标签： 上海后花园

How does China’s historiography move from tradition to modernity？

　　The spread of western history and the evolution of China’s historiography (1840— 1927) "Zhao Shaofeng by the Commercial Press.

　　China’s historiography has a history of several thousand years, with extremely rich heritage and extremely heavy tradition. However, by the beginning of the 20th century, great changes had taken place in China’s historiography, and the transformation from tradition to modernity was rapidly realized. The reasons are worth pondering and studying.

　　The spread of western history and the evolution of China’s historiography (1840— 1927) explores the process and laws of the evolution of modern historiography in China from the perspective of academic exchanges between China and foreign countries. In the past studies, modern historiography was described from the social changes in China and the dynamic responses of China historians to the society, but not enough attention was paid to the spread of western learning to the east and its influence, resulting in a single line in the history of modern historiography, which failed to fully reflect the development of historiography. This study has the significance of strengthening the weak links. The research data are scattered and many of them belong to rare literature, which is not easy to find. Although some scholars have done valuable pioneering work in this field, excavating and collecting new materials is still the biggest difficulty in this topic and the key to making new breakthroughs. Zhao Shaofeng traveled between Beijing Normal University and the National Library, enjoying himself, and finally completed this monograph with a certain depth and breadth.

　　For the history of China, 1840 was a special year. In this year, the western powers opened the door to the Qing Dynasty, and from then on, China became a semi-colonial and semi-feudal country step by step from an independent feudal country. The year 1927 was also very special. The fall of Beiyang government and the establishment of Nanjing government marked the end of the early history of the Republic of China. The former can be regarded as the origin of China’s modern historiography, while the latter can be regarded as the initial formation of China’s modern historiography. This book discusses the process of China’s historiography changing from tradition to modernity.

　　Of course, the stages of historiography and social history are not necessarily identical. However, in China, history is greatly influenced by society, which is closely related to social development. The historical situation has changed, and historiography, as a reflection of history and a positive reaction to history, has naturally begun to change. No matter from the change of historiography itself or the change of social history, there is no doubt that China’s modern history is limited to 1840.

　　It is necessary to distinguish between "modern history" and "modern history" here. In the historical discourse system of modern China, generally speaking, the period before 1840 is regarded as the category of ancient history of China, the period from 1840 to 1919 as the category of modern history of China, and the period from 1919 to 1949 as the category of modern history of China. Of course, there are also views that the period from 1840 to 1949 belongs to the modern history of China. The reason is that from 1840 to 1949, the social form of China was basically in a semi-colonial and semi-feudal society; The history after 1949 belongs to the category of modern history in China. Although there are some differences between the so-called ancient, modern and present, this difference can be ignored in a long period of history. Thus, under the discourse system of modern China’s historiography, the division of history into the ancient, the recent and the present takes into account not only the age but also whether the social form has changed. Even today in the 21st century, such a division method is still worthy of recognition. Although the time division of historiography has its own characteristics, it is not necessarily consistent with the time division of China’s social history, but it cannot be separated from this discourse system. "Modern History" and "Modern History" can all be expressed in modern historiography if translated into English, but in the history of Chinese historiography, I think they are still necessary to be independent. “Modern historiography refers to China historiography from 1840 to 1902, and modern historiography refers to China historiography from 1902 to 1949. Why take 1902 as the dividing point between China’s modern historiography and modern historiography? This is because Liang Qichao published the famous New Historiography in 1902, which had a great influence, so it can be regarded as a sign to open the curtain of China’s modern historiography. The transformation of China’s historiography from tradition to modernity was not realized overnight, but went through a process of evolution, which is modern historiography. The study of modern history in China is mainly composed of two clues: one is the continuation of traditional historical research and compilation forms; First, historical works reflecting the spirit of the times and coping with social crises are constantly coming out, as well as the emergence and development of new historical thoughts and historical book compilation forms. These two clues are not completely separated, but intertwined. But on the whole, the former is in a state of decline, while the latter is booming. The birth of "new historiography" in 1902 was the crystallization of new historical factors from quantitative change to qualitative change during the period of modern historiography. However, the construction of modern historiography is not accomplished overnight, and it has gone through the stages of early "new historiography", new historical textual research and historical hermeneutics. In 1927, the scale of modern historiography in China was initially formed. Such a distinction between "modern historiography" and "modern historiography" is not only based on the characteristics of China historiography’s own development,It also takes into account the division of China’s historical era, which is more in line with the actual situation of the development of China’s historiography and can solve the chaotic problem of concept application in the study of Chinese historiography.

　　The spread of western history and the evolution of China’s historiography (1840— In 1927), the six chapters of the text are "the input of western historical and geographical knowledge before 1840" and "1840— The spread of western history in 1860 and the change of historical and geographical concepts ""1861— Translation and introduction of western historical works in 1894 and expansion of historical research content ""1895— The new trend of historical translation in 1901 and the acceleration of modern transformation of historiography ""1902— Under the influence of world concept and nationalism in 1911 ‘ New historiography ’ Preliminary construction ""1912— The colorful western historiography input in 1927 and the multi-way development of China historiography ". These six chapters are divided according to the content characteristics of the introduction of western learning to the east, combined with the stages of China’s modern history and the changes of China’s historiography, and clearly show the influence of the introduction of western learning to the east on the evolution of China’s historiography. The evolution of modern historiography in China is closely related to the intersection of Chinese and Western cultures and the spread of western historical and geographical knowledge. In the early 19th century, Chinese periodicals run by western missionaries in Nanyang published western knowledge of history and geography. Their works on western history and geography objectively promoted China’s understanding of the western world. After the Opium War,Some important historical works were translated into Chinese in the book translation activities of western missionaries at trading ports, which brought more western culture. During the Westernization Movement, many western historical documents translated by the Translation Hall of Jiangnan Manufacturing Bureau, the western ideas brought by foreign envoys and students abroad, and the foreign historical works written by China scholars on the basis of seeing and investigating with their own eyes all reflected the gradual changes of China’s historiography under the background of academic exchanges between China and the West, and contained the modern historiography atmosphere. With abundant historical materials, this book demonstrates that before Liang Qichao published The New History, China’s historiography had introduced and integrated a lot of western historiography knowledge, and revealed the western factors in the modern transformation of China’s historiography.

