★Film of the Year: "Universe Exploration Editorial"
Combining entertainment functions, genre exploration and self-expression, "Universe Exploration Editorial" will become a bright spot in the Chinese film market in 2023. In addition to its many advantages, the most unique thing about the movie to me may be that it opens up a diverse, complex and interesting spiritual scene of the 1980s and 1990s to today's audiences. Those fantasies about the future and the unknown, chaos and madness are often identified as some kind of "abnormality" in the name of scientific craze/UFO craze, or even neurosis. The film is a pseudo-science fiction film-style return to the "long 1980s" that cannot be said goodbye to. Through Tang Zhijun, it gives those Frankenstein monsters a new screen time and space. (Hu Liangyu)
"Space Exploration Editorial Department" and the "Wandering Earth" series form a clever contrast, showing an alternative science fiction imagination that is related to reality and seals a kind of romance that only existed at the end of the last century. feel. This film appears in the present, showing what we once had, what we have lacked, and what we may still have in the future, an exploration of unknown romance. (Wang Xin)
"Space Exploration Editorial Department" is not a typical "science fiction film", but it is a very excellent film with deep science fiction charm. It tells us that science fiction is something closely related to reality and everyone's spiritual world. related things. Aliens, space exploration, and qigong craze were people's endless expectations for the outside world in a past era. Now, snowflake noise falls on the lonely TV screen, becoming the light of Tang Zhijun. (Wang Yutong)
★Annual Film Nomination
"The Wandering Earth 2"
"It can go up to nine days to explode the moon, and it can go down to five oceans to connect the Internet." The film has built a huge and long two-line convergence structure. If compared with "The Lord of the Rings", it can explode Operation Moon can be described as a battle between the Western Allied Forces and the Army of Mordor. Tu Hengyu and Yaya's journey across life and death to restart the Internet is the feat of Sam and Frodo destroying the Lord of the Rings at Mount Doom. As a prequel, the breakthrough of "The Wandering Earth 2" is also to connect and unify the two usually opposing poles in Liu Cixin's discussion ("Stars and Sea" and "Digital Life"). The revolutionary arrogance of the 20th century and the cyber passion of the Internet era have the opportunity to short-circuit. This raises more questions, but there may also be real hope. (Wang Xin)
"The Mistake by the River"
This is a very stylized movie and a surprise in 2023. It reflects the external world in a deformed way and conducts a psychoanalysis of social cases. The film uses low-definition film to deliberately create a sense of separation from reality, which impacts people's sensibilities and confidence in cognitive society. It inspires people's skepticism and social reflection in a unique way. (Wang Xiaolu)
"Fengshen Part 1: Chao Ge Fengyun"
This film has rich visual pleasure, from the appearance of the characters to the scene modeling, it complements the moral catharsis and expands the scale of reaching the audience's senses. As a fantasy film based on the original work, the film strives to modernize it, and the female-oriented narrative also reflects the creator's goodwill and male consciousness. The film closely follows the theme of patricide as a cultural struggle and designs a hidden path to reach the hearts of modern people. (Wang Xiaolu)
" Chang'an Thirty Thousand Miles "
It uses cartoons to deal with an issue that is rarely expressed in images in traditional Chinese culture - the advancement and retreat of literati. Traditional Chinese literati have a very complex social personality. In many cases, poetry is a retreat for literati and officials. In this sense, Tang poetry and Song lyrics are the cultural memory of the Chinese people. The poetry that constantly appears in the movie is not a collage, but an activation of the sincere emotions behind the memory. (Wang Yutong)
"It's a Worth It"
What moved me about this film was the creators' difficult exploration of life itself and their desire to express it deeply. The author of the film (Liu Jiayin) and the characters in the film (screenwriter Wen Wen) Goodness) have an isomorphic relationship. In their creative efforts to remove barriers and break self-limitations, they exude a metaphysical light.Creation is so difficult because we cannot truly reveal the feeling of being alive and the meaning of existence. In the face of a world that is difficult to describe in words, the authors said they are still working hard to explore. (Wang Xiaolu) Stills from the movie "Universe Exploration Editorial Department"
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2023 is the first year after the epidemic, and it is also the year of recovery for the Chinese film industry. According to data released by Maoyan Research Institute, the annual box office of Chinese movies in 2023 reached 54.915 billion yuan, and the number of moviegoers in urban theaters reached 1.299 billion yuan. Among them, domestic movies contributed 83.8% of the annual box office, and there were 73 movies with a box office of over 100 million yuan in the year. There are 50 domestic films among them, and the top 10 films at the annual box office are all domestic films, which seems to mark the decline of the influence of Hollywood films in China.
