分类： zudao

Original nuclear record nuclear record

Issue 204

Manuscript | NTU New Biography Future Editorial Department He Zhen Record Students

Gao Yaer Wang Jingyi Wu Sicun Jiang Huiling Yuan Jiaqi Wang Yuhe

Cartography | Wu Yuhang Ouyang Yuanfan Wang Yiqian

Editor | History Xiao Hong Zidong Zhang Ningxin Lin Xinyao

Typesetting | Wang Yuhe

foreword

"Would you like a cup of milk tea?"

Recently, with the improvement of the epidemic situation in Nanjing, various schools have relaxed the policy of closing schools one after another. Many students who have been "closed" for a long time can’t wait to get out of the campus and come to the food street outside the school. The first thing to do is to order a cup of milk tea to solve the "suffering of missing tea" for many days.

Milk tea has unconsciously become a part of the life of contemporary young people. Many friends responded that the elders at home were even more "superior" than themselves when they met milk tea. Milk tea can be described as "happy" for all ages.

However, in the past two years, a dark cloud named "non-dairy creamer" has entered the sight of tea lovers. Although everyone knows a little about it, it does not prevent it from being notorious, and it is often mentioned together with trans fatty acids, which makes people turn pale. So what exactly is non-dairy creamer? Is it harmful? Can milk tea containing non-dairy creamer be drunk? Which brands admit or deny the use of non-dairy creamer? Which tea shops are vague in wording and afraid to avoid the word "non-dairy creamer"?

The nuclear record has collected some relevant information, and I hope this healthy communication article about "non-dairy creamer" can bring you the answer.

What is "non-creamer"?

Creamer, also known as "creamer powder", is a powdered or granular product made from sugar (including sugar and starch sugar) and/or syrup, edible oil, etc. with or without milk, dairy products and other food raw materials and food additives. It is often used to pour it on coffee, black tea or jelly, tea jelly and tortoise jelly. ①

The history of non-dairy creamer can be traced back to 1958. Carnarson Company developed a water-soluble product with a taste similar to dairy products by using edible vegetable oil and other raw materials, and put it on the market under the label of "coffee-mate" in 1961. Once put into use, the product was widely welcomed by the market. Subsequently, other companies have gradually developed and produced similar products, and constantly explored the downstream application fields of non-dairy products.

　

coffee mate

In the 1980s, non-dairy creamer entered the domestic consumer market. The development of China’s non-dairy creamer market has mainly gone through the stages of import consumption, independent production and R&D innovation. With the further improvement of the competitiveness of domestic non-dairy creamer products, the products of domestic non-dairy creamer manufacturers with high quality have been exported to all parts of the world, and China has become one of the important producing areas of non-dairy creamer products in the world.

The prevalence of non-dairy creamer in food industry is not without reason. This food additive has good solubility, emulsification and dispersion properties, and has no repulsive effect on other raw materials; At the same time, the non-dairy creamer is not easy to be damaged by oxidation, and it does not need refrigeration, which ensures its long shelf life. More importantly, on the premise of low price, convenient use and low storage conditions, non-dairy creamer can effectively increase food flavor and make food taste smoother. For all these reasons, merchants have been very fond of this food additive all the year round.

However, in recent years, with consumers’ attention to food safety and the improvement of food health requirements, "non-dairy creamer" has entered the public’s field of vision, and has been labeled as "harmful", and even become a food additive.

Why is non-dairy creamer so unpopular? Can its harm to human body be reduced or avoided?

There is no need to "talk about the color change of non-dairy creamer"

Fat is the most important ingredient in the formula of non-dairy creamer, which provides a unique texture and viscosity for non-dairy creamer and gives the product a mellow taste. The fat in non-dairy products is provided by hydrogenated vegetable oil.

The harm of non-dairy creamer is discussed by everyone, and the key lies in this part of hydrogenated vegetable oil. Incomplete hydrogenation of hydrogenated vegetable oil will produce "trans fatty acids", which are harmful to human body.

On October 12th, 2011, China’s health authorities issued the national standard GB28050-2011 "General Rules for Nutrition Labeling in prepackaged foods", in which clause 4.4 of "4 Mandatory Labeling Contents" stipulates that "when food ingredients contain or use hydrogenated and/or partially hydrogenated oils in the production process, the content of trans fats (acids) should also be marked in the nutrition composition table". In addition, D.4.2 stipulates that "the intake of trans fatty acids should not exceed 2.2 grams per day, and excessive intake is harmful to health. The intake of trans fatty acids should be less than 1% of the total daily energy, which is harmful to health. Excessive intake of trans fatty acids can increase blood cholesterol, thereby increasing the risk of cardiovascular diseases. "

Screenshot of General Principles of Nutrition Labeling in prepackaged foods (GB28050-2011) by official website, Institute of Nutrition and Health, China Center for Disease Control and Prevention.

According to the Report on the Intake Level and Risk Assessment of Trans Fatty Acids of Chinese Residents issued by the National Food Safety Risk Assessment Center in March 2013, the energy provided by trans fatty acids through dietary intake in Chinese accounts for only 0.16% of the total dietary energy, far below the limit of 1% recommended by WHO.

However, with the development of hydrogenation technology, it is now possible to produce "completely hydrogenated vegetable oil" without trans fatty acids, that is, "zero trans fatty acids" non-dairy creamer. At present, the content of trans fatty acids in most brands of coffee partners on the market is almost zero. Although the product ingredients on the packaging contain non-dairy creamer, they will be specially labeled as "zero trans fatty acids". ④

"Zero" here means that the trans fatty acid content is lower than the standard threshold. The current standard of the Ministry of Health is that it can be labeled as "zero trans fatty acid" when it is lower than 0.3g/100g, and a cup of milk tea contains about 20~30g of non-dairy creamer. Therefore, if you can use the non-dairy creamer containing "zero trans fatty acids", the harm caused by the non-dairy creamer in a cup of milk tea is almost negligible.

Therefore, "containing or not containing non-dairy creamer" is not a direct criterion to measure the safety of a certain food. The quality of hydrogenated vegetable oil used by various manufacturers in the process of producing non-dairy creamer, that is, the content of trans fatty acids in non-dairy creamer, may be the focus we need to pay attention to. The most direct way to reduce the harm of non-dairy creamer to human body is to reduce the content of trans fatty acids. For consumers, if they want to reduce the harm caused by non-dairy creamer in some products, they should try to identify whether the trans fatty acid content in them meets their expectations.

According to the list of the top ten brands of non-dairy creamer listed by maigoo Brand Ranking Network, Hezhen Record searched the enterprise standards of these brands for producing non-dairy creamer in official website and official website in turn, trying to list the content of trans fatty acids and find out the food brands that cooperated with these companies. However, in the search, except for Dongguan Nestle Co., Ltd. and Jiahe Food Industry Co., Ltd., we can hardly find the enterprise standards of other brands (enterprise standards are more stringent than industry standards and national standards, and if enterprise standards are not formulated, production should meet the basic industry standards or national standards); At the same time, the cooperation between many brands is not open to the public. Therefore, the nuclear record has sorted out some effective information currently available to the top five non-dairy brands in the list, hoping to bring some reference to readers.

　

Tea merchants who admit/deny using non-dairy creamer.

Although non-dairy creamer is not equal to trans fatty acids, and adding non-dairy creamer to milk tea is not equal to endangering health, the public has always been wary of non-dairy creamer. In such a public opinion environment, do you want to use non-dairy creamer? What kind of non-dairy creamer do you use? Admit or deny? This is indeed a big publicity problem for tea merchants. Hezhenlu collected the contents related to non-dairy creamer in the publicity information of 16 well-known milk tea merchants for readers’ reference.

