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　　Reference message networkReported on May 4 thAccording to foreign media, China accounts for 34% of the patent applications related to the new generation communication standard "5G", which is more than 1.5 times that of 4G. In the field of 4G, Europe and the United States have mastered the essential standard patents for manufacturing products, but in the field of 5G, which has attracted much attention as a new generation of industrial infrastructure, China’s presence has increased. The number of patents will also influence the cultivation of new industries such as driverless driving and the national strength of the new era.

　　"Nihon Keizai Shimbun" reported on May 3 that standard essential patents are irreplaceable technology patents in promoting business, and about 2% of the ex-factory price of 4G smartphones is patent royalties. According to Japanese intellectual property sources, the total annual (4G patent royalties) is about 1 trillion yen (about 9 billion US dollars, and 100 yen is about 6 yuan RMB), and the enterprises with patents are the main participants.

　　According to the statistics of Puliti Company, a German patent data company, as of March, China accounted for 34.02% of the applications for essential patents of 5G communication standards, with Huawei Technologies as the company with the largest number of applications, accounting for 15.05%, ZTE Corporation as the fifth and China Institute of Telecommunications Science and Technology as the ninth.

　　According to the report, the United States and Europe have taken the lead in communication technology and mastered the main patents of 3G and 4G. Therefore, China has to pay huge royalties to European and American enterprises.

　　Therefore, China listed the new generation information technology industry as a key development project, and promoted the research and development of 5G related technologies throughout the country. Including Huawei’s 5G, the R&D expenditure reaches more than 10 billion US dollars every year (1 US dollar is equivalent to 6.7 yuan RMB).

　　According to the report, Huawei has applied for more patents related to base station development, surpassing Ericsson in Sweden and Nokia in Finland. ZTE’s share in base stations is also expanding. Samsung galaxy and LG Electronics ranked third and fourth respectively, and South Korea’s overall share was 25.23%, which was more than two percentage points higher than that of 4G.

　　The share of the United States is 14%, which is two percentage points lower than that of 4G. Qualcomm, which holds patents such as smart phone semiconductors, is a major participant in 4G, and its share in the 5G field has declined, ranking sixth.

　　According to the report, in the field of communication, technology patents are cumulative, and even if they are developed to 5G, 3G and 4G patents, they will continue to be used. Qualcomm’s advantages will not disappear suddenly. The company’s patent licensing business sales in the first quarter reached 1.122 billion US dollars. Japan’s share is about 5%, which is about 4 percentage points lower than that of 4G. According to the share of enterprises, Fujitsu ranks 12th. It is said that Fujitsu holds a number of 5G related technologies, including sending radio waves to target locations.

　　According to the report, enterprises that master the standard essential patents get rich patent income, which can improve the price competitiveness while providing new equipment such as 5G base stations and smart phones. Generally speaking, the more standard essential patents a country’s enterprises hold, the easier it is to promote 5G infrastructure at a lower price, and the easier it is to take the lead in the new generation of communication services. In addition to the number of patent applications, it is also important to master the important patents with high frequency of use.

　　According to the report, the United States prohibits government departments from purchasing 5G products from five companies including Huawei on the grounds of security. However, Huawei holds many patents necessary for the development of 5G products. "Even if Huawei can’t sell products in the United States, it can still get patent royalties" (according to the person in charge of Puliti Company).

　　According to the report, under the huge investment and long-term plan, China’s position and influence in the field of 5G communication are increasing day by day in various service fields based on 5G technology.

Special feature of 1905 film network On September 6th, the "Russian Film Week", under the guidance of the Ministry of Culture of the Russian Federation, the Russian Embassy in China, the Propaganda Department of Hunan Provincial Party Committee and Hunan Film Bureau, and co-sponsored by China Film Group Corporation, Xiaoxiang Film Group Co., Ltd. and Russian Central Partnership Film Company, kicked off in Beijing, China, and officially launched a four-day Russian film screening activity.