　　This book enriches the content of China’s modern historiography and is of great significance to the study of China’s modern historiography. The author consciously uses dialectical thinking in his research methods, pays attention to the investigation of the spread of western history in different stages under the international situation and China’s domestic situation at that time, analyzes the dialectical relationship between historiography and society, foreign historiography and China historiography, the content and compilation form of history books, and the historical view and historical development, and explores the evolution and development of historiography from many contradictory movements. In the use of materials, in addition to the common biographies and historical works of historians, more attention is paid to the excavation of newspapers, notes, diaries, memoirs, files and other materials. In the comprehensive and key aspects of the research, we have achieved overall consideration. There is also a novel presentation in the research paradigm.

　　(Author: Zhou Wenjiu, Professor of History College of Beijing Normal University)

In order to let the fans ＂＊＊＊ on top＂, Lantu Car used a ＂＊＊＊＊＊＊ method＂

6On the weekend of 19th, the opening of Wuhan Jiangchen Tian Street, the largest and highest-positioned "city-level Chaoshang Cultural and Social Cultural Center" in Central China, and the first TOD urban complex in Wuhan, attracted countless citizens to "clock in". Interestingly, many parents who came to see the "HELLO KITTY Modern Era China First Exhibition" were "planted grass" by the Lantu space at the entrance. Many children surrounded the Lantu FREE (parameter Shu picture) (priced 313,600 – 333,600 yuan) that was listed at the same time that day and refused to leave for a long time.

The free space on the second floor is even more lively: not only does it gather a large number of customers and fans, but it also holds a unique "dialogue": Lu Fang, CEO of Lantu Automobile, Lantu Automobile CBO Lei Xin and other company executives incarnate as "product expert team MATE" to personally answer various "tricky" questions raised by booking users. The four limited-time rights announced on the spot for "Dading users" (exclusive luxury package, 3-year 0-interest car purchase, lifetime free charging and 3-year value preservation redemption) also aroused the enthusiasm of many prospective car owners, and the scene was very active.

Automotive News Agency understands that such communication will be just the beginning. With the opening of 7 Lantu spaces in 6 cities at the same time on June 16, Lantu has opened 14 directly-operated stores in 10 cities across the country. It is expected that by the end of this year, more than 50 direct sales channels will be established across the country, covering 20 core cities. At this time, Lantu Auto executives will also rush to these cities to listen to the voices of local users and make friends with users.

Such a down-to-earth scene, I believe that everyone will only see it in the "territory" of new car-making forces such as Tesla and NIO in the past; and Lantu FREE has made many "old drivers" in the media circle shine in terms of appearance, workmanship, and driving quality. You know, when DONGFENG MOTOR CORPORATION (hereinafter referred to as "Dongfeng Company") ‘s high-end electric brand Yoyah (referred to as "Lantu") was established on July 17, 2020, it was also complained that it was "old-fashioned" and "too traditional", and many people had doubts about whether Dongfeng Company, the "first to eat crabs" among central enterprises, "can successfully transform?" "Can it make high-end electric vehicles?"

Everyone must ask, why did the Landscape change so much in just one year?

1.

Product Power Transformation: LetLandmap is worth itusertrust

After arriving at Wuhan Tianhe Airport, when they saw that the pick-up vehicle was Lantu FREE, "Automotive News Agency" and others were quite surprised, they put forward various questions and requirements to the driver like a barrage: "This workmanship is very good, far beyond my expectations, which factory did it?" "What is the speed? 120 (km/h)? The filter shock is good, and the chassis is very solid." "If you turn on the’sports mode ‘, the triple screen will come down, right? Come on, come and experience it quickly!"

In fact, Lantu FREE, which is positioned as a "performance-level intelligent electric SUV", has already started a 40,000-kilometer long test across 13 cities in 9 provinces and opened in-depth test drives to citizens in 12 cities across the country. Of course, it dares to be so bold to let the "picky" media experience rest assured. While creating an intelligent experience that fits the user, Lantu FREE also focuses on performance, comfort and luxury. Lantu FREE provides two power solutions of extended-range electric and pure electric, with 5 driving modes, equipped with the world’s first one-piece lifting triple screen, front and rear multi-link independent suspension, air suspension and other high-end configurations. The NEDC comprehensive battery life can reach up to 860 kilometers, and the 100-kilometer acceleration is 4.5 seconds. It is the selling points such as power performance, driving comfort, and extreme control that have made many consumers choose this "new benchmark of domestic products" in smart electric vehicles.

"Automobile News Agency" learned that as of now, the "TOP5 cities" that have booked Lantu FREE are Wuhan, Shanghai, Chengdu, Beijing and Guangzhou. The first batch of users accounted for 72% of male users, 28% of female users, and 85.9% of household users. The 30-40 age group has become the "main force". In terms of models, 81.1% of users chose the extended range version without battery life anxiety, and 69% of users chose to upgrade the "exclusive luxury package" (including air suspension and panoramic canopy, etc.).

Of course, the current biggest strength of Landmap FREE still comes from Dongfeng’s strong endorsement.

Admittedly, as a player of the "national team" and a member of the "millionaire club" of one of the top three Chinese automobile groups, Dongfeng’s "voice" and popularity in the field of new energy vehicles are not as good as that of new car manufacturers and some first-mover independent brands, but what is less known is that Dongfeng is not a "new player" in the electric vehicle industry.