Note: The official propaganda information and netizens’ speeches collected in the above pictures do not represent Ben WeChat official account’s views and attitudes.

After popular science, have you understood in front of the screen that non-dairy creamer is not equal to trans fatty acids, and it is not as terrible as it looks? As long as "good oil" is used and "low acid" or even "zero acid" is added in the production process, it is a food additive that can improve the taste of products and reduce the unit price of products. Therefore, it is important to pay more attention to the content of trans fatty acids in the nutrient composition table when buying food. In addition, the use of food manufacturers, including non-dairy creamers, which are likely to cause people’s health concerns, should also clearly indicate the contents of non-dairy creamers and trans fats in their product composition tables.

More transparent information and a more responsible attitude can bring people more secure choices.

reference data

①《QBT 4791-2015 Non-dairy creamer industry standard

② Institute of Nutrition and Health, China Center for Disease Control and Prevention, official website: National Standard "General Rules for Nutrition Labeling of National Food Safety Standard prepackaged foods" GB28050-2011.

https://www.chinanutri.cn/gzrw_132/gjspyybqjkjyxd/201412/t20141229_108497.html

③ National Food Safety Risk Assessment Center. China residents’ dietary intake level of trans fatty acids and summary of its risk assessment report [J]. Food Safety Guide, 2013(8):3.

④ Wang Biao. Preparation of zero trans fatty acid non-dairy creamer [D]. Jiangnan University, 2014.

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The content of this article was first published in the Record of Nuclear Truth.

Please contact Ben WeChat official account for reprinting.

Original title: "Health | Milk tea contains non-dairy creamer, can you drink it?" 》

Read the original text

　　Recently, a movie, a person and a thing have set off the film circle. That is the event that producer Fang Li knelt down on the webcast platform for the film "A Hundred Birds at the Phoenix".

　　Who is Fang Li? Many outsiders may not know him very well. Although Fang Li is a senior filmmaker with a good reputation in the film industry at present, he is actually a "monk halfway".

　　Fang Li graduated from East China Institute of Geology (now east china institute of technology) with a major in applied geophysics in 1982, and obtained an MBA from WakeForest University in 1989. In 1991, Laurie Industrial Company was founded, which is currently the top geophysical instrument company in the world and has achieved great commercial success in the fields of earth science and marine science and technology.

　　It is such a "sophisticated" person with high intelligence similar to Andy, the heroine of Ode to Joy, who resolutely devoted herself to the film industry in 2000 and founded Laurie Film Company. Fang Li made movies out of his true love for movies, rather than simply holding the mentality of making money by investing. Most of the films he has invested in are literary films, such as Wang Chao’s Anyang Baby and Lou Ye’s Summer Palace. Recently, he has invested most in Li Yu’s films, Guanyin Mountain, Second Exposure and Growth of Everything. The one who makes the most money should be Han Han’s "See you later".

　　Recently, Fang Li’s busy movie is "A Hundred Birds at the Phoenix". A Hundred Birds at the Phoenix is the posthumous work of the famous director Wu Tianming. Wu Tianming is a representative of the fourth generation directors in China. Many people may have seen his Old Well and FACE/OFF when they were "children". Although he has not made many films, almost every one of them has won domestic or foreign awards. He is a director who makes movies with his heart and loves movies with his life. Wu Tianming was 73 years old when filming "A Hundred Birds in the Phoenix". At this age, most people should stay at home and support their grandchildren. Wu Tianming still insists on being in the first line of filming.

　　The content of the film also tells the persistence of an old artist. Similar to Wu Tianming’s old work FACE/OFF, A Hundred Birds at the Phoenix is also a story of the demise of traditional art. In Wushuang Town, the folk art of suona, which has been passed down for a long time, is not only for entertainment, but also a kind of life evaluation for those who died in a long journey when holding a funeral. Only at the funeral of a respected person can you play "A Hundred Birds at the Phoenix". And "A Hundred Birds in the Phoenix" is a difficult piece, and only the top suona master can be competent. In the whole town of Wushuang, only Jiao Sanye, the leader of Jiaojiaban, who is famous in all directions, can play "A Hundred Birds at the Phoenix". The old-school suona craftsman held his breath, smothered one mouthful blood, and would rather die in the plush chair where the performance would be held.

　　The People’s Daily commented that a hundred birds pay homage to the phoenix: It is a realistic film development path with China characteristics, China style and China style, which is in line with Life, Old Well, FACE/OFF and CEO and keeps pace with the times. This is precisely under the realistic background that the eastern and western cultures are coming from all sides. In the face of all kinds of historical nihilism thoughts and the "Westernization" of the East, it still retains valuable cultural consciousness and cultural determination. It is the result of China’s characteristic film creation.

　　However, after the release of "Hundred Birds in the Phoenix", the proportion of films has been only about 1-2%. Most of the performances are in the early morning and late night, and many viewers said they wanted to see a movie, but they couldn’t buy tickets. For a literary film released at the same time as Captain America: Civil War, this result is regrettable, but not unexpected.

　　Producer Fang Li couldn’t sit still. May 12th is the eighth anniversary of the Wenchuan earthquake, which is also a day of "phoenix nirvana" for the film "Birds at the Phoenix". On the same day, the film was released for a week, only earning 3.64 million at the box office, and the number of films was as low as 1.2%. Even though there were many big-name film platforms to help out, it didn’t help, and it was about to be shown. On the evening of the same day, Fang Li, the producer of "A Hundred Birds at the Phoenix", knelt down and kowtowed on the webcast platform, which shocked the industry and the outside world. When Fang Li knelt down, he said, "If you can arrange a golden field for us this weekend, Laos will immediately kowtow to you and kneel down to you … For the wishes of director Wu Tianming and for the audience, I am willing to beg you."

　　This incident triggered the crazy brushing of social media and quickly evolved into a social topic. On the 13th, "Hundred Birds in the Phoenix" broke through one million in a single day and began to counterattack. On May 15th, the screening ratio of "Hundred Birds Facing the Phoenix" rose to 7.4%, ranking first. As of May 16th, the total box office of the film reached 25.98 million.

　　Some people praised Fang Li for disregarding his own dignity for his feelings and loyalty, while others thought that this was a moral kidnapping, which ran counter to Wu Tianming’s own spirit and his theme of "suona is for himself" in "A hundred birds fly at the phoenix". Some people even think that this is a marketing tool.

　　But even if it is a marketing tool, what’s the harm? The literary films invested by Fang Li, especially those directed by Li Yu in the past two years, have all done well at the box office. This has a lot to do with the team’s market awareness and marketing plan. Moreover, compared with the "hidden rules" such as buying box office and dividing points with cinemas, such marketing methods may be more tragic and aboveboard. To tell the truth, I don’t like to watch "high and low" literary films, but it is precisely because of the lack of audience base that China film market needs filmmakers like Fang Li who love movies and know how to promote different kinds of movies.

　　After all, a mature film market can’t only have the living space of commercial films. After all, movies are not only commercial, but also an artistic expression. For the general audience, it is also a good choice to eat more big fish and meat and occasionally taste some porridge dishes.

