(Source: Qianweiyang Kitchen Guan Wei)

Interpretation of financial reports in the primary market, paying attention to the issuance process

On June 19, 2020, the CSRC disclosed in advance the application of Zhengzhou Qianweiyang Kitchen Food Co., Ltd. (hereinafter referred to as "Qianweiyang Kitchen") to "queue up" for listing. Looking back on history, in 2012, Qianweiyang Kitchen was wholly-owned by Zhengzhou Missing Food Co., Ltd. (hereinafter referred to as "Zhengzhou Missing Food"), a subsidiary of Synear Food Holdings Limited. Then in 2016, Qianweiyang Kitchen became independent from the missing system, focusing on expanding the catering channel market of quick-frozen noodles and rice products. As a former controller of missing food, how will Li Wei realize its development plan of "recreating 3-5 core categories exceeding 100 million yuan in existing products" with Qianweiyang Chef?

As a supplier of quick-frozen noodles and rice products of well-known chain catering brands such as KFC, Pizza Hut and Haidilao, the performance of Qianweiyang Chef in recent years is "average", but at the same time, Qianweiyang Chef is faced with problems such as lower gross profit margin than its peers, declining capacity utilization rate, and "dependence" on a single customer. In the face of the complex market environment, can Qianweiyang Chef "break through"? It’s still unknown.

one

The actual controller Li Wei holds 62.49% of the shares and "takes the helm" of 56 companies.

This listing, the sponsor of Qianwei Yangchu Cooperation is Guodu Securities Co., Ltd., the auditor is Deloitte Touche Tohmatsu Certified Public Accountants, and the law firm is Beijing Jingtian Gongcheng Law Firm.

According to the prospectus, the controlling shareholder of Qianwei Yangchu is Gongqingchengji Enterprise Management Consulting Co., Ltd. (hereinafter referred to as "Gongqingchengji"), with a shareholding ratio of 62.49%. Li Wei directly holds 100% equity of Gongqingchengji and indirectly controls 62.49% equity of Qianweiyang Kitchen, which is the actual controller of Qianweiyang Kitchen.

It should be pointed out that Li Wei, with a bachelor’s degree, did not hold a post in Qianweiyang Kitchen. In addition to Qianwei Restaurant, Li Wei also controls 8 overseas enterprises such as for Joy Development Limited and Genki HoldingsLimited, and 47 domestic enterprises such as Zhengzhou Huanghe Daguan Co., Ltd. and Henan Hailang Real Estate Co., Ltd..

As of June 8, 2020, the signing date of the prospectus, Qianwei Yangchu has a total of 16 shareholders. Except for Gongqingcheng, the top ten shareholders are Shenzhen Qianhai New Hope Chuangfu No.1 Investment Partnership, Zhuji Shangde Hewei Investment Partnership, Gongqingcheng Kaili Investment Management Partnership, Suqian Hanbang Investment Management Co., Ltd., Shenzhen Netju Investment Co., Ltd., Wei Xiuyan, Weng Lei, Zhao Jianguang and Beijing Jianyuan Times Investment Management Center.

Looking at the situation of its director, there are 8 directors on the board of directors of Qianwei Yangchu, including 3 independent directors; There are 3 supervisors and 4 senior managers.

Jian Sun, with a bachelor’s degree, is currently the chairman of Qianwei Yangchu and the executive director of Xinxiang Qianwei Yangchu Food Co., Ltd. (hereinafter referred to as "Xinxiang Qianwei"). He has served as a salesman of Henan Tianlong Industrial Co., Ltd.; Zhengzhou Miss Business Representative, Shanghai Company Manager, Hong Kong Company Manager and Deputy General Manager of Marketing Center; General manager of sales of Henan Yishengyuan Food Co., Ltd.; Deputy General Manager of Zhengzhou Central Daguan Real Estate Co., Ltd., etc.

Bai Rui, master’s degree, is currently the director and general manager of Qianwei Central Kitchen and the manager of Xinxiang Qianwei; He has served as an accountant in the Finance Department of Henan Guanlian Decoration Engineering Co., Ltd.; Accountant in charge of Henan Branch of Hisense Kelon Electric Co., Ltd.; Zhengzhou misses the manager of the settlement department, the manager of the fund management department and the assistant to the deputy general manager of the marketing center.