As early as 2001, Dongfeng established China’s first enterprise specializing in the R & D and industrialization of electric vehicles – Dongfeng Electric Vehicle Joint Stock Company (reorganized as Zhixin Technology Joint Stock Company in September 2019, referred to as "Zhixin Technology"), which has achieved many technological breakthroughs and accumulation in the core three power and other fields. In 2016, Dongfeng began to lay out the entire value chain of the three power systems, and has accumulated rich experience in production and manufacturing by supporting Dongfeng’s own brands, Dongfeng Nissan, and Dongfeng Honda within the group, and supplying Zotye, Geely, and BAIC Foton externally.

The predecessor of Landmap, the H Division, has not "built cars behind closed doors" since it was secretly established in 2018. In addition to the "technical backing" created by Zhixin Technology System and Dongfeng Corporation’s Prospective Technology Research Institute, it has also reached in-depth cooperation with top supply chain systems including Huawei, Bosch, Tianhe, and Tencent in a short period of time, building a business value community. This means that when Dongfeng Corporation officially disclosed Landmap last year, this seemingly young high-end electric vehicle brand had already fully integrated the rich experience of mature car companies and the flexible innovation mechanism of new car companies. This is different from the "play" of many traditional car companies, but coincides with the new car companies.

"We rarely say that Lantu is a car company, but a user-based enterprise. The most fundamental thing is that we want to serve users, understand their needs, and operate their needs," said Lu Fang, CEO of Lantu Automobile. "All business logic of Lantu is designed around users. Traditional car companies are more about meeting the functions of products, but now what Lantu does is to meet the needs of users, which is very different in business architecture and business logic." Because of this, as China’s "new car-making strength", Lantu Automobile naturally has its own unique feature – from the perspective of users, so that more fuel owners can accept and adapt to smart electric vehicles at a lower learning cost.

At present, the biggest advantage of smart electric vehicles to attract most fuel owners is "intelligence". In this regard, Landmap does not blindly raise the level of intelligence, but fully considers the user’s high-frequency usage scenarios, and provides the most suitable driving habits, the most commonly used, and the most convenient intelligent driving assistance functions to the owner. For example, for high-frequency scenarios such as urban congestion, high-speed cruise, and night driving, Landmap FREE provides 20 intelligent driving auxiliary features such as ACC full-speed domain adaptive cruise, LKA lane keeping assistance, and AEB automatic braking, and is equipped with the NVS night vision system that is rarely equipped with models.

During the experience of "Automotive News Agency", I noticed that during the driving process of Lantu FREE, the camera in the car will always pay attention to the driver. Once it is found that its line of sight deviates from the driving direction for a certain period of time, the VOYAH Attention Awakening Mode will activate the voice and prompt tone to remind the driver to find a rest stop for rest. Of course, the driver can also respond "I’m fine" and "I’m not tired" to disarm the warning. Although this function still has room for optimization, it is not difficult to see Lantu’s Internet thinking from it.

In response to users’ complex parking "pain points", Landmap FREE fully considers various parking scenarios, not only supports common vertical and lateral parking spaces, but also can cope with complex scenarios such as 45 ° and 60 ° oblique train spaces, ramp parking spaces, etc. It is currently the only model that supports oblique train head parking, realizing the most fully automatic parking scenarios currently covered.

"As a data-driven, technology-driven, user-driven company, what Lantu needs to do is to drive the development of the automotive industry with the most advanced technology. In this era of fierce competition, if you are not fast enough and advanced enough, you are likely to be eliminated." But at the same time, Lu Fang also stressed that Lantu and users need to create a symbiotic relationship of mutual growth, not a simple business relationship, so "we must not toss users, then we can only toss ourselves. Although a technology may not be 100% safe, we must strive to achieve 99.9% or even higher security, otherwise how can consumers feel at ease? Maybe colleagues always say that I am not very traditional, but when it comes to security, I am really traditional."

It is worth mentioning that in terms of autonomous driving technology, which has attracted much attention recently, Lu Fang promises to open data to users in the future (under the premise of ensuring the privacy of car owners), and to conduct product co-creation: "But we can’t treat users as our experimenters, which is unfair to users. We have plans for future autonomous driving technology, but on the one hand, it depends on laws and regulations, and on the other hand, it also depends on the real needs of users. If some driving technology can reduce your driving burden, I think it may be necessary, but let you completely increase the burden on your heart. When I’m driving, you always remind me that I don’t think it’s a good experience. So we still have to start from the perspective of experience."

"At present, we are in an era when domestic products are just right, and Chinese brands are experiencing the rise of brands. We hope to provide users with products and services that are’value for money, price is credible, buy without regret, use without worry, empower life, and harvest friendship ‘.’" For Lantu FREE, Lu Fang’s confidence is not without reason: as the official mass production of Lantu FREE on June 30 is approaching, the Lantu automotive team is working with partners to carry out a series of measures such as exquisite Quality Standard matching, special characteristics full guarantee risk investigation and confirmation, mass production supervision, and key supplier partners’ in-factory promotion activities to ensure high-quality delivery of parts during mass production. Whether Lantu can "become famous in one battle" can be described as this move.

2.

Transforming service capabilities: turning every user into a partner

"The development of China’s auto industry is inseparable from the growth of consumers. Now consumers, especially new energy owners, have a lot of thinking and research on cars, technologies, and future travel lifestyles. Their expectations are not only high-quality products and advanced technologies, but also hope that car companies will eventually bring a new lifestyle to them." Lei Xin, CBO of Lantu Automobile, pointed out in an interview with Automotive News Agency that Lantu’s goal of reaching users through "direct sales mode + APP" is being realized. While it can meet user requests faster, some "die-hard fans" have participated in the development process of new models and put forward many useful suggestions.

In fact, in the eyes of many media, thanks to the strong endorsement of Dongfeng Company, the product strength is not the shortcoming of Lantu, a young brand – after all, the Lantu FREE of extended range and pure electric "dual support" is born to solve the anxiety of users. It is also very targeted in the dimensions of intelligence, performance and comfort, and the whole series comes standard with many luxury equipment, which is comparable to a number of competitors. But in shaping brand perception and building a good reputation among seed users, Lantu does have a lot of homework to do.