AARON Li, Special Representative of China Government for Eurasian Affairs, andre Denisov, Russian Ambassador to China, Bai Yimin, Deputy Director of National Film, Mao Yu, General Manager of China Film Group Corporation and other leaders, filmmakers and other guests attended the opening ceremony of Russian Film Week.

Actor Zhang Guangbei is the director and producer of the Russian TV series of the same name. He remembers seeing the novelist Vasilyev in Moscow sixteen years ago. He said, "The experience of filmmakers from the two countries fighting side by side has made me unforgettable. As a film and television worker, it is very meaningful to contribute to the friendship between the Chinese and Russian peoples."

Screenshot of the TV series "The Dawn is Quiet here"

Director Jia Zhangke said that he has always been a fan of Russian military movies, and he is also looking forward to challenging the shooting of war themes one day. The younger generation of Russian filmmakers have the creative characteristics of "poetry and reality". The Chinese and Russian filmmakers have the same soul, and there will be more cooperation in the film field in the future.

In fact, as early as 2017, Jia Zhangke co-directed the first cooperative film of BRICS countries with Russian directors. Produced by Jia Zhangke, the film brought together five film directors from China, Russian, Indian, Brazil and South Africa to make a short film with the theme of "Where has the time gone?", telling their different understandings of time and emotion from their own unique perspective.

This "Russian Film Week" will be shown in Beijing and Changsha from September 6 to 10 and September 8 to 12, respectively. Six representative Russian anti-fascist works, such as The Last Frontline, Life and Death Ball Match, Highland 89 and Zoya, will show Russia’s humanistic charm and national spirit in the light and shadow world, and also bring spring to the audience in Beijing and Changsha in autumn.

spring in the north

Among the six films, T34 was shown in China on December 11th, 2020, which tells the story of heroic Soviet soldiers successfully escaping from the Germans. The film won the "Special Medal of the Iron Man Jury" and the "Best Editing Award" in the 5th International Action Film Week.

Border Fog was released in China on March 12th this year. The film tells the story that Michael used to think that his ancestors were traitors who surrendered and committed suicide in the Soviet-German battlefield, but by chance, he found the door of time. After crossing back, he found that his ancestors were all heroic soldiers … …

The Last Frontline tells the story of the heroic resistance of the students of podol Sk Infantry and Artillery School on the outskirts of Moscow in October 1941.

"Highland 89" heroically reproduces the tragic bloody battle in the Caucasus Plain, which is more epic than the classic sniper’s work, and won the Russian Golden Eagle Award and the Russian Nika International Film Festival Award in one fell swoop.

The Match of Life and Death is based on historical events: In 1942, Kiev in the Ukrainian Republic of the Soviet Union fell into the hands of German troops, and the new Kiev football team was going to play a game with the German Nazi team under fascist rule … … The film and have the same effect, and both show the cruelty of war and fascist atrocities with the help of football themes.

　

"Zoya" is based on the patriotic heroine of the Soviet Union: in the autumn of 1941, Zoya, a female student, voluntarily participated in a sabotage activity, but was unfortunately captured, but never gave in. She was also the first woman to win the title of "Soviet hero", and was made into a movie of the same name as early as 1945.

It is worth mentioning that these Russian films were all released after 2000, and they were all set in the Great Patriotic War of the Soviet Union, but they showed different colors from the previous films of the same theme in Russia, a big country producing war films.

In the traditional hymn of heroism, The Fog on the Border uses the art of crossing to make the dude living in modern times cross the most critical moment of the country, and realize the hardships of his predecessors and the beauty of the present from his feelings for home and country and where will you go, so as to reflect on various current thoughts.