At the same time, the North American box office in 2023 ended at US$9 billion (approximately 64.63 billion yuan), once again becoming the world's largest box office.
compares the two sets of figures with 30.067 billion yuan and 7.366 billion US dollars in 2022. Film practitioners and senior movie fans may be able to get some comfort. They at least prove to the world that after experiencing the impact of the long epidemic, movies are still considered the most powerful popular art at the moment. Looking back at China's theaters in 2023, not only did the Spring Festival and summer programs set high box office records, but there were also a number of art films that cannot be ignored. Compared with the previous year, the richness of China's cinema movies in 2023 is gratifying, and their existence shows valuable tolerance. Although most of these small films failed to receive strong recognition from the market, they reached their target audiences in their own ways and formed a lasting impact.
Looking at the movies throughout the year, the topical movies based on reality are the most eye-catching, thus stimulating the market and forming a creative trend. Supporters see this as a valuable return to realism, while opponents see it as distorting reality. But regardless of the viewpoint, these films have entered the public eye, stimulated our interaction with reality, and effectively opened up the space for public opinion.
Obviously, Chinese movies already have relatively independent market rules. Movies with first-class industrial standards such as "The Wandering Earth 2" and "Fengshen" are further replacing Hollywood movies in the hearts of some Chinese audiences. Chinese-style movie spectacles are also Developed a unique calling power.
But what we cannot ignore is that important global issues - class, gender and race have also entered the discussion of Chinese movies in various ways, and have been extended and amplified through the Internet. Among them, "The Disappearance of Her" and "Barbie" 》The discourse competition in the summer season has become an unforgettable cultural landscape in 2023.
The return of realism?
Southern Weekend: 2023 can be said to be the year of recovery for domestic films. The total box office of the three movies "River Red", "The Wandering Earth 2" and "All or Nothing" accounted for one-fifth of the movies for the whole year. Can you guys share your general impressions of 2023 movies based on your own movie-watching experience?
Wang Xin: I think the movies in 2023 are not homogeneous. In terms of schedules, the Spring Festival and summer movies are relatively hot, and the discussion is relatively high. They are also strongly bound to the "fan economy" . But to me, what is more interesting is the batch of small films that emerged in the middle of the big schedule, such as "Burning Winter", "Parrot Killing", "The Mistake on the River", "Space Exploration Editorial Department"... Some of them have achieved relatively good results. The box office is good, but some have a decline in reputation or unsatisfactory box office. But I clearly feel that no matter what the audience's attitude towards these movies is, it seems to be out of some kind of concern for the present. This is a relatively special phenomenon in 2023.
Wang Yutong: I feel that the movies in 2023 are generally relatively mediocre. Although there are some phenomenal movies, the discussion on them is quite scattered. What attracts people is often the so-called topic. I think many movies cannot be said to be realistic themes, but topical movies. Many movies will use online issues as the theme of the movie to attract audiences. This is a very obvious change in 2023. For example, the emotional pua involved in "Parrot Killing" and "The Vanishing Her"; the telecommunications fraud involved in "All or Nothing"; and the native family involved in "Crossing the Angry Sea".What everyone is paying attention to is not the movie itself, but the Internet topics triggered by the movie. In a sense, the movie once again constitutes a public topic and a public cultural event. Of course, this can be discussed.
Southern Weekend: Indeed, looking back at Chinese movies in 2023, realism themes dominate the mainstream. Whether it is commercial films that have achieved high box office such as "The Lost Girl", "All or Nothing" and "The Octagon", or very low-cost literary films such as "Rattle of the Ring", they are all based on real events, so some media also use these This phenomenon is called "the return of reality." What do you think of this issue?