To this end, like many new car-making forces, Landmap has built a marketing system and after-sales services system based on the direct sales model. Focusing on the core of "user-centered", Landmap has built APP and Mini Program online, established flagship stores, Landmap space, delivery service center, and full-function user center offline. Four different forms of stores, and built a product expert team MATE listens to users’ voices in direct-operated stores across the country. Later, Landmap will also meet user requests through continuous OTA.

Careful netizens will notice that the "C position" on the first floor of many popular shopping malls is no longer the "exclusive" of luxury or fast-moving consumer goods stores. Tesla, NIO, Ideal, Xiaopeng and many other smart electric vehicle brands have followed, together with Apple, Huawei, Xiaomi and other 3C products, becoming the new "image responsibility" in the market. However, Lantu is still the first to create a high-end new energy brand among traditional car companies and adopt a direct sales model.

In terms of location selection of direct-operated stores, Lei Xin revealed that on the basis of full insight into consumer needs, Lantu follows the three elements of "being closer to the user’s home life circle, closer to the user’s entertainment business circle, and closer to the user’s work circle": "Affected by urban development, now 4S stores are slowly turning to the suburbs, making it inconvenient for users to see and buy cars. Opening urban spaces in high-end supermarkets can be close to the user’s living radius and life circle, and there is no need to go to the suburbs. For example, Shanghai Moon Bay Lantu Space is in a community, at the user’s doorstep. We can bring users the most convenient and favorite brand experience and communication method in a way that is more convenient for users to contact."

"Users can conveniently learn about information and products online, and quickly experience offline, so that users can communicate with us as partners, relatively easily. Everyone sits and drinks coffee, and is tired and rests to read books. In a sense, visiting direct-operated stores can become a way of life, rather than simply completing a purchase as before. Compared with traditional 4S stores, this is actually a fundamental change." Lei Xin also stressed that under the new retail model, the information and services related to products (vehicles and car services, etc.) must be direct, transparent, unified and of high quality. " For example, after users place an order with one click on the official Lantu Auto APP, they can see the whole process information of the vehicle from order generation, matching, manufacturing, logistics, and delivery. They can track it at any time and control it freely. "

Different from the traditional one-time buying and selling relationship, what Lantu Auto hopes for is long-term interaction, which is to cultivate "seed users" and cultivate the core user circle. "Seed users" are the first ripples that Lantu provokes in the market. They follow from Lantu’s first product and become strong advocates, and then the ripples of the second and third circles come. As Lantu Auto adheres to "user orientation" and "co-construction and sharing", actively responds to user concerns, and actively builds a platform for customer engagement of Lantu affairs, private domain traffic is increasing, and user identity is also forming.

It is worth mentioning that Lantu’s direct sales model also has a great "ambition" that is, like the founder of the 3C direct sales model – Apple Store, "it reflects the employee-centered corporate culture, attaches great importance to employee benefits and satisfaction, and then cultivates every employee into a’evangelist ‘of the brand."

"All customers who come to the store will feel our humility (Modest), positivity (Active), teamwork (Teamworking) and vitality (Energetic). We look forward to becoming partners on each other’s life path with customers, and jointly create a beautiful taste life with true zero anxiety." The head of Lantu Space Shanghai Ruihong Tiandi Moon Bay Store previously introduced to Auto News Agency: MATE culture is not only to reshape the relationship between employees, but also to become like-minded partners. More importantly, it can bring high-quality warm services to users, so that the brand value and product value of Lantu can be truly reflected through user operation. " Our entire team is building the Landmap MATE partner culture, which is to establish a relationship like classmates, family, and friends. When we are together, we don’t just come to do a job, it is best if you are the sales champion. I hope that everyone can make friends here, like family, discuss things together, learn together, make progress together, help each other, and realize value together. "

Write at the end

"The concept of user enterprise is easy to be accepted by everyone, but it is still very difficult to really achieve it." Unexpectedly, Lei Xin also put forward this request before the end of the interview: "I don’t have enough time to communicate today, but I still hope that everyone can give any opinions and suggestions on the product and experience link." For the future scale of the company and the market share of the product, Lantu neither talked about the vision nor "painted a big cake" (the only small goal is also very frank, that is, after the delivery of Lantu FREE, the sales volume will exceed 10,000 units quickly), but as a year ago, as far as possible to collect the most authentic views of prospective owners, potential customers and the media (even welcome "complain").

In the opinion of Automotive News Agency, it is this professional, honest and pragmatic attitude that subtly changes everyone’s opinion of Lantu – making more and more people in the industry start to look forward to it, and making more and more consumers willing to try Lantu FREE to see how much surprise it can bring.

– END –

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No matter how many awards you get, you won’t be bothered. Actor Guo Fucheng hopes to win the Best Supporting Actor.


Guo Fucheng’s new shape takes the retro style, just like a handsome son.



The new look is for the concert



Guo Fucheng excitedly opens champagne


　　Yesterday (4th), at the opening ceremony of a famous watch store in Beijing Contemporary Mall, brand perception ambassador Guo Fucheng came to the scene and presided over the opening. Guo Fucheng, who has transformed into a mature look, told reporters that his look is mainly prepared for the October concert, and he is more blunt. He hopes to win the movie award again with the sequel of the new film "Wind and Cloud". Of course, this time I am satisfied with the supporting actor.


　　Yesterday, he revealed to reporters that he played Bu Jingyun again in the sequel of the new film "Wind and Cloud", and played the role again in 10 years. In his words, "The experience of years has made me understand more." He stressed that Bu Jingyun 10 years ago was similar to an undead hero, who could never be beaten to death, and his feelings had no ups and downs, like a statue. But this time he will feel what is the pain in life, and how does it feel to be defeated by others.