"The Last Frontline" added the elements of campus youth to the traditional war films (and took the spy war as an excessive rhythm). When the classical romantic love encountered the most cruel war in human history, it had already predicted the flower festival of cruel youth and the demise of romance. More than 2,500 of the 3,500 cadets stayed on the battlefield forever, and the soldiers who returned home were no longer teenagers. Only in the smoke and tears could they meet with the smile of "Dawari" again … …

In The Match of Life and Death, the director voluntarily gave up the grand narrative, focused on the experience of a little person (Soviet soccer goalkeeper Nikolai Treacy), and deeply touched on the essence of war and human nature through the ultimate choice of winning the tragic and fearless game or losing at the Nazi gun.

The Nazi mass grave scene in "Life and Death Match" is shocking.

The tanks in T34 are all real T-34 and Leopard tanks in World War II. All actors trained to open tanks for 3 months and completed all actions, and invited military advisers. "89 Highland" invested 400 million yuan and used 5,000 soldiers from two divisions, 300 tanks and 200 planes to take part in the filming, which can’t help but remind people of one of the films with the most extras in film history — — Written and directed in 1966.

"War and Peace" is a war scene like an oil painting.

It can be seen that after the new century, Russian films have returned to tradition in art, to the public in value, to classics in subject matter, and integrated into the trend of film genre combination on the basis of classic narration, and practiced their own national film language with the help of the development of modern film industry.

Red romance

Speaking of film language, Soviet films have made two great contributions to world films: montage and poetic films.

In 1923, movie master published an article "Attraction Montage" in the magazine "Left-wing Literary Front", which initiated the film montage theory and the Soviet montage school. His masterpiece tells the historical story of the uprising of the warship potemkin of Odessa Navy. The "odessa steps" in the film has also become the most classic montage fragment in film history, and confirmed his famous saying with 155 shots in 7 minutes, "The juxtaposition of two montage shots is not the sum of two numbers, but the product of two numbers". Therefore, the film stood at the top of the pyramid in the golden age of Soviet movies.

The famous stroller in odessa steps.

In 1957, the director of the Soviet Union was considered as "a movie satellite launched by the Russians", which broke through the rigid framework of Soviet World War II films, skillfully formed the double metaphor of "geese flying south" through subtle emotional depiction, and led the film to a poetic film road.

The long and rotating shots with poetic beauty perfectly overlap the artistic conception of the picture with the connotation of the story, and show the sufferings of Soviet youth in the anti-fascist war with the life of a woman who has never been to the battlefield.

In "Flying South in Wild Goose", before he died, the man looked at the rapidly rotating birch treetops, and he imagined that he was married to the woman, which became a classic lens in film history.

In addition to these two world-changing films, Lenin in 1918 in the 1920s, Zoya during the Great Patriotic War, and Silent Dawn Here in the 1960s and 1970s after the war are all world-famous films, not to mention War and Peace, which were adapted from domestic classics, which made Soviet films bear extremely rich literary nourishment.

After the founding of New China, the film mode of the Soviet Union began to be used for reference by filmmakers in China, and once became a model for China’s film creation. At that time, China established a complete supporting film management system from management, production and operation, and Beijing Film Studio, Shanghai Film Studio and Bayi Film Studio were successively established, which became the main position of film setting in the early days of New China together with Northeast Film Studio, and gradually stepped out of the road of new China film with national style and modern characteristics.

In mid-2020, the director also recreated Ivan’s running on the water in Ivan’s Childhood on the ice of Lake Baikal, and showed his parents’ youth, love and the era full of faith influenced by "Big Brother of the Soviet Union" with the song "Red Berry Blossoms" sung by the "embarrassed mother" at the Red Star Theatre.

In recent years, both China and Russia are adopting the cultural strategies of "going out" and "bringing in", constantly strengthening the support for domestic films, and winning many awards in major international film festivals, thus embarking on the road of great-country films with their own national cultural characteristics and characteristics of the times. At the same time, China and Russia have also carried out film exchanges and cooperation in many fields by holding film festivals with each other regularly, co-shooting films, introducing and broadcasting excellent film and television works from both sides, which has injected new vitality into deepening the comprehensive strategic cooperative partnership between China and Russia in the new era.