2

Mainly engaged in the production and sales of quick-frozen noodle rice products, accounting for over 90% of revenue.

According to the prospectus, Qianweiyang Kitchen was established on April 25, 2012, and its main business is the research and development, production and sales of quick-frozen noodle rice products for catering enterprises. According to the processing methods, quick-frozen noodle rice products can be divided into four categories: frying, baking, cooking, dishes and others. The specific products include fried dough sticks, sesame balls, egg tarts, sweet potato balls and cartoon bags.

From 2017 to 2019, the main business income of Qianwei Yang Kitchen was 592.9004 million yuan, 700.8488 million yuan and 888.6315 million yuan respectively. Among them, the total income of frying, baking and cooking products in the same period was 577,119,600 yuan, 690,869,300 yuan and 866,225,600 yuan respectively, accounting for 97.34%, 98.58% and 97.48% of the main business income in the same period, which was the main source of the main business income of Qianwei Central Kitchen.

In addition, from 2017 to 2019, the realized income of dishes and other products was 15.7808 million yuan, 9.9794 million yuan and 22.4059 million yuan respectively, accounting for 2.66%, 1.42% and 2.52% of the main business income in the same period, accounting for a relatively small proportion.

three

The upstream market is fully competitive, and the price of raw materials may fluctuate.

According to the prospectus, Qianweiyang Kitchen belongs to the quick-frozen noodle rice products industry. The upstream of the industrial chain mainly includes rice, noodles, oil, meat, vegetables, miscellaneous grains and other raw materials. The price and quality of raw materials are the two major factors that quick-frozen food enterprises are most concerned about.

It should be noted that raw material expenditure is the main operating cost of quick-frozen noodle rice products enterprises, and the development of upstream industry and the change of agricultural and sideline products prices have an important impact on the production and sales of quick-frozen noodle rice products industry; Although the upstream industries provide all bulk agricultural products (000061, stock bar) with full market competition, there is rarely a shortage of supply, but due to the complex and changeable economic situation in recent years, the prices of raw materials supplied by the upstream industries are still unstable, which has a certain degree of adverse impact on the development of the quick-frozen noodle and rice products industry.

According to the prospectus, the downstream of Qianweiyang Kitchen is online and offline sales channels and cold chain logistics industry. At present, there are two mature offline sales channels for quick-frozen noodles and rice products. One is to connect with C-end consumers through shopping malls, supermarket chains, convenience stores, etc., and the other is to distribute them to B-end customers such as restaurants, enterprises and institutions, hotels, etc. through self-management and distribution.

In addition, the market demand and development level of downstream industries determine the future development direction and scale of the quick-frozen noodle and rice products industry. At the same time, with the sustained development of the national economy and the increasing awareness of consumers on food health, the products of the quick-frozen noodle and rice products industry have been continuously improved in quality and various indicators. Therefore, the quick-frozen noodle rice products industry and the downstream industry promote each other and develop circularly.

four

The performance is "average" and the gross profit margin is lower than the average level of peers.

In recent years, the performance of Qianweiyang Chef has been "mediocre".

According to the prospectus, in 2017-2019, the operating income of Qianwei Central Kitchen was 593,317,100 yuan, 701,202,700 yuan and 889,282,900 yuan respectively, which increased by 18.18% and 26.82% respectively in 2018-2019.

In the same period, the net profit of Qianwei Yangchu was 46,559,100 yuan, 58,678,900 yuan and 74,121,300 yuan respectively, which increased by 26.03% and 26.32% respectively in 2018-2019.

(Source: Qianweiyang Kitchen Prospectus)

From 2017 to 2019, the net cash flow generated by the operating activities of Qianwei Central Kitchen was 91,522,200 yuan, 12,413,000 yuan and 86,412,700 yuan respectively.

It is worth noting that in recent years, the production and sales rate and capacity utilization rate of Qianweiyang Kitchen have shown a downward trend.

From 2017 to 2019, the sales volume of Qianwei Yang Kitchen was 54,875.48 tons, 63,550.1 tons and 76,598.86 tons respectively, and the production and sales rates were 98.14%, 98.9% and 94.98% respectively. The capacity utilization rates are 87.37%, 100.4% and 81.29% respectively.