Editor in charge: Sun Jie

Still classic and comfortable test drive Mercedes-Benz latest generation E300.



　　praise


　　● Fashionable appearance.


　　● The space is large enough and practical.


　　● The safety configuration is relatively neat.


　　● Excellent power control.


　　bullet


　　● The shift lever has no driving feeling.


　　● Power comes slightly slower when accelerating rapidly.


　　As a Mercedes-Benz medium and large RV, this E-Class, which was officially released in 1984, has always been the leader of new technologies in the industry. In fact, its E is the first letter of German Einspritzung (fuel injection technology), because it is the first production car adopting this technology. At the test drive site, the organizer showed us the historical stories of Mercedes-Benz E-Class passed down from generation to generation. Behind every classic gene inheritance are the painstaking efforts of the royal designers.


　　There are two outstanding features of the latest generation: one is the addition of an electronic warning system for driving fatigue, and the other is that the length of the car is 12mm longer than that of the previous generation and the wheelbase is 20mm longer. Of course, the brand-new configuration of the engine and the application of the 7-speed gearbox make this car not only a car for passengers, but also a car for drivers.


　　Appearance: fashion elements are embedded in the classic car body.


　　This model, which was first launched at the Shanghai Auto Show in China, was once rumored to have absorbed some design elements of other luxury cars, but when it was seen, these claims naturally fell apart. When the reporter asked Mr Haller, the designer of the car who ate at the same table, whether he would consider drawing lessons from other people’s excellent factors when designing the car, Mr Haller simply said "Never". He went on to explain that it has always been to lead rather than learn from others. Based on this, the new E-Class combines the classic elements of E-class, the characteristics of M.Benz’s new generation family and the outline of lines. At first glance, it is not only atmospheric, but also very sporty. From the four-eye diamond headlights, V-shaped headstock and deep high waistline transplanted from Fascination concept car to the arrangement of wedge-shaped body and horizontal taillights, it has fully demonstrated the streamlined and avant-garde high-performance style, so the drag coefficient is as low as 0.25 except for the lean figure with C-Class, and therefore this generation of cars has returned to the design of W124 with double doors, convertible and other derivative cars.


　　Interior: concise and practical


　　Compared with some fancy interiors, the interior design of the new E300 is simple and practical. Sitting in the car, you will find that the Command control key greatly simplifies the cumbersome design of the center console in the past. Smooth and sharp lines are everywhere, the sub-gray color scheme is harmonious and eye-catching, and the circular sports/comfort mode button on the armrest is very easy to use. In addition, all the cars currently on sale are equipped with navigation display screens at the top of the center console. Both the control keys and the image display are clear and logical, so although there are many buttons, they are not messy. Massage seats that can be heated or cooled are very comfortable, which is our favorite configuration when conducting long-distance tests. Of course, even ordinary cars are enough to ensure that you can travel comfortably.


　　Space: spacious and comfortable


　　In terms of internal space, the further increased body size provides a more comfortable driving environment for passengers, and with two-stage panoramic sunroof, the internal space is more spacious and bright. The newly equipped ambient lighting system has a five-level brightness level, which can not only provide lighting for the whole car, but also create a relaxed and quiet sense of luxury during travel. Elaborate interior colors and materials not only arouse the psychological resonance of drivers and passengers, but also have unparalleled practicability. In addition, the newly developed reversing video system and rear entertainment system (E300 fashionable standard equipment) not only enable drivers to park easily, but also enable rear passengers to enjoy a more pleasant ride experience during long-distance travel.


　　Power control: excellent work


　　The E300 is equipped with a 3.0-liter V6, the output power can reach 170 kW /230 HP, and the maximum torque is 300 Nm. With Mercedes-advanced 7G-TRONIC seven-speed automatic transmission, the whole shift process is smoother and there is no hysteresis, which makes the E300 have excellent handling performance.


　　During the test run, some young people always compare E300 with it intentionally or unintentionally after occasionally trying some sports cars with a capacity of more than 4.5L or coupes with larger displacement. The conclusion of the comparison must be that almost all cars on the market are under-powered. This is the result of inexperience and blind comparison, and of course, it is also in their conclusion. In fact, the E300 is equipped with a new customized displacement and output power after abandoning the previous generation of supercharge, so the power output is linear in stages, which is imperceptible without careful understanding. The result of the actual operation is that in the starting and accelerating stages, even if the tachometer pointer does not rise rapidly, the car has started easily and shot out immediately. After 2500 revolutions, the power of the car began to approach the peak slowly. At this time, the power is continuous. Whether it is accelerating overtaking or slowly fueling, the car is running in an orderly way. In addition, when driving at a constant speed, the noise of the car is very low, and the sound insulation effect is better than that of the previous generation. However, if the oil supply is too large, it will produce annoying and monotonous noise, and the tail throat sound is not very good. The response rate of both the automatic seven-gear gearbox and the shift paddle is ok, and the gear ratio design of the second and third gears is also very ideal. Because the body is heavy and the chassis is extremely solid, even if the speed is 160 kilometers, the car still runs steadily, and its control can be seen.


　　If we really want to find the shortage, it is that when the speed is 80-90 kilometers per hour, the power output is steady but not fast enough when accelerating rapidly, that is, the power comes slowly when accelerating rapidly.


　　Safety: active and passive care.


　　The whole car follows the car’s consistent safety standards and introduces the newly developed driver’s attention warning system, which monitors the driver’s attention level in real time through more than 70 parameters to remind sleepy drivers in time to avoid danger. In addition, the whole car also comes standard with the PRE-SAFE system, intelligent lighting system and 9 airbags (including the newly added driver’s knee airbag). All protection systems work in perfect coordination, which promotes vehicle safety to a new height.