As Bai Yimin, deputy director of the State Film Bureau, said at the opening ceremony of "Russian Film Week", "this" Russian Film Week "will further promote pragmatic cooperation in the film field between China and Russia, promote the common prosperity and development of the film industry between China and Russia, and write a new chapter for enhancing the exchange and mutual learning of Chinese and Russian civilizations and the traditional friendship between the people."

Author: Guo Mei Jin Xiahui

The historical documentary "Forbidden City" takes the Forbidden City as the clue and the change as the breakthrough point. Through 12 chapters, it tells the important historical events in the 600-year history of Ming and Qing Dynasties, summarizes the gains and losses in historical development, and presents the valuable wisdom of the Chinese nation. It not only emphasizes the integrity of the Chinese nation, but also shows the characteristics of the Chinese nation different from other civilizations, leading the audience to inquire about the vicissitudes of history and pursue the cultural roots.

The documentary "Forbidden City" stands in the perspective of great history, jumping out of the red wall and green tiles to tell the historical situation related to the "Forbidden City". For example, through the comparison of Chinese and foreign civilizations, the characteristics of the Chinese nation can be expressed. The eighth episode of "The Prosperous Age" tells the story of the British envoy Magalny’s visit to China, emphasizing the mutual gifts from China and Britain-Jade Ruyi and Mauser Gun, and pointing out that "Gun and Ruyi represent their respective cultural positions" to illustrate the potential strength and etiquette civilization of the Chinese nation. For example, through the comparison of Chinese and foreign civilizations in the changing situation, we can sum up the historical lessons of the Chinese nation. The sixth episode "Afterglow" introduces the change of silver shortage caused by the exhaustion of silver mines in various countries, and points out that European countries established a rudimentary modern monetary system and financial system due to silver shortage, while the Ming Dynasty experienced economic recession due to silver shortage. This proves the serious harm of arrogance and conservative thinking and summarizes the painful historical lessons.

"As a historical documentary, how to guide the audience to fully, deeply and clearly understand history, respect history, form a sense of history, and drive contemporary people to pursue and inquire about history is a crucial creative proposition." The Forbidden City adopts a popular way to express the charm of Chinese culture. Among them, the most representative is the ingenious combination of cultural relics and history, and the wonderful contrast between historical stories and theme songs. The film is good at seeing the big from the small and showing the macro history through the details of cultural relics. For example, the second episode "Inheritance" uses the horses in Li Gonglin’s "Pasturing in Wei Yan", a cultural relic of the Palace Museum, to show the characteristics of martial arts in the early Ming Dynasty. At the same time, the film also makes the characters in the picture scroll move through modern technology. For example, the first episode of "The King" makes the ancients in "The Emperor Accumulates Victory" walk, and with passionate music and simulated street noise, it shows the bustling street scene in history. This artistic treatment obviously touched the audience, and some netizens pointed out the details of men wearing pink clothes in the picture scroll in the barrage, indicating that the expression of the dynamic picture scroll aroused the audience’s interest and concern about the living customs of the Ming Dynasty. As Wu Zhiyong, the general director of the film, said, "Cultural relics are evidence, not for display". The previous documentaries on the theme of the Forbidden City mentioned cultural relics, which seemed to show the manufacturing process or artistic value of cultural relics themselves, rather than introducing related historical stories. For example, the seventh episode of the Forbidden City, Painting and Calligraphy in the Forbidden City, introduces the creation and preservation of paintings and calligraphy.Instead of focusing on the objective world revealed by the contents of calligraphy and painting. It can be seen that the Forbidden City shows the Chinese civilization more vividly and strengthens the audience’s perceptual knowledge of the Chinese nation through the historical information carried by cultural relics.