In recent years, the gross profit margin of Qianweiyang Kitchen is lower than the average of the same industry.

In 2017-2019, the gross profit margin of Qianwei Yang Kitchen was 22.69%, 23.83% and 24.5% respectively, while in the same period, Sanquan Food (002216, shares bar), Anjing Food (603345, shares bar), Zhongyin Babi, Haixin Food (002702, shares bar) and Huifa.

In this regard, Qianweiyang Kitchen said that due to the obvious differences in sales models, downstream customers, product structure and sales scale of comparable companies in the same industry, the gross profit margin also showed certain differences.

five

The top five suppliers account for nearly 50% of purchases, which may constitute a "dependence" on a single customer.

According to the prospectus, the sales model of Qianweiyang Kitchen is mainly divided into direct sales and distribution, and the two are relatively stable. From 2017 to 2019, the sales revenue of Qianweiyang Kitchen’s distribution model accounted for 59.41%, 59.31% and 58.98% respectively; In the same period, its direct sales revenue accounted for 40.59%, 40.69% and 41.02% respectively.

From 2017 to 2019, the total sales of Qianwei Yang Kitchen to the top five direct customers were 218,028,400 yuan, 255,128,100 yuan and 320,882,300 yuan respectively, accounting for 36.75%, 36.38% and 36.08% of the total operating income in the same period respectively.

During the reporting period, that is, from 2017 to 2019, the total sales of Qianwei Yangchu to the top five distribution customers were 56,518,600 yuan, 77,401,700 yuan and 100,831,300 yuan respectively, accounting for 9.53%, 11.04% and 11.34% of the total operating income in the current period, respectively, and the proportion of revenue showed an upward trend.

It should be pointed out that from 2017 to 2019, the sales revenue of Qianwei Yangchu to the largest customer Yum! China Holdings Co., Ltd. (hereinafter referred to as "Yum! China") and its related parties accounted for 29.95%, 30.2% and 30.72% of the operating income respectively.

In this regard, Qianwei Yangchu said that as a T1 supplier of Yum! China, Qianwei Yangchu has a stable cooperative relationship with Yum! China, but there is still the risk that Yum! China will reduce orders or even terminate cooperation in the future, which will lead to a decline in the operating performance of Qianwei Yangchu.

In recent years, the suppliers of Qianweiyang Kitchen are more concentrated.

From 2017 to 2019, the purchase amount of Qianwei Yang Chef from the top five suppliers was 176.229 million yuan, 199.4039 million yuan and 261.8332 million yuan respectively, accounting for 48.12%, 46.14% and 47.05% respectively in the same period.

six

The total fundraising exceeds 409 million yuan, which will increase the production capacity by 80%.

With this listing, Qianwei Yangchu plans to raise 409 million yuan, which will be used to invest in "Xinxiang Qianwei Yangchu Food Co., Ltd. Food Processing Construction Project (Phase III)" and "Headquarters Base and R&D Center Construction Project" respectively.

Among them, the "Xinxiang Qianwei Yangchu Food Co., Ltd. Food Processing and Construction Project (Phase III)" plans to use 377 million raised funds, and the planned construction period of the project is 24 months. The implementation subject is Xinxiang Qianwei, a wholly-owned subsidiary of Qianwei Yangchu. The project has a total land area of 35,288 square meters and a total construction area of 53,760 square meters, including 30,000 square meters of food processing workshops (double floors) and 23,760 square meters of three-dimensional cold storage. After the completion of the project, the production scale of quick-frozen rice products with an annual output of 80,000 tons will be formed.

It is worth noting that in 2019, the existing production capacity of Qianweiyang kitchen products was 99,200 tons, that is, the new production capacity of the above projects accounted for 80.65% of its existing production capacity.

Qianweiyang Kitchen said that after the above-mentioned projects are completed and put into production, the overall capacity utilization rate of the company will reach over 90% by then. Considering the seasonality of product sales and the gradual increase of market concentration of large-scale quick-frozen noodle rice products, the issuer’s new capacity increase will basically be digested.

On the other hand, Qianweiyang Chef also admits that the investment projects with raised funds fail to achieve benefits as scheduled, or the market situation changes unpredictably after production, or the company cannot effectively explore new markets. After capacity expansion, the company will have certain risks of unsalable products or idle capacity.