　　Where is the ceiling of the single box office of China movies? What are the common characteristics of those movies that have exceeded 1 billion at the box office? What are the advantages of China film marketing company compared with the traditional Hollywood film marketing? Can movie word-of-mouth really be made? Yesterday morning, the forum "How to Advance to the Billion Box Office" sponsored by Phoenix Entertainment was held in Beijing. As the official forum of the 8th Beijing International Film Festival, Zhu Weijie, Chairman of Infinite Freedom Media, Yue Xiang, Chairman of Red Fruit Culture Communication Co., Ltd., and YIN FANG, an actor, were invited to attend the event, which was hosted by Zhou Liming, a famous film critic. Four guests from different film posts made an in-depth analysis of the current film market in China.

　　In this year’s Spring Festival, two films, Operation Red Sea and Detective Story 2 in Chinatown, made an impressive box office breakthrough of 3 billion, while the previous "Ex-3: Goodbye to Ex-3" had a cumulative box office close to 2 billion. The box office of the Spring Festival alone broke through the 10 billion mark, with a year-on-year increase of more than 65%, which not only broke the monthly box office record of 7.37 billion yuan with the help of Wolf Warriors 2 last August, but also set a new record for the global film market. Up to now, in this year’s global box office rankings, besides Marvel Comics’s film Black Panther, Operation Red Sea and Chinatown Detective 2 ranked second and third respectively, Spielberg’s new film Ready Player One ranked fourth with US$ 490 million, Ready Player One’s box office in North America was only US$ 130 million, and in China, the box office of this film is about to exceed RMB 1.3 billion. It can be said that the China film market is increasingly showing a huge share in the global market.

　　Billion movies

　　It takes longer to prepare.

　　Yue Xiang said, "Detective Chinatown 2" is also the first time that their company has made a 1 billion-level film. "We have to start with 1 billion in anticipation of starting this film, because it was just flat when it was 1 billion. We have to calculate an account at the beginning. If we dare to spend more than 300 million, we will eventually get a box office of 1 billion to make it flat. The biggest difference between this level of film and the previous small and medium-sized films is that its preparation is more perfect, and film preparation began several months before shooting. "

　　"When we were in detective chinatown 1, we predicted that Chinatown Detective 2 would be filmed in new york. At that time, we didn’t realize that new york might be the most complicated place to make movies in the world, and it might also be the most expensive place to make movies in the world. It took us about two years to do basic research and preparation. My biggest feeling is that if I want to make a 1 billion film, I will take at least one to two years to prepare. This is my intuitive feeling. "

　　Zhu Weijie said that for publicity and marketing companies, 1 billion is more like "our honor. Choosing and participating in the 1 billion box office is a very important point in my work." "Infinite Freedom" has participated in many movies with a billion box office in recent years, including Pancake Man, goodbye mr. loser, Tomb Raider Notes, including Ex-3 years ago. After this series of movies, it is found that the movies with a billion box office are unique. "Many movies can exceed 1 billion, not because of marketing, but because the content can exceed 1 billion, because this movie has such a foundation, like Tomb Raider, which exceeds 1 billion. In fact, we know that it will definitely exceed 1 billion, and then it is how to live and when to work."

　　"I have always thought that marketing is a work to contribute to the film. A film that originally sold 100 million yuan, we achieved 200 million through marketing, which is success. Finding a 1 billion movie and participating in it to achieve 1.2 billion and 1.5 billion is a greater success. I have always enjoyed discovering it and participating in it. " Zhu Weijie believes that a billion-dollar movie must have natural characteristics. Take "Previous 3" as an example, there are no more suitable actors than Han Geng and Ryan in terms of their performances. From all the way, their combination has given people a very good foundation since "Previous 1". "I think" Ex-3 "is a film prepared by the screenwriter and director for the whole adolescence, and all the stalks are reflected in ordinary life and friends’ jokes. When it has this trait, as a marketing company, we will go all out to participate in it and do it well. "

　　China movies are on schedule.

　　Learn from Hollywood

　　YIN FANG, as an actor, gives priority to the script, the role and the director when choosing a movie, while the brokerage company may consider the response and box office. For him, when choosing a commercial film, he will expect the box office to be successful, and when choosing an art film, he will pay more attention to the quality of the work. If several films are released in the same period and interact with each other, it is a good thing for the actor.

　　On the schedule selection of Operation Red Sea, YIN FANG revealed the details at that time. At first, everyone thought "Red Sea" was not suitable for the atmosphere of family fun during the Spring Festival. Originally, it was intended to be released in the 11th file, but due to the construction period, director Lin Chaoxian could not catch up with this schedule, and he was unwilling to compromise the quality for the schedule. After the bold spring festival, facing the strong films like a cloud, the initial arrangement of "Red Sea" was the lowest, but the final counterattack gave the film another possibility to choose the schedule.

　　Yue Xiang thinks that China movies should learn from Hollywood in terms of schedule. "Most American films have been scheduled before shooting, at least two years in advance, which can reduce the waste of resources and reduce the expected consumption of the audience. It is a good thing that strong films are scattered to various schedules in a year. There may be only us in the world, and all companies put their strongest films in the Spring Festival and National Day files. In fact, we should achieve a tacit understanding, and the schedules of important films of various companies are staggered. "

　　Zhu Weijie said frankly that the schedule of the film is sometimes really strong. "The documentary" Twenty-two "has achieved great success, largely because the release time is behind" Wolf Warriors 2 ".When the whole national mood is transferred there, it will be very beneficial to" Twenty-two ".

　　He agrees with Yue Xiang’s point of view that important films should have a tacit understanding on the schedule. "Now marketing companies are like spies, asking each other about the schedule, which is very headache. Moreover, the uncertainty of the schedule also has an impact on the publicity schedule created by the actors. "

　　Marketing companies can’t change word of mouth.

　　As an actor, YIN FANG often participates in roadshow publicity activities. He admits that he had doubts about the role of roadshows in the past, but later he found that it played a great role. "This is an obligation for actors."

　　As a producer, Yue Xiang believes that good word-of-mouth comes from good content. When some films are insufficient in content, there is no need to invest too much in marketing costs. At the same time, word-of-mouth has to resonate with the people, such as the success of Twenty-two.

　　Zhu Weijie said that marketing companies can promote word of mouth but can’t change word of mouth. What’s more important is to do basic work. "The success of film marketing is inseparable from the content of the film. We respect the content and respect the content. Only by starting from the content and moving people’s hearts with the content, marketing is useful."

　　He believes that the marketing of China movies far exceeds that of Hollywood, and the status and speed of China netizens’ contact with the Internet is also very rapid. Nowadays, the marketing has shifted from media-driven to audience-driven. "Once a report can drive people to go to the movies, now we change channels very quickly from watching news to watching self-media and then watching short videos, so we must know the channels well at different stages. I don’t know what the next channel is. "

　　In the rapidly changing environment, it is very important to reach a reasonable combination and make information effectively transmitted and transformed. "We can’t say that television and newspapers are not important. If we want to make an art film, the in-depth analysis and cultural orientation of the print media are quite important. For example, Jia Zhangke’s film "Children of the Rivers and Lakes", which we are going to do next, is completely different from "Former 3" in marketing mix, and will be done through the direction of the times and culture. "

　　Another key point is to break the circle. "For example, if you do" Red Sea ",you can let YIN FANG talk to the real snipers in reality, so that people who have experienced in the military can also understand the film and break the audience circle."

　　Regarding the recent controversy over the promotion of Marvel Comics films in China, Zhu Weijie believes that it does have its role to find traffic stars and local stars to promote, but it needs to face an appropriate and moderate problem.

　　Realistic movies will become more and more popular.