　　More high-strength steel is used in the body structure of the new car, but the kerb quality has not been significantly increased, because the weight and structure have been optimized more scientifically. In addition, in order to ensure that the car has better pedestrian collision performance, its hood can bounce up after being hit hard, so as to better protect the head of the hit pedestrian.


　　New E300 technical parameters


　　Length/width/height (mm): 4872/1854/1454


　　: 3.0 liter V6


　　：7G-TRONIC


　　Maximum power: 170kW/6000rpm


　　Maximum torque: 300 N m/2500-5000 rpm.


　　Suspension: three-link suspension/multi-link independent suspension.


　　

Where is the future of characterization in China’s comedy films？

    Observing two recent comedy films "Mr. Red Carpet" and YOLO, both veteran comedy director Ning Hao and rookie comedy director Jia Ling focus on portraying a hero who impresses the audience in their new works. This is not only an important guarantee for the quality of the two comedy films, but also shows us their respective characterization dilemmas, which is a very meaningful phenomenon. Taking this as an opportunity, we can start thinking about the future development of China comedy films.

    Mr. Red Carpet: How does absurd comedy create characters who can empathize with the audience?

    Starting from Crazy Stone in 2006, Ning Hao-style comedy has gradually become the most representative domestic comedy type after Feng’s comedy. Its basic formula is simply mature type+comedy+nobody. By learning from and mixing various mature types, its plot structure, characterization and artistic innovation ability are relatively strong. With the participation of small people, this comedy can produce works that are extremely suitable for social and cultural needs. It is precisely because of these advantages that Ning Hao-style comedy has led to the emergence of many excellent comedy films, which has contributed to the development of domestic comedy films in recent years.

    However, The Crazy Alien and The Beneficiary in 2019 marked some creative difficulties in Ning Hao-style comedies. The dilemma of Crazy Alien lies in Ning Hao’s desire to push his comedy creation to a new height, but it has raised the audience’s viewing threshold, and some songs are high and low. This made him have to face the confusion and confusion of whether to want art or box office. "The Beneficiary" reveals that there are also problems in the formula of Ning Hao-style comedy. First, there are mistakes and excesses in the borrowing and mixing of mature types; The bigger problem lies in the characterization, in which the little hero loses the real sense of life and is in danger of becoming an empty symbol.

    In the new director’s work "Second-hand Masterpiece" supported by Ning Hao in 2023, a new attempt of Ning Hao-style comedy can be observed, that is, the creation focus is completely on the characterization, and the work has successfully portrayed the image of the writer’s father. The creative thinking of "Mr. Red Carpet" is very similar to that of "Second-hand Masterpiece", and it still focuses on the characterization, which should be Ning Hao’s conscious pursuit of a breakthrough in comedy creation. Moreover, the portrayal of the hero in Mr. Red Carpet is still successful artistically.

    The characters are rarely three-dimensional and complex. In order to challenge and prove himself, Liu Weichi, the hero, started an adventure and showed his complex personality in this adventure. The film grasps the rhythm of plot development well, with both patient and meticulous plot preparation and plot climax. The appearance of one small incident after another pushes the protagonist to the corner of fate step by step and has to face the truth of his personality.

    Audio-visual expression is also very delicate. At the beginning of the film, an attitude towards the protagonist is established through a distant shot, that is, a critical presentation is made with a detached attitude. Many key scenes also show Ning Hao’s excellent audio-visual control ability. But he didn’t show off his skills, but served the characterization completely. The thinking reflected by the characters is more broad and layered. Some of these thoughts are related to the film itself: how to make a film in the era of short video and strong capital? What is the standard of art film? But there are also many thoughts beyond movies, which are related to our times and universal human nature.

    Regrettably, however, the audience did not buy this comedy film, which was so focused and successful in characterization. Among them, the biggest problem is that Ning Hao himself has fallen into a state of both necessary and important creation, which leads to the positioning error of the film. If it is positioned as an art film or an author film, this work can actually be explored more avant-garde in art. Because absurd comedy "is an exaggerated and profound serious comedy with philosophical connotation", on the one hand, it is highly intelligent and difficult to create, which puts forward higher requirements for the creator’s ability. On the other hand, it also means the possibility of innovation, which can help creators to explore the truth of life and the depth of human nature. If the creator’s ability is superior, it is possible to produce excellent works and classics. However, as a result, absurd comedy has a high threshold for viewing, and it is often difficult to become a high-box office movie because of the complexity and depth of thinking.

    Ning Hao’s twist is that he intended to put the film on the Spring Festival file before, which was originally for the box office. However, if we want to achieve high box office, we must make some improvements on absurd comedy. The previous Ning Hao comedies all had some absurd comedies, and an important magic weapon was to shape the image of a little person who was extremely close to the times and made the audience feel good. This makes Ning Hao-style comedies not only have a strong link with social reality, thus reducing the abstraction and despair of absurd comedies, but also enables the characters to form empathy with the audience. The box office success of Ning Hao-style comedies such as "Crazy Stone" and "Happy Flowers" depends on this.

    Mr. Red Carpet, on the other hand, is unwilling to make such improvement, but insists on its completely absurd characteristics and superior elite perspective. Not only is the content very abstract, but it also points the critical edge at everyone. The image of the hero is not only the spokesman of high social status, but also the symbol of abstract spirit, which not only makes the audience feel alienated and disgusted, but also can’t form empathy with the hero. So even if this comedy created a successful character, the audience still didn’t buy it.

    YOLO: How do the characters in autobiographical comedies surpass themselves after empathizing with the audience?