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Wonderful review of the past

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This article first appeared on WeChat WeChat official account: Jinzhengyan. The content of the article belongs to the author’s personal opinion and does not represent Hexun.com’s position. Investors should operate accordingly, at their own risk.

Wen | Deep-sounding Zuyang

Last year’s short play, which was soaring all the way, is still "YOLO" in the Spring Festival this year.

In the past Spring Festival, short plays took 800 million yuan in just eight days, accounting for one-tenth of the box office of the Spring Festival movies. When Spring Mountain School, Stealing Photos and Sora are hot searches, short plays still hold up a public opinion position: the Spring Festival explosion "I became a stepmother in the 1980s" has become the focus of hot discussion from the leading actor to the behind-the-scenes trader, and the short play "Big New Year’s Day" in Tik Tok has ignited the "divorce AA system", and the star’s appearance in short plays has once again triggered discussion.

Not only at home, but also overseas short plays during the Spring Festival are in full swing. On the first day of the new year, TopShort, a short drama platform owned by Jiashu, surpassed Netflix in the Japanese iOS bestseller list. Guohai Securities Research Report predicts that the future market space of short dramas will exceed $30 billion.

Although the Spring Festival has passed, the power of the short drama Spring Festival file continues. The short drama concept stocks in the A-share market are all red, and many stocks such as Xinyada, Guomai Culture and Huayang Lianzhong have daily limit. The platform is also constantly overweight, and short plays are becoming more standardized and refined. Recently, bilibili is experimenting with short plays with monthly subscription, and Tik Tok has increased the recommendation of small programs. Aauto Quicker will upgrade the Star Mang short plays this year, which will lower the threshold for creators and increase their income.

At first glance, short drama seems to be a rare growth industry this year, but in fact, most practitioners are cautious about it. When the industry flies through the expansion period, the logic of the tuyere changes quietly, and then it is bound to be a more bitter battle. At the end of the Spring Festival, "Deep Ring" interviewed Wang Xiaoshu, the founder of Jiashu Technology, and discussed three major issues in the short play:

What is the development space for the business model of short plays?

How will the production factors of short plays change?

The short play is still in the wild period, where is the real opportunity?

How will the business model evolve?

There is an unwritten law in the commercial market: after any new track is popular, the capital with a keen sense of smell always gives feedback first. Film and television, reading and comics have all experienced the peak period of financing. On the other hand, short drama, since its birth in July 2021, has seen the daily limit of short drama concept stocks from time to time, but we rarely see the financing behavior of short drama companies.

In Wang Xiaoshu’s view, this is a problem of "business model"-at present, short play is a relatively good and healthy business with relatively good cash flow. In other words, if it’s just a short play of small programs, there is no need for financing.

In fact, according to the different sources of development and business logic, short plays are generally divided into two categories: one is short plays with small programs, which gain users’ attention by investing in streams. After users jump into small programs, they use "plot hooks" to attract users to pay, which is more traffic-oriented in nature. The other category is the boutique short drama released by the platform account. Traditional film and television companies and MCN institutions have settled in accounts and released short dramas on the short video platform, and users can watch them for free, mainly relying on brand implantation.

From this point of view, the business model of short plays has been relatively rich as a whole, including user recharge, information flow advertising and brand implantation. At present, users’ top-up is still the mainstream income mode, and it also contributes the most. In the future, Wang Xiaoshu believes: "There is more free space. In terms of income composition, advertising and brand income will increase substantially this year, and the combined data of the two may exceed the user’s recharge."

Small programs and short plays on the line around the Spring Festival

Indeed, the growth momentum of information flow advertising and brand implantation can be seen in this year’s Spring Festival file.

Last year, "Oh, the Empress Comes to Work", "Mr. Fu’s vest can’t be hidden after the flash marriage" and "Wushuang" were blessed with three explosions, and the advertising of short drama information flow continued to climb up ten million or even over one hundred million. By the Spring Festival this year, the market is even more "rolled up". According to the new wrist report, during the Spring Festival, many platforms gave high-quality traffic and rebate support, and the traffic of Tik Tok short drama applets exceeded that of WeChat short drama applets.