　　Zhu Weijie said that films in small languages, such as Indian films and Thai films, are becoming more and more popular in the China market. The Indian film played by Aamir Hussain Khan pays close attention to reality, and although it is a bit exaggerated, it is very entertaining. Those domestic films that are not entertaining and pay attention to reality, such as "Youth", "Don’t Ask West East" and "mr. six", are often used as feature films. Such films were previously considered as the most unattractive. In recent years, Oscar-winning films and nominated films are basically in this category. Such films used to be thankless in the China market, but recently they have changed, and Youth has reached 1 billion. Although there is less than 1 billion, the performance of "No Questions, West and East" has exceeded everyone’s imagination. This kind of drama film tells a story seriously, perhaps with or without history, but it does not take entertainment as the ultimate goal, so the prospect of this kind of film in China will be better and better.

　　YIN FANG said that it is an obvious progress for China films to see such a good performance, and it is also the result of the increasing and diversified audience base and higher taste of China films. It must be a very good thing for all filmmakers.

　　Single chip billions

　　You can expect it in three or four years.

　　At the forum, Yue Xiang also expressed his views on the reason that "China’s film marketing level surpasses Hollywood, but the production level is still far behind Hollywood". "This is an institutional problem. Publicity and marketing companies are regular troops, and most of the crew management is like greenwood hero. When a call-up order is issued, it will be scattered after the filming. There is no work unit and five insurances and one gold, which does not give the practitioners a sense of pride, and they can’t work hard and stay. This may be caused by our overemphasis on the particularity of art and the lack of emphasis on industrial functions. "

　　He introduced that "Tang Detective 2" was his first time to make an "all-trade union" film, and he hired American industrial workers. He found that their treatment was very good and they could see their own upward path. Usually, some staff members can work in a certain type of work for a lifetime and achieve the ultimate. This is what China’s films need to learn from.

　　At the end of this forum, several guests made predictions about the future goal of "10 billion films" in China. Zhu Weijie thinks that we can expect it within three or four years, YIN FANG guesses it for three years, and Yue Xiang thinks that there will be a "single-chip" film within two years.

　　At the same time, because literary dramas such as "Fanghua", "Don’t ask about the West" and "mr. six" have also gained high box office, YIN FANG is also very optimistic about the prospects of such films. "It shows that the audience in China is more diversified and the audience watching various types of movies has increased, which is very encouraging for filmmakers."

　　Our reporter Wang Jinyue

Special feature of 1905 film network With the end of the Dragon Boat Festival holiday, the film market also handed over the results of the Dragon Boat Festival in 2024. Up to now, the box office of the Dragon Boat Festival in 2024 has closed at 383 million, with over 9.62 million people watching movies.

Ranked in the top three of the box office list. The douban score of many films is higher than 7.5, and the word-of-mouth works together to prop up the holiday film market.

Originally scheduled for the Dragon Boat FestivalLaifu HotelAfter the file was changed to June 28th, 11 films appeared in this year’s Dragon Boat Festival, covering comedy, suspense, crime, love and other rich types, showing the characteristics of diversified themes.

The competition of domestic films is mainly concentrated in four new films, namely, "Never Give Up" and "I don’t want to be friends with you".

In terms of imported films, in addition to the new arrivals, Garfield Family and Doraemon: Nobita’s Earth Symphony, which have been released for more than a week, have also become hot spots in the Dragon Boat Festival.

Domestic new films compete with each other.

5 parts are mapped together and 3 parts are reversed.　

After May 1st, the seed players of Dragon Boat Festival ushered in a broad space to play. I don’t want to be friends with you, Never give up, Negotiator and Stop-and-Go have started large-scale screening.

As of the day before the official start of the Dragon Boat Festival, the total box office of the first three films was about 40 million. On the first day of the Dragon Boat Festival, the above four domestic new films also swept the top four in a single day. The pointing strategy of domestic new films has enabled them to successfully complete the schedule.

"I don’t want to be friends with you" finally won the box office champion of this year’s Dragon Boat Festival with a score of over 70 million.

As a movie version of the series of the same name, the film has a group of loyal "fans", so it performed well in the screening stage. On the first day of release, the box office earned 24.5126 million, which was behind the 24.6804 million of "Never Give Up", but the overall gap was not big. The next day after the release, it successfully achieved a reverse decline and boarded the throne of the Japanese crown, and finally led the Dragon Boat Festival with excellent results. As of press time, the total box office of "I don’t want to be friends with you" has exceeded 100 million.

The film tells the story of the northeast girl "Li Qianjin" who crossed into the past to understand her mother. It is similar to the story. With humorous lines and vivid three-dimensional characters, it accurately captures the psychology of two generations.

The audience under the age of 25 is over 40%, and the audience over the age of 40 accounts for 21.2%. It shows the growing confusion of young people and the communication and understanding between generations, which makes "I don’t want to be friends with you" resonate with audiences of different ages.

However, it is worth noting that the film failed to replicate the high reputation of the series Douban with 8.1 points. At present, the attendance rate is declining, and the follow-up momentum is not very optimistic.

"Never give up" ranks first in both "pre-sale box office" and "number of people who want to see it". After the explosion drama, the director once again pointed to the theme of sweeping the black, and the first cooperation with him attracted much attention.

The eye-catching pre-screening performance was that it won 21.3% of the highest-ranked films of the day on the first day of release, which helped it win the first-day box office championship, and on the third day of release, it became the fastest new film of the Dragon Boat Festival this year, with a total box office slightly higher than "I don’t want to be friends with you".

However, in terms of schedule performance, the attendance rate of 4.2% on the first day of its release was the lowest among the four domestic new films, which led to the second day of its release, and the advantage of film scheduling was lost to "I don’t want to be friends with you", which finally ranked second at the box office of the Dragon Boat Festival.

Negotiator and Stop-and-Go, which rank fourth and fifth respectively in the box office list of the Dragon Boat Festival, are two films with completely different temperament, each with its own core ticket warehouse.

The Hong Kong-style gangster film, which was co-produced after 19 years, held the top spot in Greater Bay Area box office for three consecutive days. The healing comedy, in which the partner has not appeared on the screen for a long time, has become the first choice for Shanghai residents to watch movies for three consecutive days.

There are many similarities between the competitive conditions and market trends of the two films.

First, it has a strong cast and is full of topics; Second, the screening was started early. Negotiator started a large-scale screening two weeks before the screening, and it had already earned more than 40 million box office before the official release. Stop-and-Go also had a limited screening in 15 cities across the country, and the box office (including pre-sales) before the screening was around 6 million.

At the same time, both films have a good reputation. The former douban scored 7.4 points, and the latter douban scored 7.9 points, which set the best reputation for domestic new films in this year’s Dragon Boat Festival. Excellent quality led the two films to achieve a negative decline the next day.

Negotiator and Stop-and-Go received 49.75 million and 48.04 million at the Dragon Boat Festival box office respectively. Together with the accumulated box office, the cumulative box office of the former broke 90 million, and the total box office of the latter also exceeded 50 million.

Although "Laifu Hotel" was changed to June 28th, it was also screened during the Dragon Boat Festival, and the total box office has exceeded 4.3 million.

The competition for imported films is fierce.

Animated movies counterattack live-action movies.

As newly imported films, American Civil War and Mad Max: The Goddess of Fury were first released the day before the Dragon Boat Festival (June 7th).

I thought that the two films released one day earlier could highlight their advantages in seizing the market territory. However, judging from the performance of the Dragon Boat Festival, American Civil War and Crazy Max: The Goddess of Fury were both a little acclimatized, with box office receipts of 24,826,500 and 22,226,700 respectively, ranking only sixth and eighth in the list.