Jiao Rui: The plot logic and details I have seen in many so-called realist movies are actually divorced from "reality". For example, in the domestic violence-themed film "I Passed the Storm," it is valuable to pay attention to domestic violence and women's living conditions, but there are still flaws in the plot that can make people's brains "allergic." I wonder if there are some taboos that prevent creators from truly presenting the logic of reality. For example, as a "perfect victim", the protagonist has to choose to go back to the abuser in order to take care of his children. In fact, he has fallen far behind the way women deal with it in reality, so it seems a bit unreasonable. In fact, many movies have similar problems. The plot logic is flawed, unconvincing, and even seems "intelligent". If such a basic impression is left on people, it will be impossible to discuss whether the expression technique is effective or whether the aesthetics is innovative.
Stills from the domestic violence movie "I Walked Through the Storm". Data map
Wang Xiaolu: The realism of Chinese films has been abused to some extent, and the context has changed a lot. When we mention this word now, of course it refers to realistic-themed movies, but what should not be ignored is that some movies that look like ancient costumes also have realistic connotations, such as "Fengshen". After all, a good movie must have the ability to talk to reality.
Wang Xin: We know that "realism" has a particularly complicated and intertwined context in Chinese literature and art. The one that truly meets the special standard and classic definition of "realism" throughout the year is probably "The Rattle, Dong, Dong, etc." The so-called "realistic movies" everyone talks about can be roughly divided into two categories. One category is works such as "The Mistake on the River" and the TV series "Rush" and "The Long Season", which shaped the 1990s into an "enclave". ", using different ways to freeze that period of time for display. And this is probably because we need to find a time and space that is both familiar and unfamiliar to project our emotions and desires. Similarly, the logic is the same when the creators choose to place some stories in regions other than China, such as Southeast Asia. Another type of movie is the so-called issue-based movie, such as "Hot Search", "I Passed Through the Storm" and "Parrot Killing".
Hu Liangyu: If we talk about realism, it has a very direct definition, which is typical characters in typical environments. In this sense, many movies can indeed provide a certain sense of reality, including movies like "The Octagonal Cage" All can respond to reality to a certain extent. But I also feel that many movies have profoundly distorted reality.
Many movies have a very distant relationship with reality
Wang Yutong: In fact, many movies have a very distant relationship with reality, even if they can arouse some discussions about reality. For example, the box office performance of "The Disappearance of Her" is very good, but its The emotions evoked have nothing to do with reality. For most viewers, they don’t care what the actual context of the movie’s narrative is. They just need to participate in the media interaction on the Internet through this movie. To put it bluntly, these topics constitute the media world.
Chinese Gender issues are a very hot topic on the Internet at the moment. However, in my observation, many gender issues are actually some kind of distorted expression of class. However, many people participating in the discussion themselves do not realize that what they are talking about is not gender. , but class. Many of these discussions appear to be too radical or too conservative. This is not a reflection of our gender concepts, but the confusion itself is a manifestation of the confusion that everyone cannot figure out and cannot find the problem.The fact that "She Disappeared" attracted so many people to watch it is actually related to this situation. It involves the issue of whether we gain or lose in marriage. This is actually an economic issue, and it is also an issue of rights protection in cross-class marriages. , rather than discussing whether to love or not, let alone criticizing the "love brain".
Stills from the movie "She Disappeared". Data map
Wang Xin: When talking about "The Disappearance of Her", teacher Chen Yanjiao of Nankai University pointed out that the film is a portrayal of the current logic of emotional capitalism. Love is commodified and reduced to various calculations, while "Parrot Killing" On the contrary, it reveals that the nature of love contains some element of fraud. Only by accepting the risk of being deceived to some extent can you love. To deny risk is to deny the possibility of love. In this sense, "She Disappears" is somewhat similar to "My Sister" from two years ago. It reveals the emotional plight of the middle-class generation of only children - especially the only children who are heirs to family property and those who have careers. , social status and cultural capital, they have purer emotional needs, but they have greater anxiety about "marrying down", fearing that they will be deceived by "poor boys", and fear of falling in class. Because they are only children, women of this generation have relied on patriarchy and capital to a certain extent to win the right to speak in certain fields of culture. However, the optimization and adjustment of fertility policies have made their position seem fleeting. In the future, film and television dramas related to this anxiety will There will be more.
Hu Liangyu: The reality touched on in many genre films is more like satisfying our expectations for the basic functions of movies, and what is given to the audience is actually very limited.