The Spring Festival is the peak period of user activity, and short plays bring their own eye-catching physique, which strongly stimulates users. Advertisers who have always followed users’ attention naturally can’t sit still. During the Spring Festival, they "packaged" a number of short plays in one breath, which gave them a sense of existence.

Judging from the incoming brands, the Internet platform is still a big producer of short plays. For example, Tmall exclusively named three short plays of Aauto Quicker during the Spring Festival, I Open a Bar in Dasong, Yuanyang Duane, and Super Working Family. The short play All the Way Home starring Song Muzi has the exclusive title of JD.COM Automobile.

Short play implantation

Jiashu short play is also cooperating with some brands at present. Wang Xiaoshu told "Deep Sound" that for brand owners, compared with TVC advertising and long drama implantation, the core advantage of short drama lies in "certainty".

First, the preparation and production cycle of short plays is short. Whether shooting or communicating with brands, efficiency is the first criterion. Wang Xiaoshu said that sometimes the screenwriter takes his laptop directly to the brand side to modify, how to implant the picture and what new requirements are there. The two sides communicate in time and can finish the modification in one day and satisfy the brand owner.

Secondly, short plays have less investment and higher cost performance. Under normal circumstances, the production cost of a short play is several hundred thousand, which is similar to the price of shooting a TVC advertisement, but the return rate of a short play is much higher than that of a TVC. A short play with more than ten episodes has a rich product implantation scene, and the brand can be continuously exposed, continuously deepening the audience’s cognitive impression.

Third, short plays are data-driven. After the brand is embedded in the short play, the exposure, the number of interactions and the brand search index are all quantifiable, and the brand owner has more effect indicators to refer to, and he can be "aware" every time he puts it in.

How do various factors of production change?

The development of the above business model is inseparable from the prosperity of content.

The short drama industry has been growing all the way, and two timing nodes are particularly critical. One is that in April 2022, Tik Tok released the launch and jump of WeChat applet, which directly boosted the short play to usher in a huge wave of outbreak. The daily income scale of the short drama industry has rapidly increased from several hundred thousand a day to ten million or more, and the ceiling of growth has been punctured. The other is the influx of professional production companies and MCN institutions, which has raised the professional level of short drama production.

Looking at the Spring Festival movie list, the producers behind it are almost all traditional film and television production companies, and many short plays are adapted from popular film and television IP.

Among the 10 short plays of Spring Festival staged by Tik Tok, "Go beyond it! A Juan is a derivative of the animated film The Lion Boy, which is produced by Beijing Wonderful, a subsidiary of Baina Qiancheng. "It’s windy on my way home" is adapted from the drama "Go to a windy place", which is produced and produced by Huace Film and Television. The game in disguise is a derivative short play of the movie "Put all your eggs in one basket", which is also the first time that a bad monkey has produced a short play.

Aauto Quicker’s short play "Wake up! The master behind Lord castellan is the original team of costume light comedy Protect Our Lord castellan. Guo Xiaoting and Andrew starred in the short play "Super Working Class", and the producer behind it was the other city film industry, which once produced "The annual meeting can’t stop! "Warm" and other movies.

In the small program drama market, we saw the news of the entry and preparation of the famous director team and film production company at the end of last year. Last Friday, the first short play "Violet Robbery" produced by Wanda Pictures and Lehua Entertainment was broadcast on the small program.

After the traditional film and television industry institutions entered the market, they also forced the content production of short plays to usher in iterative upgrading.

The most intuitive change is the adjustment of the talent structure in the industry. Wang Xiaoshu said that almost all the main producers in the short drama market have migrated from long dramas. After these new and truly good talents came in, the original production pattern of the industry was squeezed-the previous head was reduced to second-rate, and those who were not good at learning were directly eliminated.

Taking screenwriter as an example, Yan Min, the founder of short drama insider, once revealed that many screenwriters of short dramas were transformed from network writers, which made many short dramas more like video versions of online texts than traditional film and television production. However, with the specialization of production, Wang Xiaoshu observed that the main screenwriter who wrote well now became the screenwriter who originally wrote long plays, and after the transformation, he was "quite active" in the short play market.