    The uniqueness of Jia Ling’s films is that she has been filming herself all the time. She has integrated her life experience into comedy creation and become a unique autobiographical comedy. This film content with her life experience also gave birth to a unique hero image in her comedies: sincere Jia Ling. This makes it particularly easy for the protagonist of her comedy movie to form empathy with the audience, which has become a weapon for her to win high box office. But this autobiographical comedy creation idea is very limited to commercial comedy:

    The first is the subject matter limit. Judging from Jia Ling’s two works, the first one can be completely original, but the second one can only be adapted from the existing one, because the autobiographical content is limited after all. However, the story and character logic carried by the adapted works will not only create tension with Jia Ling’s autobiographical pursuit, but also expose Jia Ling’s lack of ability as a new director. Love of a Hundred Dollars shows a story of a heroine who has lost hope in life and seeks the meaning of life again from boxing training. This state of life of bereavement and despair is obviously not suitable for comedy. This also leads to YOLO’s need to find new spiritual characteristics for the hostess in the adaptation, and it must also belong to Jia Ling’s own characteristics, so the protagonist in "Hot" is shaped as a flattering personality with Jia Ling’s personality characteristics.

    However, this change of the hero’s spiritual temperament must be supported by reasonable plots and characterization, which exposes the problems of Hot. In order to show the kindness of the heroine, the film portrays all the people around her as villains, and the changes of many characters are too abrupt and illogical. In fact, they are just tools to push the woman to boxing, and their role is to make her fall into a rebellious situation with high-density conflicts. The accumulation of punchline in the film has nothing to do with the main plot, and it is funny for fun. In order to make the audience agree with the female host’s flattering personality, the film even directly uses "two apples", "depending on the mood" and "two people can still hug each other like that. I thought that if you want to get a hug, you have to be kind to people! " Wait for the dialogue scene to output opinions straightforwardly. But in fact, the motivation connection between the female host’s flattering personality and boxing is still unconvincing. All these show that the first two-thirds of the film still has a lot of room for improvement in film quality. The main attraction of the film comes from the final climax, but it also comes from the shock brought by Jia Ling’s physical and mental changes to the audience. Many viewers even think that the final weight loss tidbits of the film are more shocking than the film itself.

    The second is the limit of self-consumption. Jia Ling in Hi, Mom formed empathy with the audience by virtue of her sincere and painful emotional ties with her mother. In YOLO, Jia Ling used the real change of the flesh to express a kind of strength and form empathy with the audience. The real weight change of gaining 40 pounds first and then losing 100 pounds has become the key to shaping the image of the heroine, which also brings the most important drama in the film. To gain 40 pounds first is to change the lovely image of Jia Ling’s fat figure in the eyes of the audience, so as to make the audience feel strange about her. Losing another 100 pounds will not only make Jia Ling’s body bring great visual impact to the audience, but also make Jia Ling’s body become an important carrier of tenacity, tenacity, self-discipline and self-confidence after successfully losing weight. However, this kind of self-consumption is limited to Jia Ling, both as a director and an actress, and it is difficult to continue. This also means that there is still great uncertainty about how to create a high-quality character image in Jia Ling’s next film.

    Where is the future of characterization in China’s comedy films? China’s comedy film creation has been relatively weak in recent years, and the lack of attention to characterization is one of the great reasons. Both Ning Hao and Jia Ling put their creative focus back on characterization, which has brought good enlightenment to China comedy films to get rid of the current creative dilemma. If we look at the characterization of the two works comprehensively, we can find a way out for the future characterization of China’s comedy films. Jia Ling’s success inspires the creators that creating comic characters that can make the audience empathize must be the basis and bottom line of commercial comedy. Ning Hao’s efforts show that empathy alone is not enough, and we need to work hard on the three-dimensional complexity of characterization, the synergy of plot and audio-visual, and the depth of characters. If we can focus on creating high-quality characters that make the audience empathize, there may be great hope for China comedy films to get out of the current bottleneck.

    (Gui Lin, the author is a professor at the College of Literature, China Academy of Social Sciences)

Zhao Ruliang won the first Chinese billiards World Championship.

◆ Zhao Ruliang defeated his opponent and won the first Chinese billiards world championship. Hong Kong Wen Wei Po Beijing Fax
◆ Zhao Ruliang defeated his opponent and won the first Chinese billiards world championship. Hong Kong Wen Wei Po Beijing Fax

　　Hong Kong Wen Wei Po News (Reporter Ren Fangqi) The 6th CBSA Chinese Billiards World Championship in China, Jiangxi, Shangrao and Yushan ended the men’s final yesterday. In the dialogue between two "post-00" experts, Zhao Ruliang beat Shen Shenyi at 41: 28, and won the men’s team championship of Chinese billiards World Championships for the first time.

　　The men’s team of the Chinese Billiards World Championships is strong, and none of the top 16 professional men of the Chinese Billiards Association is absent. Four former champions, Eipl, Shi Hanqing, john young and Zheng Yubo, all appeared.

　　The men’s final is 41 wins in 81 games, which is divided into four stages. In the first stage, Zhao Ruliang won three games in a row after 8: 7 and took the lead at 11: 7. In the second stage, Zhao Ruliang once extended the difference to eight innings, and Shen Shenyi launched a counterattack at the end, with a score of 21: 17. In the third stage, the two sides entered the stage of seesaw score, but Zhao Ruliang, who was more experienced in the contest, made a small climax at the last minute and took the lead in the fourth stage at 32: 24.

　　At the beginning of the fourth stage, Zhao Ruliang quickly entered the state, winning four games in a row and further expanding his advantage at 36: 24. At this time, the game lost its suspense, and Zhao Ruliang scored another climax, winning the match point at 40: 26, and then finished the game with a shot in the third match point, winning at 41: 28 and winning the 3 million championship prize. The runner-up Shen Shenyi got 1.2 million yuan.

　　In the women’s group competition that ended before, Tang Chunxiao defeated Liu Xiazhi at 19: 9 to win the championship.

The theme forum focuses on international perspectives, exchanges and cooperation.

Sponsored by the Organizing Committee of Beijing International Film Festival, the 13th Beijing International Film Festival "Forum on International Cooperation among Film Powers-Promoting Mutual Learning among Civilizations through the Bridge of Light and Shadow" was held in Beijing Yanqi Lake International Convention & Exhibition Center on the afternoon of April 24th (Monday).