In recent years, the number of documentaries on the theme of the Forbidden City is quite large, which can be roughly divided into three categories: grand theme category, micro theme category and specific characters category. Among them, The Forbidden City (2005) is narrated based on several grand themes, from the macro perspectives of architectural art, use function, collection of cultural relics and the evolution process from the palace to the museum, showing all aspects of palace architecture, precious cultural relics, fate of characters and palace life, and emphasizing the value of the Forbidden City as a common historical and cultural heritage of mankind. Since then, When the Louvre meets the Forbidden City (2010) and The Forbidden City 100 (2012) have been narrated around micro-themes: the former deduces the art history of the East and the West in different time and space backgrounds, and emphasizes the valuable value of the exchange between Chinese and Western civilizations; The latter, based on the practical value of the Forbidden City building, expresses the aesthetic value and cultural connotation of the palace building with creative commentary and images in the form of micro-documentary. I am repairing cultural relics in the Forbidden City (2016), New Things in the Forbidden City (2017) and I am in the Forbidden City for 600 years (2020) record the daily work of cultural relics workers in the Forbidden City. They all focus on the stories of cultural relics protectors, which not only show the spirit of craftsmen, but also show the understanding of cultural relics by cultural relics restorers-the spirit of utensils that carry the Tao with things.

Looking at the documentaries on the theme of the Forbidden City since this century, we can find that its development vein presents the following two important characteristics, that is, not only its vision has undergone a "macro-micro-macro" evolution, but its expression mode is getting younger and younger. Among them, the change of vision is from the broad perspective at the beginning, to the interpretation of specific aesthetic values and cultural connotations, to the personal perspective of cultural relics protectors, and finally, to the grand perspective of the Chinese nation. The trend of younger expression is particularly obvious in the Forbidden City 100, I am repairing cultural relics in the Forbidden City and the Forbidden City. "Forbidden City 100" is a micro-documentary with a single episode of no more than six minutes, which meets the viewing needs of young people in a fast-paced society; The dedicated spirit of the elderly restorer and the youthful vitality of his disciples in "I am repairing cultural relics in the Forbidden City" have aroused the resonance of many young audiences; The theme song at the end of the Forbidden City has greatly expanded the audience by virtue of the singer’s social influence and the genre with both ancient meaning and popular elements.

The emergence of these two characteristics is related to the change of social environment. First of all, the rapid development of social economy has given birth to multiple values and the evolution of "macro-micro" vision. At present, the rapid development of world economy and technology requires us to re-examine and establish the spirit and identity of the Chinese nation, which has given birth to the transformation of "micro-macro" vision. Secondly, the ever-changing consumer society has also widened the differences in viewing habits between young people and middle-aged and elderly people. Documentary creators need to attract young audiences with younger expressions to further realize the social value of documentaries.

Looking back on the development of documentaries on the theme of the Forbidden City, we can see that people’s understanding of Chinese civilization is also deepening: from the overall grand impression to the specific artistic value, aesthetic value and cultural concept, to the craftsman spirit and utensils spirit of cultural relics protectors, to the survival wisdom of the Chinese nation shown in The Forbidden City. This cognitive process also reflects the mental outlook and value orientation of the Chinese nation in different historical stages. For example, "Forbidden City" no longer only shows the interior of the Chinese nation, but focuses on the history of the Chinese nation in a global perspective, and lets the audience see the vicissitudes and splendor of Chinese culture with the help of younger expressions.

Specially published by Shanghai Literature and Art Review Special Fund

Source: Jiefang Daily

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"Greenland · Kangmei Valley" renderings

1 international health life service complex

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Real view of business clubs

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Gym renderings

"Greenland Kangmei Valley" club renderings

Club effect chart

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New landmark of South Shanghai Portal

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"Greenland · Kangmei Valley" real -life picture

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"Greenland Kangmei Valley"

Unit Figure Reference

Model stem effect map

Model stem effect map

Model stem effect map

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Shanghai fish

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Shanghai Fengxian "Greenland · Kangmei Valley"