Mad Max: The Goddess of Fury was shortlisted for the non-competition screening unit of the 77th Cannes International Film Festival. After being released in overseas markets in late May, the box office was gratifying, with the box office in North America approaching 60 million US dollars, the box office in South Korea also exceeding 10 million US dollars, and the total box office of the film was about 151 million US dollars. However, the box office performance of the film in China mainland market is not ideal, with the cumulative box office of less than $4 million in four days.

The American Civil War, written and directed by alex garland, also suffered a box office failure. The film’s first week of overseas release set a new record for A24′ s best opening, with the cumulative box office in North America exceeding $100 million. However, the film only received $2.35 million at the box office on the 4th day in China mainland market.

Mad Max: The Goddess of Fury has a broad IP audience base, while American Civil War shows a shocking visual effect through grand narrative techniques, but their box office performance in mainland China is relatively low, which may be related to the film style and market positioning. It is hard to change the fact that the appeal of Hollywood movies in China is failing day by day.

On the one hand, China audiences are increasingly disenchanted with "Hollywood". In recent years, many explosive films have been "cold" in the China market, and the box office results of new Hollywood series in China mainland are not as good as those of previous films. The box office of the best-performing imported films in the market this year also failed to cross the 1 billion mark.

On the other hand, compared with imported live-action movies, China audiences have a preference for imported animated films in recent years.

Garfield, who returned to the mainland big screen after 18 years, set off a whirlwind of watching movies at the Dragon Boat Festival.

The Garfield Family, which was released on Children’s Day as early as June 1st, ate up the Dragon Boat Festival bonus. In the case of only 5.2% on the first day of the Dragon Boat Festival, the box office was 12,511,800 in a single day, and the attendance rate of 11.7% far exceeded that of other films, which helped the film to achieve a rise in film arrangement on the Dragon Boat Festival.

During the three days of the Dragon Boat Festival, the attendance rate of Garfield Family ranked first. This also makes it one of the top three box offices in this year’s Dragon Boat Festival. As of press time, the cumulative box office of the film is 125 million.

The box office stamina of Doraemon Nobita’s Earth Symphony, which was painted earlier than the eve of Children’s Day, can’t be underestimated. The film earned 22 million at the box office in the three days of the Dragon Boat Festival, almost equal to the new film Crazy Max: Rage Goddess, and far better than the 9,403,200 in American Civil War. It quietly "served", and now the total box office has reached 120 million.

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With the ever-changing demand of China audience for watching movies, overseas creators are facing a new task in how to balance the aesthetics of local and overseas markets. Looking back at the whole Dragon Boat Festival, different types of films have their own audiences, reflecting the increasing diversity of audience demand for films and high expectations for different types of films.

The Dragon Boat Festival in 2024 once again showed us the potential of China movies, with a hundred flowers blooming and excellent works constantly. Although some films failed to reach the ideal state at the box office, it also provided valuable experience for the film industry and creators.

The next summer file, such as a big wave of new films is about to meet the audience. I believe that in the future, there will be more outstanding films in China, and the film market in China will be more mature and perfect, which will bring more rich viewing experience to the audience and contribute to China’s transformation into a film power!

????Xinhua News Agency, Beijing, December 23rd (Reporter Zhao Wenjun, Yang Weihan) The draft vaccine management law was first submitted to the Seventh Session of the 13th the National People’s Congress Standing Committee (NPCSC) for deliberation on the 23rd. The draft legislates separately on vaccine management, highlights the characteristics of vaccine management, strengthens risk management, whole-process control, strict supervision and social co-governance of vaccines, and effectively ensures safe, effective and standardized vaccination of vaccines.

????The CPC Central Committee and the State Council attached great importance to vaccine supervision and demanded that the long-term mechanism of vaccine drug supervision be improved quickly. Separate legislation on vaccine management is conducive to further improving the authority and stability of vaccine management measures.

????The relevant person in charge of the Policy and Regulation Department of National Medical Products Administration introduced that in 2005, the State Council promulgated the Regulations on the Administration of Vaccine Circulation and Vaccination, which was revised in 2016. The draft vaccine management law submitted for deliberation clearly stipulates vaccine development, production, circulation, vaccination, compensation and compensation in legal form, which is conducive to the establishment of a systematic and full-chain vaccine management system.

????The person in charge said that the draft adheres to the strategic and public welfare nature of vaccines and incorporates the development, production and storage of vaccines to prevent major diseases into the national strategy. For example, it is proposed that the state formulate the vaccine industry development plan and industrial policy to encourage the scale and intensification of production; Establish a departmental coordination mechanism to coordinate vaccine safety supervision; Further strengthen the national immunization planning system and clearly implement the no-fault compensation mechanism for abnormal reactions.

????In order to reflect the strictest supervision, the draft proposes that the state should implement a stricter access system for vaccine production than for general drug production. Vaccines are generally not required to be commissioned for production, and the legal representative, principal responsible person and other key personnel are required to have good credit records, corresponding professional background and working experience. Implement a vaccine batch issuance system and compulsory vaccine liability insurance. In addition, it also stipulates that clinical trials of vaccines should be implemented or organized by tertiary medical institutions or disease control institutions at or above the provincial level.

????For the whole process of vaccine development, production, circulation and vaccination, the relevant provisions of the draft clearly implement the responsibilities of all parties. The state implements the whole-process information traceability system of vaccines, and carries out quality tracking analysis of vaccines on the market; In the circulation link, the disease prevention and control institutions shall organize the distribution of vaccines to the inoculation units, and other units or individuals shall not supply vaccines to the inoculation units.

????The draft clarifies regulatory responsibilities, strengthens regulatory capacity building, and severely cracks down on illegal activities. Require drug regulatory authorities and health administrative departments to establish an information sharing mechanism and implement a unified announcement system for vaccine safety information; Building a team of professional and specialized inspectors at the national and provincial levels; Strengthen the accountability of regulatory authorities and local governments, reflecting the principle of heavier punishment for vaccine violations.

In recent years, China’s network animation has developed rapidly. According to relevant statistics, in 2019 and 2020, there were 26 and 24 online original animations respectively, and in 2021, it reached 42. By April, 2022, the cumulative broadcast volume of Douluo Continent had exceeded 40 billion times, setting a new high for animation in China. There are also works such as "Breaking the Sky", "Perfect World" and "One Thought of Eternity", with hundreds of millions of broadcasts and high attention. However, corresponding to the sharp increase in the number of works and the hot market response, the quality of many works has been criticized, and there are not many masterpieces that are both applauded and popular. This paradox of upside-down click volume and word-of-mouth should arouse practitioners’ thinking.

We are building a production and broadcasting industry chain with low cost, high efficiency and assembly line.

With the development of video websites, domestic animation has experienced a media shift from TV animation to network animation. The continuous emergence of network animation works has gradually broken the situation that the audience of TV animation is relatively young, and satisfied the diverse needs of audiences of different ages for animation with more diversified positioning. At the beginning, many creators chose the strategy of comic adaptation, and formed the operation mode of "comic+animation company+video platform" in their exploration, and created works such as "100,000 cold jokes". In 2015, the animation "Choosing Heaven" adapted from the online novel of the same name was launched, and online animation entered the era of online adaptation.

Works such as "Breaking the Sky" and "Fighting the Mainland" have sprung up like mushrooms after rain, and online animation has shifted its creative perspective to the field of online novel adaptation. Some works are led by the online literature platform, and the original online novel text is handed over to the animation production company for visual adaptation, and then the finished products are put on the online audio-visual platform to play; Others are directly cooperated by the online literature platform and the online audio-visual platform. For example, the Reading Group and Tencent Group signed the "300-part network text modification plan", creating a low-cost, high-efficiency and streamlined production and broadcasting industry chain.