"Feng Shen": A new business model for movies
Southern Weekend: In addition to reality-themed movies, there will be several blockbusters set in ancient times in 2023, all of which have attracted much attention. One is the annual box office champion "Man Jiang Hong", one is the fantasy blockbuster "Feng Shen", and the other is the animated film "Chang'an 30,000 Miles". In fact, ancient themes are no longer the mainstream of current movies, but these three movies are unavoidable works in 2023, both in terms of box office and popularity. Can you talk about your impressions of these movies?
Stills from the movie "Fengshen". Data map
Wang Xin: The most interesting thing in "Thirty Thousand Miles from Chang'an" is unfolded through the memories and perspective of Gao Shi - a high-ranking poet among the Tang Dynasty poets. In my opinion, this means some kind of evaluation. With the changes in the system, the imagination of romantic poets is also related to a certain "realistic" power structure. The most symptomatic part is that Gao Shi and Li Bai may not be a match in the first place. The film "pairs" this high-ranking official with a rebellious Li Bai, and "relegates" Li Bai to a certain position. Finally, it affirms it from Gao Shi's perspective. This structure is worth pondering.
Wang Yutong: I think this film is not bad. It uses cartoons to deal with an issue in traditional Chinese culture that is rarely expressed in images, which is the advancement and retreat of literati. In our cultural tradition, there is no so-called professional literati. Unless they are in special circumstances such as seclusion, what literati have always pursued is not reciting poems and painting, but "learning and excellence leads to officialdom." Even the more rebellious Li Bai in the film is actually They were also very close to the center of power and served as close ministers of the emperor. During this period, they had many less than romantic experiences. On the other hand, how should these people deal with their own poetic pursuits in life? This movie gives us a certain demonstration. Many times, poetry is the retreat of Chinese literati, their own small back garden. So we saw that Gao Shi, who had repeatedly failed, began to write poetry, and we also saw that Li Bai, who was frustrated in his political career, left his name in poetry. In this sense, Tang poetry and Song lyrics are the cultural memory of the Chinese people. "Chang'an 30,000 Miles" is not mature in its handling, but I can see its efforts. This is Chinese animation's attempt to deal with more serious issues in traditional culture.
PayRui: What’s interesting is that the “highlight moment” where online discussions were more concentrated was when everyone recited Tang poetry collectively in the theater. You will find that the part about Li Bai that resonates with everyone is really part of our cultural memory.Even though the film tries its best to portray Gao Shi as a successful person and a narrator who collects cultural memories, judging from the audience's reaction, it is actually very obvious who the center of this cultural tradition is.
Southern Weekend: Correspondingly, there is also a group poem recitation in "Man Jiang Hong".
Wang Xin: The most bizarre thing about this movie is that Qin Hui leads the recitation of "Man Jiang Hong". Anyone who holds any position can find a place in this movie, which crams in all contradictions and forcibly stitches them together.
Wang Yutong: I think this movie is particularly like a video game. It also often has a large overhead perspective. People are walking around in a maze-like courtyard, like playing a maze-breaking video game, but the middle of the maze is not There is no treasure, and there is not even a dragon. This is a game that has no meaning until it is revealed at the end.
Wang Xin: All the clues that promote the plot in "Man Jiang Hong" cannot be explored in depth, and history is completely shelved. For example, in the movie, the alliance between Qin Hui and the Jin envoys was about to discuss a particularly important matter, but the weight of this matter was evacuated. What the film constantly presents is actually that special building. It is said that Zhang Yimou originally shot the film for this building. We think that the important spiritual expression is just a little bit of spice in this space, in order to show the wonders of the space, so we take away everything and let the audience get what they want.
Southern Weekend: mentioned the "fifth generation" represented by Zhang Yimou, we would say that one of their core propositions is "parricide", which Wu Ershan, as a relatively young generation of directors, inherited in "Feng Shen" With such a proposition, the core of the movie is the conflict between father and son. Of course, there is a lot of discussion around this movie. I am curious what you think of this movie?
Wang Yutong: The narrative about "finding dad" in the film made me feel some "kind familiarity" when watching the movie in 2023, because it has been a very classic and very "old" in our Chinese movies since the 1990s. ” proposition. "Feng Shen Bang" was originally a story about the establishment of the Western Zhou Dynasty and a myth about the origin of Chinese national culture, but Wuershan obviously added a lot of his own interest.