Secondly, the production cost of short plays has been significantly increased. According to Wang Xiaoshu’s memory, the cost of shooting a short program in the early years was around 100,000 to 200,000, and then it gradually doubled to 400,000 and 500,000, and most of the soaring costs were used in shooting and production.

"For a 500,000 film, it may cost 100,000 yuan to buy IP and ask for a screenwriter, and the remaining 400,000 are all shot in seven to ten days."

According to "Deep Sound", according to the production links of short plays, the actor’s expenses account for the bulk of the cost. According to insiders, most of the leading actors are quoted at 3,000 to 5,000, and the head actors have reported tens of thousands of yuan a day. Li Qingling, the head of the micro-short drama business of Gumai Jiahe, once told Shenxiang: In the past, short drama group performances were calculated by the day, but now the price of each group performance has risen to more than 1,000 yuan.

With the blessing of professional teams and the continuous influx of hot money, the corresponding result is that the short drama has moved from the past earthy video of the grass-roots team to refinement and quality.

For example, the most direct change brought about by the rising price of actors is that the face value of actors is more "able to fight". One of the reasons why "I became a stepmother in the 1980s" swept the short video platform is that the hero looks like a collection of Wallace Huo and Sean Xiao.

"Short plays are the product of visual communication. From the user’s point of view, he actually doesn’t care about your cost, but only cares about whether it looks good or not." Wang Xiaoshu said.

I became a stepmother in the 1980s.

Another major upgrade is also reflected in technology. Virtual production, which has been mentioned repeatedly in the long drama market, is now being applied to short drama production.

Produced by Chuangyi Technology (the behind-the-scenes team of Liu Yexi), "Two Lives" is the first short play with virtual production, and 60% of the content is produced by virtual production. The city street view and aerial ropeway in the story are virtual assets. Xie Duosheng, co-founder and chairman of Chuangyi Technology, revealed that the cost of the whole drama is between 5 million and 10 million.

The short play going to sea is not as simple as imagined.

Undeniably, after professional producers entered the market, the cost of driving short plays soared and content production became more difficult. At this time, overseas was regarded as a new blue ocean by many entrants. In the second half of last year, China’s short plays violently drifted to the other side of the ocean, "harvesting" overseas audiences, but also set a highlight moment.

ReelShort, who entered the game earlier, boosted the data explosion growth in June last year with The Double Life of My Billionaire Hubband. After that, the new frequency was stabilized at 2 monthly shifts, and explosions continued to be launched. In November last year, Reelshort pushed TikTok to the first place in the US iOS entertainment list. ShortTV went online in September, 2023, and started to increase rapidly. At the end of September, ShortTV was ranked in the TOP10 of Google Store Entertainment Free List, and it was located in TOP1 for five consecutive days. TopShort, an overseas short drama platform of Jiashu, mainly focuses on the Japanese market, and has produced more than a dozen works. On the first day of the new year, it ranked higher than Netflix in the Japanese iOS bestseller list.

Both TikTok and Netflix are eco-level Internet head players. TikTok is not listed, with a valuation of over 100 billion. Netflix has been deeply involved in streaming media for more than 10 years, with a market value of 260 billion US dollars. The short drama platform, which is just in its infancy, can play against the giants for a short time, which is enough to see its influence in overseas markets.

Overseas explosive short play

But in fact, we see that these growth moments are not sudden behaviors, but the results of the long-term resource accumulation and market education of the short drama platform.

The parent companies or founders behind ReelShort, ShortTV and TopShort all have rich experience in online writing. ReelShort’s parent company, Chinese Online, launched the interactive visual novel platform Chapters from 2017, covering major countries and regions around the world. Wang Xiaoshu, the founder of Jiashu Technology, came into contact with the net in 2018, and then entered the short play platform TopShort, which has produced more than ten short plays before surpassing Netflix.

In the past, the online articles went to sea, which has cultivated a large number of overseas audiences’ cognition and preferences for tyrants, sadomasochism, Xianxia and other types, and accumulated a number of audiences for short plays. At the same time, the web IP also provided a rich and market-proven source reserve, which also laid the foundation for the subsequent short play.

Despite the past experience, in Wang Xiaoshu’s view, short play going to sea is not a short-term thing that can get excessive returns. All companies that do short play going to sea are not interested in the present, but in the opportunities in the market in the next three to five years.