According to statistics, more than half of the top ten online animations in 2021 are adaptations of online novels. The reason why the animation adapted from the net text has such an amazing amount of play is mainly the result of the superposition effect of fans. Online novels adapted from online animation are often explosive works of online platform and have a large number of fans. Animation production companies also have a group of loyal fans, coupled with the audience’s viewing habits cultivated by the online audio-visual platform after more than ten years, the three have formed a joint force, which has made the number of works adapted from online texts hit record highs.

Facing the polarization of broadcasting and word of mouth

While the adaptation of online text has become the "new darling" of online animation creation, it faces the polarization of broadcasting and word of mouth. Many works are played in hundreds of millions, but the audience evaluation is worrying. For example, in the eleventh chapter of Douluo Continent, the score on Douban dropped from 7.2 to 6.6, while in the first season of The Demon God, it was 6.5, and in the first season of Fighting through the Sky, it was only 5.6. Among the top 50 animations in Douban’s rating list, there are only a handful of animations adapted from online texts. The current network animation creation faces some unavoidable problems.

First, the source is not wide. The text adapted from online text and animation is basically a work that has been a hit on the original online literature platform, and the source of the text is mainly concentrated in a few head writers. These writers have a large fan base, and choosing their works can guarantee the amount of play. The higher the broadcast volume, the more the producer prefers to choose other works of this writer for adaptation, thus falling into the strange circle of one-way text selection. There is a serious homogenization problem in the works of these writers, which drags the creation of online animation into the world of cultivating immortals and fantasy, forming a bad and closed internal cycle.

Second, the style is not high. Some online animations are full of violence, blood and pornography, which can easily distort the audience, especially teenagers’ cognition of the real world. Many online animations tend to be too entertaining, and the proportion of confrontation and cultivation of immortals is too large. There are still many works that blindly rely on the strength of others to challenge their opponents when expressing the growth process of the protagonist. Such a plot also ignores the significance of personal struggle and conveys negative values such as getting something for nothing.

The third is poor quality. The quality of online animation is uneven, especially in the scene, character modeling and duration. For example, in a film, the "Fire Python Tiger" described in the original work is a fierce and domineering beast, but it has become a small and cartoon cat image in the animation, which is neither loyal to the original work nor acceptable to the audience. In terms of the length of time, some online texts have shrunk dramatically. The length of an animation episode is less than 20 minutes, and the effective content is only more than 10 minutes except the opening and closing, and there are a lot of soft advertisements, which seriously affect the viewing experience.

The profound traditional culture of China is still the foundation of creation.

Since June 1st this year, the State Administration of Radio and Television has implemented a licensing system for the distribution of domestic online dramas, which means that the "licensing era" of more standardized and stricter online audiovisual has arrived. In this context, network animation should also improve the level of specialization and standardization, face up to the problem of being addicted to adaptation, devote itself to creating excellent masterpieces that are applauded and popular, and embark on a breakthrough road from adaptation to originality.

It should be noted that teenagers are an important audience for online animation. Therefore, the value orientation of network animation is particularly critical, which is related to helping children to button up the "first button" of life and lay a solid foundation of thought and values. However, in some current online animation works, the values spread are vulgar and negative. Therefore, the creation of online animation needs to further strengthen the sense of orientation, with correct political orientation, healthy ideological orientation, noble moral orientation and rich cultural orientation, so that online animation has soul, affection and love, and truly becomes a spiritual and nutritious feast for the audience.

Orientation is conveyed by telling stories. Therefore, what kind of theme to choose and what kind of story to tell is an urgent problem for network animation creators. We should jump out of the stereotype that the current creation is limited to the adaptation of online literature and open up a broader imagination space. On the one hand, based on tradition, draw nutrition from excellent traditional culture. At present, most of the network animations related to the traditional culture of China are "old wine in new bottles", and the author makes up new content based on fairy tales. Although this has a certain relationship with the traditional culture, it does not excavate and present the traditional culture rigorously and profoundly. China’s traditional culture is extensive and profound, among which there are numerous excellent story texts, including not only fairy tales, but also legendary historical events, heroes and classical opera stories. Network animation should select more excellent story texts to create. On the other hand, keep close to reality and create more works that closely follow the main theme. In recent years, a number of animation works have been deeply excavated and diversified around important time nodes and major events such as poverty alleviation and the centenary of the founding of the Party, which have been welcomed by the audience. For example, Diary of the King, from the perspective of an orange cat, introduces the cause of poverty alleviation and teaching in China, bringing a warm and meaningful viewing experience to the audience. It can be seen that while showing people’s imaginative world, online animation should also pay more attention to the real world, aim the lens at ordinary people in life and interpret their extraordinary stories, so as to make the creation more practical and social.

Creators should also focus on the aesthetic field and take the aesthetic implication of creating China characteristics as their conscious pursuit. In the middle and late last century, Shanghai Animation Film Studio and other China’s animation works were world-renowned, creating the animation forms of ink painting, paper cutting and origami, and produced works such as Little Tadpole Looking for Mom, Mountain Scenery, Mudi and Deer Bell, which attracted foreign animation directors to learn from their teachers. However, with the development of China animation to today’s network animation stage, the traditional aesthetic implication of China is somewhat thin. Many works are influenced by foreign animation styles and lack distinctive local characteristics. Therefore, network animation should dig deep into China’s aesthetic wealth and create more excellent animation works that reflect China’s aesthetic style. In addition, aesthetics and technology go hand in hand, so how to innovate science and technology and improve art and technology simultaneously is an important development trend of network animation. At present, VR and AR technologies are relatively mature, and network animation can be actively used in the creative process, which makes the creation by going up one flight of stairs in visual presentation.

In short, network animation, as a new variant of domestic animation, has great development potential. Creators should adhere to the concept of integrity and innovation, enhance their original ability, enrich artistic expression, convey mainstream values silently, create more classic artistic images, create more far-reaching works of art, and improve the overall quality of China animation, so as to make it an important force to enhance cultural self-confidence and boost culture to the sea.

??(Author: Liu Hanwen, Professor of Communication College of Fujian Normal University, Zheng Zekun, Master of Communication College of Fujian Normal University in 2021)

Special feature of 1905 film network The animated film (hereinafter referred to as "Halloween Bride") was released, and it became the box office champion that week with over 80 million box office.

Undoubtedly, the first issue of Detective Conan has always been the "hot cake" of Japanese theater animated films in China market.

The last two works — — "Detective Conan: Boxing of the Blue" (2019) and "Detective Conan: Crimson Bullet" (2021) have exceeded 200 million at the box office, successfully surpassing another national animation IP— — The achievements of the theatrical animation of Doraemon series.

In Japan, the box office results of Detective Conan series are also rising all the way, and the new work "Halloween Bride" has set the highest box office in this series with a score of over 9.6 billion yen. In addition, the word-of-mouth of the film scored 4.2/5 on the Japanese rating website, making it the best word-of-mouth in this series in recent years.

In the theater design, Matsuda Jinpei appeared as the main character, and his "five-member police academy" offered a wave of "memory killings". As the 25th theatrical film in Detective Conan series, it can be described as "Ye Qing Hui" for many fans.

Obviously, the director of this theatrical version handed over a good report card, and many fans shouted, hoping that the director could continue to direct subsequent theatrical works. Compared with the comments made by directors in the past few theatrical editions in the audience’s mind, Susumu Mitsunaka is definitely "winning".

01. Law of creation

As the 25th theatrical animation of Detective Conan, The Bride of Halloween is of great significance.