Xu Hejian, deputy director of the Propaganda Department of Beijing Municipal Committee, director of the Information Office of the Municipal Government and member of the Organizing Committee of the 13th Beijing International Film Festival; Caojun, member of the sub-party group of China Film Association, deputy secretary-general and second-level inspector; Chen Ling, Party Secretary and Curator of china national film museum, attended the forum. This forum was hosted by Lan Yu, the host of the movie channel. The guests present were French director and screenwriter Friedrich Obertin; Famous director and producer Chen Sicheng; American documentary director and producer Jimmy Chin; Famous director and producer Huang Jianxin; Hu Zhifeng, Professor and Doctoral Supervisor of Beijing Film Academy and Director of Academic Committee of Film and Television Society of China University; Russian director and screenwriter Ivan Tverdov; Wang Zhonglei, co-founder, vice chairman and CEO of Huayi Brothers Media Co., Ltd.; Yang Xianghua, President of iQiyi Film and Overseas Business Group; Professor of Tsinghua University School of Journalism and Communication, Yin Hong, Vice Chairman of China Film Association, and Zhao Fang, President of Warner Bros. Exploration Group in China.

Xu Hejian, deputy director of the Propaganda Department of Beijing Municipal Committee, director of the Information Office of the Municipal Government, and member of the Organizing Committee of the 13th Beijing International Film Festival, mentioned in his speech that movies, as an icebreaker of cultural mutual trust, provided an important platform and broad space for cultural exchanges and created potential and opportunities for communication and dialogue in the touch and integration of different countries and local cultures. Especially in the increasingly frequent and diverse cultural exchanges, movies have unique value in constructing the discourse system of China’s cultural communication to the outside world, and have become cultural messengers to promote exchanges and mutual learning among different civilizations. In his speech, caojun, member of the Party Committee, Deputy Secretary-General and second-class inspector of the China Film Association, said that in the great new era, China filmmakers should work together to build a bridge of light and shadow, and use this bridge to connect China with the world, bring the world’s appearance to the audience in China and tell the story of China to the world. Chen Ling, Party Secretary and Curator of china national film museum, said that film, as a common art form of human beings, is an important carrier for people all over the world to communicate with each other, with great cultural power and appeal. As an important part of cultural undertakings and industries, film is becoming an important medium for China to participate in the process of globalization and exert its international influence.

Friedrich Obertin, a French director and screenwriter, believes that the consensus of filmmakers all over the world is to find a good story, and the widest audience can be reached through scripts and stories, because this is the goal of the film.

Chen Sicheng, a famous director and producer, said that he and his team have more experience in international cooperation, and deeply felt that each shooting is not only about finishing the work, but also about the profound understanding of local culture and customs and the exchange and learning with local filmmakers. Every time I shoot, there will be a lot of earth-shaking changes to the local cognition. "Reading thousands of books, taking Wan Li Road and shooting several films" is really a very important life experience.

Documentary director and producer Jimmy Chin excitedly showed his photos taken as a professional climber and skier to the audience and other guests, and said that it was his first time to attend the Beijing International Film Festival, where he could look at the development and challenges of the film from different angles. The production of movies is full of enthusiasm and passion, and movies are the best way to bring human beings together across countries and regions.

Huang Jianxin, a famous director and producer, said that the current international situation has brought many puzzles and challenges, and the film just has the power to break through culture, which is a way of communication that can be more simple through visual language. He believes that in film cooperation, filmmakers are always equal and there is no gap, and it is this strength and pursuit that promotes exchanges and cooperation among film countries.

Hu Zhifeng, a professor and doctoral supervisor of Beijing Film Academy, pointed out that the film is irreplaceable because of its intuitiveness, vividness and depth, which can enter the depths of human emotions. Making a good film is the common aspiration of filmmakers all over the world. Film cooperation is the common aspiration of filmmakers, and it is also a common vision. It is expected that filmmakers from all countries can use the bridge of light and shadow to promote mutual understanding of civilizations.

Ivan Tverdov, a Russian director and screenwriter, said at the forum that we are very optimistic about the cooperation between Russia and China now. We have a good foundation for cooperation, because we share common values, and the filmmakers of the two countries will work together to create a bright future for the film.

Wang Zhonglei, co-founder, vice chairman and CEO of Huayi Brothers Media Co., Ltd. said that the changes and development of the market and economy have changed the co-productions, and now the co-productions are facing new challenges and new situations. In addition to copying the successful experience of past cooperation, we need to have more exchanges and cooperation with international advanced film production companies to spread the culture and ideas of China.

Yang Xianghua, president of Aiqiyi Film and Overseas Business Group, said that Aiqiyi, as a streaming media platform, has three major tasks, namely, introducing a large number of excellent foreign films, spreading China films to foreign audiences, and promoting more cooperative shooting of domestic and foreign films.

Yin Hong, a professor at Tsinghua University School of Journalism and Communication, said that to keep the door open for movies, we should continue to deepen cooperation in creation, marketing, production and distribution, and jointly explore the international film market, so as to achieve the role of mutual learning among civilizations.

Zhao Fang, president of Warner Bros. Exploration Group in China, said that the China market is full of opportunities and cannot be ignored. Warner has always been committed to China and attached importance to the China market. During the development of China from a big movie country to a powerful movie country, Warner will continue to strengthen content cooperation and personnel training, and make contributions to the story of China.

"Forum for International Cooperation of Film Powers-Promoting Mutual Learning of Civilizations through the Bridge of Light and Shadow" is rich in content, broad in vision and novel in ideas, and has conducted in-depth discussions on international film cooperation in the ideological collision and wisdom confrontation between Chinese and foreign filmmakers. The guests at the meeting are full of confidence in the future of international film cooperation, and firmly believe that the film industry will be able to open a new game in the changing situation, climb the peak again and create brilliant achievements again.

[Editor: Dong Jing]