creative experiences.