Especially this time, the guide tube was handed over to Susumu Mitsunaka, who is not experienced. For a long time in the past, Detective Conan kept the unwritten rule of "seven-year itch" — — Every seven theatrical editions, a director is changed.

Only after silent director Kong Wen finished his creation did this rule change. First, he directed the Executor of Zero, and then he created the fist of the blue and the crimson bullet, and then came to the latest one.

The creative team of the theatrical version of Detective Conan is always composed of the original author and the director. Looking back at the history of creation, the most famous directors are, and three directors.

Original authorgreen hillsGangchang

From 2011 to 2017, Kong Wen, the director in charge of creation, was regarded as an "absolute villain" by many Conan fans, and even thought that his period was Conan’s "collapse period".

After all, for the creation of the theatrical version of Detective Conan, two directors, Kenji Kodama and Yamamoto Yasuichiro, are also directors of the early TV version, and they have their own systems for the development of the whole story.

02. Early generation creation

Kenji Kodama’s creation is regarded by many people as the achievement of the theatrical version of Detective Conan, but it is undeniable that before the creation company planned to launch the film version, the original G?sh? Aoyama had planned to let the serial of this story end.

But when he knew that he could put this IP on the big screen, he took the task with great joy and launched the first theatrical version of "Detonating Skyscrapers".

Director Kenji Kodama, like G?sh? Aoyama, is a writer who loves the case reasoning very much, so the stories are all based on the case reasoning of partial realism, combined with the setting of the emotional lines of the characters.

Once the theatrical version of Detective Conan was released, it was favored by fans at that time. The seven animated films directed by him have scored more than 8 points at home, including the most classic "The Dead of Baker Street".

When the guide tube reached Yamamoto Yasuichiro’s hand, there was not much breakthrough in quality, but the control of the Benguer reasoning and the emotional relationship of characters was still on-line.

Many people think that Yao Ming was born from the TV version of animation, and the reason why the two directors are quite different is that on the one hand, Kenji Kodama happened to be at the peak of G?sh? Aoyama’s creation; On the other hand, he was not influenced too much by the creation of TV series.

Yamamoto Yasuichiro’s biggest problem is that he is interfered too much by drama creation, and even many scenes are based on the content of the drama, which is relatively simple as a whole.

However, during this period, Kidd’s scenes obviously increased gradually, and his love and hate with Conan began to be discussed repeatedly as a topic. And Kidd’s famous scenes of several gorgeous rescues all appeared in the Yamamoto Yasuichiro era.

For the audience in China, the 13th work of the series, The Dark Tracker, has become the first theatrical version of Detective Conan introduced to the mainland market in China.

Although the quality of the two directors has changed greatly, it is undeniable that the box office of the whole series of theatrical versions has steadily increased from 1.1 billion yen and maintained at around 3 billion yen. For fans, Yamamoto Yasuichiro can only be regarded as a great achievement, what’s more, he was succeeded by silent Confucius, who subverted the whole series.

03. Business model

If the first two directors are the initiators accompanying the growth of this IP, then Silent Confucius is more like a foreign reformer.

After all, in his previous resume, there is no lack of overseas film and game production experience. And he also applied these experiences to the creation of the theatrical version very well, making the performance in the scene more ornamental. But what followed was that the reasoning details of Detective Conan itself gradually weakened.

Silent director kong Wen

Especially in his first theatrical version of "Fifteen Minutes of Silence", Conan made all kinds of anti-physical actions, so he was also denounced by fans as "Ke Xue".

If Kōbun Shizuno has continued the creation of the first two directors, it is an explosion play. He even stepped up his creation. In the past, most of the big scenes that only existed in the climax paragraphs were blown up when he came here. Even Conan’s skateboard and shoes showed functions beyond scientific limits and properly became "sci-fi action movies".

These problems are best reflected in the 19th theatrical edition of Sunflowers for Fire. But even though it is criticized by most conan fan, it is undeniable that Kōbun Shizuno’s model has successfully opened the commercial road of the theatrical version of Detective Conan. During this period, the box office of the series of films has increased from 3 billion yen to nearly 7 billion yen.

In the face of fans’ doubts, he also came out to explain that this style of work is not just his idea, but the fact is that it is the result of combining the author’s requirements, technical special effects, audience surveys and other factors. For him, and even the whole Detective Conan, the former audience has gradually grown up. "We just want to attract more new audiences."

Looking through all kinds of interviews by the author G?sh? Aoyama, as early as 2000, he once said, "The charm of cartoons is the pleasure of action, and sure enough, movies still need these! Especially the fierce big scene. " Even in everyone’s eyes, Kenji Kodama, who is given priority to with this case reasoning, once emphasized the importance of action scenes.

With Kōbun Shizuno’s withdrawal, new directors appear constantly, but compared with the previous three directors, the producers obviously saw the reasons for the box office of Detective Conan series, and it is difficult to give them another chance to play. Even though "The Bride of Halloween" received excellent market feedback, it is not difficult to find that the setting of "Ke Xue" is still not absent.

04. The next wave of creation

The reason why the box office performance of Detective Conan is bigger than that of Doraemon series is that, to a great extent, the former insists on originality, while the latter is remaking the past plot.

But now that Detective Conan series has found its own creative mode, how to break this creative bottleneck has become a difficulty for G?sh? Aoyama and even the whole creator behind it.

But the careful audience can find that Conan is no longer the protagonist of the work, but more like a clue to connect the whole story. In The Bride of Halloween, the feelings of the "five-member police academy" broke through even more. For this reason, during its release, Japan also replayed The Executor of Zero, echoing An Shi Tong in the five-member, namely Furuya Rei.

Undeniably, The Executor of Zero achieved good box office results at that time, largely due to the box office economy driven by role fans. Yuzuru Tachikawa, the director of this film, once said in an interview that with the influx of more and more new fans, Detective Conan is no longer just Conan itself. "One of the reasons is that the characters with various personalities and the relationship between the characters make the story more intriguing."

Because of this, the selling point of "Crimson Bullet" is the Blanche family, and at the same time, it adds Haibara Ai’s scenes. To a great extent, this has caused a quarrel between the "New Zealand Party" and the "Ke Ai Party". However, in the pilot preview of the official theatrical version of Detective Conan in 2023, Haibara Ai will have a heavy performance. At that time, CP will take the side, which may make this work rich.

The director of this latest work has not been announced yet, but from The Bride of Halloween, we can see some subtle changes made by Susumu Mitsunaka in the creative mode of Silent Confucius, which may also make the audience look forward to this series and new creative styles will appear in the future.

　　Author: Shi Zhile (researcher of Socialism with Chinese characteristics Thought Research Center of Beijing Supreme Leader New Era, lecturer of Marxism College of China Agricultural University)

　　A strong country must first strengthen agriculture, and a strong agriculture can strengthen the country. For the first time, the Party’s Report to the 20th CPC National Congress clearly put forward "accelerating the construction of an agricultural power". At the recent Central Rural Work Conference, General Secretary of the Supreme Leader emphasized that "to build an agricultural power, we should embody the characteristics of China, base ourselves on China’s national conditions, base ourselves on the resource endowment with a large population and a small amount of land, the historical background of farming civilization, and the requirements of the times of harmonious coexistence between man and nature, and go our own way instead of simply copying the model of foreign modern agricultural power", which further pointed out the direction for building an agricultural power with China characteristics.

