On the afternoon of June 21, 2022, Southern Weekend held the "Weekend Storytelling" and special event for the newspaper's 2000 issue. (Photo courtesy of the event organizer)
"Bingdundun" General Executive of the Guangmei Design Team Liu Pingyun often encounters people asking, it took your team of 14 people nearly a year to make such a " "Little guy" and "What are you doing?" During the design period, Liu Pingyun lost more than ten pounds. While constantly revising the image of "Bing Dundun", the team has been thinking about the "unbounded" confusion between tradition and modernity. Huang Chengxi, a student of
Liu Pingyun, graduated from Guangmei ten years ago and once served as the main original animator of the "Naruto" series in Japan. At first, he entered the Japanese animation industry as a foreigner and experienced a very difficult process. In Tokyo, he was a passer-by. Being in the metropolis, the feeling of "borderless" different cultures became even stronger.
On the afternoon of June 21, 2022, Fan Yijin, Chen Qing, Liu Pingyun, Huang Chengxi, and Wang Nuonuo participated in the "Weekend Storytelling Session" and Southern Weekend 2000 special event. This time, the theme of the Guangzhou venue is "Culture Without Boundaries", and guests from different cultural industries shared their respective understandings of "Boundless".
4012 days, about 7920 square meters of paper. Southern Weekend Editor-in-Chief Wang Wei said at the scene that "Culture Without Boundaries" is actually a summary of the continuous story of Southern Weekend's 2000 issues. It has developed from a casual cultural paper at the beginning of the publication to a serious political and economic news paper. The transformation from traditional media to all-media "has been accompanied by the attention and expectations of generations of reporters, interviewees, readers and the public... treating each time as the first time, and then repeating it two thousand times." Liu Pingyun: The grafting of tradition and current
Bingdundun stood out from 5,816 works from 36 countries around the world and became the largest "top stream" in global cultural IP in 2022. "Have you grabbed the ice dice?" once became a buzzword during the Winter Olympics , and it was simply "a trick is hard to find." When
was created in 2018, the creative team imagined that 2022 would be a world of technology and the future, and ice ribbons, astronauts, and space themes were included. Finally, a panda shaped like an ice and snow athlete was born. The ice crystal shell represents the connection with the Winter Olympics, the ice ribbon represents the future and the effect of the five rings, and the love represents the intention of peace and friendship. During the design of
, someone learned that the team of Guangzhou Academy of Fine Arts was participating in the collection of mascots for the Winter Olympics, and asked jokingly, "Isn't it a panda again?" Since the entire design is confidential, the team cannot answer. It is indeed a panda, but a different one.
Liu Pingyun said that in fact, the image of Bingdundun was originally designed as a candied haws with an ice crystal shell. It has gone through several rounds of changes, from candied haws to tiger, rabbit, elk, and was finally determined to be a panda, because "only pandas are the most popular." "Persuasive" is the easiest to be understood by international friends.
The Panpan image in 1990 was an internationally popular two-headed body design at the time. The Fuwa in 2008 used traditional ink and wash to highlight cultural confidence. By 2022, it used three-dimensional drawing technology. In Liu Pingyun’s view, “country” represents tradition and “tide” represents the present. The integration of historical and current codes grafts tradition and inheritance with the innovation of the times, "embedding Chinese culture and redesigning using contemporary aesthetics."
Liu Pingyun (picture provided by the event organizer)
Wang Nuonuo: Use logical description to imagine
When she was five years old, Wang Nuonuo was going to tell a story in kindergarten, and her father told her "The Straw Boat Borrows an Arrow" s story. The diverse characters, twists and turns of the plot, and complex strategies left a deep impression on her.
is no longer "Three Little Pigs" or "Kitten Fishing". There are many stories that transcend age limits, allowing Wang Nuonuo to embark on the path of creation. Today, Wang Nuonuo has multiple identities. She is a science fiction writer, Zhihu answerer, and product manager of an Internet company. She has published articles in "Science Fiction World" since 2016. In 2018, she won the Galaxy Award "Best Newcomer Award".
Wang Nuonuo often sees it in Douban movie reviews or book lists. A book often produces polarized ratings.She gradually realized that both readers and writers will have two different cognitive dimensions when reading or writing a novel: pure thinking and pure feeling. Wang Nuonuo said that truly excellent science fiction novels should be a combination of the two, generating a sense of surprise and imagination through rigorous logical description.
In Wang Nuonuo's view, "That straw boat borrows arrows" is just an unbounded science fiction story. In the dialogue between Zhuge Liang and Lu Su , it was mentioned that Zhou Gong’s Shizhen 72 Horoscopes were the earliest calendar in China that combined astronomy, meteorology, and phenology to guide farming. These cutting-edge theories at the time were placed in a complex The plot and distinctive character stories promoted the subsequent borrowing the east wind and burning red cliff.
A good science fiction work should be an unbounded product: it must have transcendent imagination and follow logical cause and effect. Wang Nuonuo said that a good science fiction work is "the result of the mutual pull between two poles." And it is such a difficult thing to "pursue just the right imagination".
Wang Nuonuo (Photo courtesy of the event organizer)
Huang Chengxi: Be a bridge between different regions
3-year-old Huang Chengxi spent eight hard years in Japan. At first, Huang Chengxi was influenced by "Dragon Ball" broadcast by Hong Kong TV station , and developed a strong interest in animation. After studying painting, he was admitted to the Guangzhou Academy of Fine Arts, and then went to Japan to study alone. It was a foreign life starting from scratch. Huang Chengxi took language classes in the morning, worked odd jobs in the afternoon, and practiced painting in the evening. Every weekend, he would come to a small animation workshop outside Tokyo to do an animation internship for two days and two nights. Huang Chengxi's residence at the time was a small apartment full of ten people. He lived in a narrow closet for more than a year.