Hu Liangyu: "Fengshen" and "The Wandering Earth 2" are both the same type of problem in my opinion. They both use particularly advanced technology to tell stories with conservative values, whether it is ancient times or space. "Jun The logic of "lord, minister, father, son, son" is still the mainstream, and the characters are all "looking for their father." Interestingly, "Feng Shen" also allowed me to see a new business model for movies. Its multi-channel marketing is very meticulous and successful, and it consciously cultivates its own fan community through the so-called "Proton Group" , may have attracted a lot of audiences from various circles, but of course it also caused some controversy.
Wang Xiaolu: "Feng Shen" is quite controversial, and criticisms about it are from many dimensions. But I think this movie is still very attractive.
The era of mature movies has arrived?
Southern Weekend: As Wang Xin said, in 2023, some commercial films that created super high box office were released. More importantly, a number of small films with their own characteristics emerged, including "Universe Exploration Editorial Department" and "Mistake by the River" The ones that have received the most attention are films such as "Barbarian Invasion" and "Winter" which are directed by overseas Chinese directors and have a certain degree of heterogeneity. What do you think of these films?
Wang Xin: My favorite movie throughout the year is undoubtedly "Space Exploration Editorial". It forms a clever contrast with the "Wandering Earth" series, showing an alternative science fiction imagination that is related to reality. , and sealed a sense of romance that existed only at the end of the last century. This film appears in the present, showing what we once had, what we now lack, and what we may still have in the future, an exploration of unknown romance.
Wang Yutong: I agree very much. "Space Exploration Editorial Department" can indeed have an interesting echo with science fiction blockbusters such as "The Wandering Earth".This film also reminds me of Tarkovsky's "Stalker". Although today we would say "Stalker" is a science fiction film, it touches on cognitive issues very effectively, but Tarkovsky But he said it never was. Good science fiction films are not clichéd or suspended. "Space Exploration Editorial Department" tells us that science fiction is something closely related to reality. For example, the craze for extraterrestrial exploration and qigong mentioned in it are historical memories of our generation when they were young. I saw it so real on the screen. The presentation is rare.
Hu Liangyu: I am from northern Shaanxi. For selfish reasons, I like "The Rattle and the Rattle" very accurately because it describes the situation of the entire northern Shaanxi society in the past ten years and reveals the folk culture that we are not familiar with. The problem of loan cutoffs. The boy's father in the film went out to work and never came back because he owed a loan. It tells the story of the shadow behind the development miracle of northern Shaanxi from the late 1990s to the early 21st century. The film was given a small space in the sense of visibility.
Wang Xiaolu: My favorite movie in 2023 is "The Mistake by the River". This movie provides a mental and pathological analysis of society. It has the look of a genre film, but goes beyond the narrative of a genre film. "One and Four" by Jigme Chenglie is also worthy of attention. This is a Tibetan genre film. The director is very young but the film is very mature. It shows the potential and possibilities of the younger generation of Tibetan directors.
Stills from the movie "One and Four" directed by Kumi Sariye. Data map
I also like "Story Collection of Yong'an Town" very much. I compared this movie with Liu Jiayin's "A Journey Worth It" and came up with a concept - "The Era of Mature Films". These two films serve as The entry of "meta-cinema" into the theater system is a landmark event, indicating that Chinese films have entered a mature era. Movies that we thought had a threshold for viewing in the past are gradually becoming more active in theaters, which shows that the relationship between movies and us is no longer the same. This means that now that all movie forms seem to have been exhausted, people are rethinking the possibilities of movies. , including rethinking the development of new technologies and rethinking the relationship between film and reality... We are already in an era of intense film reflection and new film ontology, which has constructed a new cultural spirit of our era.
Hu Liangyu: I have some different opinions. I am a little tired of the large number of so-called "meta-movies". You can say that this phenomenon reflects the film creators' reflection on the film medium, but "Yong'an Town Stories" brought me Not a good viewing experience. Perhaps it is because many of our young directors are produced from the academy mechanism and have received professional training, but at the same time, you will find that all their social experience is only about movies, so the so-called "meta-cinema" "The kind of self-reference at the media level often becomes a barren representation of one's own lifestyle. It seems that there is only one most important thing in the world, and that is making movies. They seem to need the audience's understanding and need to talk about the hard work of making movies. In my opinion, there are things that are far more difficult and require more understanding. So I wanted the camera to turn more toward things outside of the film itself. This is not a matter of ability, but of human will.