　　Since the 18th National Congress of the Communist Party of China, the CPC Central Committee with the Supreme Leader as the core has insisted on giving priority to the development of agriculture and rural areas, made ensuring the effective supply of important agricultural products such as grain as the primary task of agricultural modernization, continuously consolidated and improved the comprehensive agricultural production capacity, and the level of agricultural modernization in China has been steadily improved. In 2022, China’s grain production achieved "19 consecutive bumper harvests", and the grain output was stable at more than 1.3 trillion Jin for eight consecutive years, achieving basic self-sufficiency in grain and absolute safety in rations, providing a solid support for stabilizing the economic market.

　　However, we should also see that there are still many deep-seated contradictions and problems in China’s agricultural development, which are mainly manifested in the unstable agricultural foundation, weak ability to resist natural risks and market risks, small scale of agricultural operation, low agricultural labor productivity, urgent need to improve quality, efficiency and competitiveness, tight constraints on agricultural resources and environment, and tight balance of grain supply. To solve these contradictions and problems, we need to promote China’s leap from an agricultural power to an agricultural power. To build an agricultural power, we need to learn from the development experience and universal laws of international agricultural power, and we should base ourselves on China’s national conditions, take the road of an agricultural power with China characteristics, and promote the construction of an agricultural power with Chinese modernization.

　　To build an agricultural power, we should base ourselves on China’s resource endowment with a large population and a small land, and build an agricultural power model with multiple systems, high yield and high efficiency according to local conditions. China is a big agricultural country. The resource endowment conditions of vast territory and abundant resources and small population determine that China’s agricultural development model can neither blindly copy the large-scale model of agricultural powers such as the United States, Canada and Australia, nor simply apply the refined model of agricultural powers such as Israel, Japan and the Netherlands. China is rich in resources and diverse in endowments. In the process of building an agricultural power, it is necessary to combine the advantages of resource endowments in various places with local conditions and take a diversified and differentiated development path. For example, some areas are suitable for large-scale production, which can focus on improving labor productivity; Some areas are suitable for small-scale agriculture, which can focus on improving land productivity; Some areas are suitable for characteristic agricultural production and management, and can focus on improving the efficiency of capital and technology production. At the same time, on the premise of ensuring the total food security, it is necessary to establish a big food concept, build a diversified food supply system that integrates grain, economy, feeding, agriculture, animal husbandry and fishery, and plants and animals simultaneously, so as to achieve a balance between supply and demand of various foods and meet the growing needs of the people for a better life.

　　To build an agricultural power, we should base ourselves on the historical background of China’s farming civilization, mold and cast souls, and build an agricultural power model that highlights the ideological wisdom and spiritual pursuit of the Chinese nation. From agricultural solar terms to agricultural landscape, from rural customs to ecological ethics, the long-standing and profound agricultural civilization, as an important part of China’s excellent traditional culture, provides rich cultural fertile soil and ideological resources for the construction of an agricultural power, and is a valuable asset of China’s agriculture. We should be good at drawing wisdom and strength from the long-standing farming civilization, combining protection, inheritance and development and utilization, and deeply excavating the ideological concepts, humanistic spirit and moral norms contained in excellent traditional farming culture; Combine the outstanding heritage of farming civilization with the elements of modern civilization to promote the creative transformation and innovative development of traditional farming culture; Combine the promotion of excellent farming culture with the promotion of rural revitalization, promote the coordinated development of rural material civilization and spiritual civilization, and make farming civilization glow with new opportunities in the continuous inheritance.

　　To build an agricultural power, we should base ourselves on the requirements of the times of harmonious coexistence between man and nature, and build a green and sustainable agricultural power model scientifically and reasonably. Report to the 20th CPC National Congress of the Communist Party of China pointed out that Chinese-style modernization is the modernization in which man and nature coexist harmoniously. This is a transcendence of the modern development road of the west, which is centered on capital, materialistic expansion, pollution first and then governance. Agriculture is an ecological industry, and the countryside is an important part of the ecosystem. To build an agricultural power, we must firmly establish and practice Lucid waters and lush mountains are invaluable assets’s concept and constantly polish the ecological background of agricultural development. We should follow the law of distribution and succession of ecosystems and the law of agricultural production, adhere to the principle that forests are suitable for forests, grazing is suitable for grazing, fishing is suitable for fishing, and grain is suitable for grain, adhere to the integrated protection and systematic management of mountains, rivers, forests, fields, lakes, grass and sand, and strengthen the protection of rural ecological environment in an all-round, all-regional and whole-process manner. We should adhere to the concept of green development, properly handle the relationship between agricultural production and ecological environment protection, deepen the reform of compensation system for ecological protection, improve the market mechanism of high quality and good price of agricultural products, strengthen and complete the rural ecological industry chain, turn ecological dividends into industrial benefits and farmers’ income, and take the road of agricultural power with developed production, affluent life and good ecology.

　　Agriculture is a basic industry related to the national economy and people’s livelihood, and a strategic industry that is safe for the world and stable for the people. To build an agricultural power with China characteristics, we must take root in the land of China, conform to the reality of China, always put agricultural development on the basis of our own strength, solve our own problems with our own agricultural superior resources, firmly control food security in our own hands, and embark on a road to an agricultural power that reflects China’s national conditions, embodies China’s characteristics and highlights China’s wisdom.

　　[car home new car listed] A few days ago, the new (|) classic was listed.A total of two models were launched.The price of the comfort version and the deluxe version is 108,600 yuan and 118,600 yuan respectively.Compared with the current configuration, the new car has not changed, but the kerb quality has been reduced, and the maximum speed has been reduced by 2 km/h. Compared with the comfort version, the deluxe version has more configurations such as reversing images, skylights, leather seats, and 8-inch central control screens. The power part is equipped with a 1.6-liter naturally aspirated engine and a CVT continuously variable gearbox.

　　Dongfeng Nissan also launched an ultra-low down payment financial policy, and the new Sylphy Classic can pick up the car with a down payment of 19,800 yuan. The brand-new Teana, Qijun Classic and Hacker Classic can pick up the car with a down payment of 29,800 yuan. In addition, there are preferential policies for car purchase such as replacement subsidy of up to 13,000 yuan and maintenance spare parts as low as 7.5 fold.

"The picture shows the 2022 Sylphy Classic 1.6XL CVT Deluxe Edition"

　　Sylphy Classic is developed based on the 13th generation Nissan Sylphy. As a low-profile model, it is sold on the same stage as the 14th generation Nissan Sylphy. The 13th generation Sylphy has been listed for 11 years. In terms of appearance, Sylphy Classic will continue the current model design, and the iconic V-motion front face is impressive. As an entry-level model, the new car is equipped with halogen headlights, which is simple and practical.

　　The side of the car body is still a classic shape, and the curve of the car body is smooth and round. The rear of the car adopts hidden exhaust pipe, and the addition of chrome trim enhances the layering of the rear of the car. Both models come standard with four-wheel brakes and aluminum alloy wheels. The length, width and height of the car are 4631/1760/1503mm and the wheelbase is 2700mm respectively.

　　In terms of interior, the car adopts the traditional design of double-disc mechanical instrument+monochrome multi-function display, which is simple and practical. However, the deluxe edition is equipped with an 8-inch screen in the center console and has the function of reversing images. The overall design of the three-spoke steering wheel and center console reflects some sense of the times, but it is not worse than the popular big screen in terms of operation convenience.

　　In terms of power, the new car is equipped with a 1.6-liter naturally aspirated engine with a maximum power of 122 HP and a maximum torque of 155 Nm. The transmission system is matched with CVT continuously variable gearbox, and the comprehensive fuel consumption of WLTC is 5.94L/100km. (Text/car home Yan Huan)