Huang Chengxi said that he is like a passerby in Tokyo. Every day he has to face different people and different opinions from all over the world. Living in a big city, using animation as a carrier, all kinds of boundaries have melted away, completely different from the past behavioral logic and way of thinking. different. He feels the tolerance of different regional cultures. "Nowadays, the clothes, conversation, speaking style, and values are more or less colliding and communicating with the world."
For six years from 2012 to 2018, Huang Chengxi finally got the opportunity to serve as the episode director of "Boruto". Friends from Chinese Americans and Indonesian all provided him with help. In the fight in this episode, Huang Chengxi incorporated traditional Chinese martial arts moves such as Wing Chun and Baguazhang into his action design, which was highly praised by Naruto fans. .
Huang Chengxi said that often a two-second shot that takes a month to draw just flashes by on TV. Before I have time to sigh how good the drawing is, the shot has disappeared, and the animation industry is exactly like "the distance tells the horse." ". He hopes that future animation can become a bridge between regions and a fulcrum to maintain a common vision and mutual understanding.
Huang Chengxi (Photo provided by the event organizer)
Chen Qing: Time breaks the boundaries of art
The famous oboe Chen Qing has been the leader of the Guangzhou Symphony Orchestra for ten years. Thirty years ago, he joined the Guangzhou Symphony Orchestra, 35 years after its establishment.
was born from the orchestra in Shanghai in 1879, and symphony has a history of 143 years in China. Whether it is Xiao Youmei, who created the first orchestral work in 1916, or the famous musician Xian Xinghai, Guangdong has played an important role in classical music. The Guangzhou Symphony Orchestra, founded in 1957, is the only one in China. A symphony orchestra that has toured on five continents. The
orchestra once commissioned the Japanese-American composer Andy Akiho to compose the "Kung Fu" concerto. Andy is a fan of Bruce Lee. The band invited him to come to Guangdong, visit Bruce Lee's former residence in Foshan, and invite local Wing Chun masters to demonstrate. In the end, Andy created this multimedia and orchestral work - "Kung Fu" Concerto, which was premiered at the New Year's Concerts in Foshan and Guangzhou under the baton of the orchestra's music director Long Yu.Polish composer Penderecki is known as "Contemporary Beethoven". His "Sixth Symphony" is subtitled "Chinese Poetry". This work is jointly organized by the Guangzhou Symphony Orchestra and the Dresden Philharmonic Orchestra in Germany. The commissioned symphony incorporates poems by Li Bai, Li Qingzhao and others. These poems were spread to Europe more than a hundred years ago and became very popular.
At a concert in Switzerland, the Canton Fair Troupe brought Tan Dun's "Farewell My Concubine", which combines traditional Peking Opera with Tsing Yi and piano. Western audiences understood the story and resonated with it. Time breaks down the boundaries of art. Chen Qing said that more than a hundred years later, symphony is no longer a Western cultural and artistic category, but the world's language and the common cultural heritage of mankind. From the initial countries such as Germany and France, it has gradually developed to all over the world, and some African countries also have their own symphony orchestras. Symphony is a language of equality, and now it is telling the story of China in such an unbounded language.
Chen Qing (picture provided by the event organizer)
Fan Yijin: Cross-border is the only way to get out of trouble
html The 176-year-old newspaperman Fan Yijin once served as the chairman of Southern Newspaper Media Group . After retirement, he entered academia and successively served as Dean and Honorary Dean of School of Journalism and Communication, Jinan University. Over the past decade or so, the media industry has experienced tremendous changes. Fan Yijin has been involved in this process and has a deep feeling that the boundaries between different media have disappeared.Fan Yijin said that driven by new technologies, traditional media has attempted comprehensive cross-border integration from the extension of initial functions to the expansion of business. There are several common cross-border forms of traditional media: first, cross-media cooperation between traditional media; second, the expansion of traditional media into new media; third, cross-border cooperation between institutional media and commercial platforms within the system and even all walks of life and institutions. Boundary extension. Several attempts are made to adapt to the trend of media integration and transformation, fulfill social responsibilities and find a path for their own survival and development.
"Today's media will have no communication power if they do not cross-border, and they will not be able to achieve communication influence." Fan Yijin believes that cross-border is the only way to get out of the predicament. The dilemma in the transformation of traditional media includes two aspects: communication power and business model. Groups that used to be called readers, listeners, and viewers are now becoming users, and they are precise users; the indicators that used to measure the influence of media communication, such as circulation, ratings, , etc., are now being replaced by traffic.
The new mainstream media should have strong communication power and economic strength. Fan Yijin reminded that the media should go across borders to find precise users and connect with them, thereby defining the precise groups of people who need to be attracted to form effective communication capabilities. Creating high-quality news content and creative general content is still the most basic work, and building a good platform will provide traffic support for these contents. At the same time, we must also use commercial platforms to expand traffic and maximize communication influence.
Fan Yijin (photo courtesy of the event organizer)
host Liu Youxiang said that he once joked with his colleagues that the biggest change in the newspaper front page in recent years is the removal of the border outside the registration, which seems to mean that a media’s "external boundaries" Dissolve".
As a supplement to " Southern Daily ", "Southern Weekend" has crossed over from a literary and artistic newspaper to an influential and serious political and economic newspaper. Nowadays, Southern Weekend is crossing the border in the era of "everything is a media" and is no longer just a newspaper. Starting from newsprint, Southern Weekend is expanding into more diversified media such as online, think tanks, events, videos, audios, cultural creativity, etc.
"No matter how the world changes," Wang Wei said, "no matter where the readers are, good content will eventually arrive."
Southern Weekend reporter Zhang Rui