Has the Hollywood magic failed?
Southern Weekend: If is compared with domestic movies, from a global perspective, the most watched movie in 2023 will be "Barbie". Not only is the movie the global box office champion, it has earned 1.36 billion US dollars (approximately 9.76 billion yuan), and its reputation is also very good. In China, the total box office of this movie is 252 million yuan, and it is also very popular among certain circles. What do you think of this phenomenon?
The movie "Barbie" is the global box office champion in 2023. The picture is a still from the film.Data map
Hu Liangyu: For me, "Barbie" is the most worthy of discussion in 2023. On the one hand, this movie is a huge advertising film, and we know that its investor is Mattel (the world's No. 1 advertising company). The three major toy manufacturers, the holders of Barbie IP), and director Gerwig took the initiative to find Mattel to shoot. In other words, the most popular female director in the West is making an interesting exchange with capital, looking for the greatest common denominator between business and gender. The film's success is twofold, both as a success in gender discourse and as a reboot of Mattel's image. On the other hand, in China, this film has also received a very high level of attention, perhaps because of its clever discussion of gender. Perhaps this also shows that Chinese audiences have accepted and become familiar with this "mainstream" gender discourse and the way it is discussed.
Pay Rui: "Barbie" caused widespread discussion in China, but in the end the box office failed to surpass "Oppenheimer", which is contrary to the global box office situation. In fact, Warner has long been aware of the Chinese market's indifference to Hollywood productions. The foreign film with the highest box office in China in 2023 is "Fast and Furious 10", ranking 12th, which also confirms their predictions. Therefore, "Barbie" received almost no pre-publicity in mainland China. On the contrary, Warner's overseas marketing is very crazy, almost all social networking sites are doing it, and the streets are full of "Barbie" peripherals, forming a sharp contrast.
I listened to a few podcasts about this movie, and the female hosts all offered some pretty insightful insights. In a sense, this echoes the expectations of Chinese middle-class intellectual women—to find their place in capital society. The most direct manifestation is career success, echoing the contemporary images of strong women and heroines in mainstream discourse.
This pursuit of "female power" is reflected both in and out of "Barbie". The fate of the film is actually decided by its lead actress and executive producer Margot Robbie. This movie had been planned for more than ten years but had not been made until she found director Gerwig and the project was implemented. Compared with the light "empowering women" narrative in the "Barbie" movie, stories outside the movie have given Chinese women more motivation and inspiration.
Of course, many people are now reflecting on the legitimacy of the so-called #girlboss narrative and questioning whether success in business or career is a victory for feminism. Likewise, the film has its limitations. But to take a step back, I believe that it is this that dares to touch a challenging topic in a direct way that makes it receive sincere support and praise in China.
Southern Weekend: Judging from the box office, Hollywood’s influence in China is indeed declining. What is the reason behind it? Is it Hollywood's own creative failure, or is it another problem?
Hu Liangyu: Another topic that will be discussed most about Chinese movies in 2023 is-do we no longer need foreign movies? I thought about it, if I took my parents to see a movie, I might not choose "Barbie", but take them to watch movies with themes such as "All or Nothing" and "The Octagon" because they seem to be closer to our lives. Daily, and its typology is becoming increasingly mature.
But we can still see Hollywood's strong self-renewal ability. It has been stimulating itself in various ways, just like adding catfish to a fish pond to make the pond alive. "Barbie" is the biggest catfish in the global film industry in 2023. This movie represents a new type of comedy movie, a new female movie, and even a new direction of science fiction movies. In this sense, "Oppenheimer" and "Napoleon" and other "old white male" movies do lack new ideas.
Wang Xin: "Superhero" movies used to sell well in China, but now they are really weak. The "meme" of DC Universe, Marvel Universe and other series of movies are becoming more and more internal, and the audience is becoming more and more popular. Stratification, but the proportion of die-hard fans of these series in China is different from that in the United States.However, I feel that the so-called decline of Hollywood in China is not permanent, and the current situation cannot be regarded as a once-and-for-all victory for Chinese films. In recent years, the center of Hollywood has been turning to streaming media such as Netflix. They have deployed in various parts of the world and conducted very diverse cooperation. The influence of this part cannot be underestimated.
Southern Weekend reporter Yu Yaqin
editor Liu Youxiang