Specific to the practical link, the short play going to sea is not as easy as expected.

For example, at the production level, practitioners must first face the differences in user habits at home and abroad. When TopShort first entered the Japanese market, it directly copied the domestic short plays and themes into the App, but Japanese users did not pay the bill. After that, TopShort began to try local production, and found out that Japanese users liked the theme of "cheating" through trial and error. However, in the short play market in China, "cheating" is only a negative behavior of the story characters, not the main line of the story, but in the Japanese market, it needs to be thoroughly written and filmed to adapt to users’ consumption preferences.

Secondly, China’s short drama companies need to do infrastructure construction to make original short dramas overseas. There is no category of short plays overseas. Directors, screenwriters and directors need to be trained from scratch, and even the most basic translations need to be re-found. Wang Xiaoshu revealed that TopShort visited a large number of Japanese companies in the early stage of its establishment and found many partners before setting up a local team in Japan. When shooting and producing, it is normal to light up and write scripts and communicate with local creators repeatedly.

TopShort short play

In addition to production, casting is also an important part of short plays. After the interconnection between WeChat and Tik Tok in China, short plays broke out. However, it is difficult to find similar breaking nodes overseas.

There is no ecological base for Applets in overseas markets, and there is no super app like TikTok, so the traffic is relatively scattered. However, the advertising materials posted to social media platforms such as Facebook and Tiktok need to be downloaded by users, registered and logged in before they can watch them, and the intermediate link is long, which is likely to cause traffic loss.

From this point of view, it is difficult to copy the story of overnight wealth in short plays overseas. Practitioners also need to be careful before entering the game-whether the level of content creation, risk-taking ability and the preferences of overseas audiences can get used to it, and whether the logic of creating vertical-screen short plays by domestic investment will be accepted by overseas audiences.

The following is part of the dialogue between Shenxiang and Wang Xiaoshu, the founder of Jiashu Technology:

[About business model]

Deep ring: What do you think is the turning point of the sudden outbreak of the short drama industry?

Wang Xiaoshu: The biggest turning point, I think, should be in March, 2012, when Tik Tok released the launch and jump of WeChat applet. The daily income scale of the industry has roughly changed from several hundred thousand a day to 10 million or more within half a year.

Because if it is hundreds of thousands a day, it is actually a business of 100 million to 200 million a year. But when it quickly broke through the ceiling and reached 10 million, it directly became a business of billions a year. Later, from a few billion to this one hundred and twenty billion, I think it has become a natural growth relatively. Therefore, Tik Tok’s intervention and efforts led to a rapid outbreak of short plays.

Deep ring: Now many listed companies are doing short drama business, but I see that startups in the short drama industry actually have no financing behavior, unlike when everyone was reading or making cartoons.

Wang Xiaoshu: I think generally speaking, it (short play) is a relatively good and healthy business with relatively good cash flow.

Of course, there may definitely be changes in the future. For example, if you do APP or AI, its business model will change, and financing may appear one after another. If it is a business model of pure small program payment, most of the company’s cash flow should be quite positive.

Deep ring: nowadays, almost all online companies are doing short plays, and the audiences of short plays and online content are also very coincident, and the payment mode is also very similar. It is also called online PPT, and short plays eat up the online market?

Wang Xiaoshu: At present, the impact is not too great. Short plays are mainly incremental markets. Generally speaking, the number of users who consume video is far greater than the number of users who consume text. In the past, we calculated that the whole novel market may be almost 10 billion a year. Short plays have now reached 30 billion to 40 billion, and it is definitely not squeezed out by this 10 billion.

However, if consumers’ consumption time is regarded as a whole and the overall consumption time has not changed, in terms of the distribution of time, after the rise of short plays, it may be that more people have moved from fragmented ultra-short videos of 15 seconds and 20 seconds to short dramas with relatively long narratives, that is, people who casually brushed short videos in Tik Tok before began to watch short plays, which has little to do with novels.

Deep ring: Because the online text is also paid and free, and now the mode of making money by watching short plays is still paid, do you think there will be any room for it in the future?

Wang Xiaoshu: I think there is a lot of free space. I think advertising revenue and brand revenue will definitely increase substantially this year. Advertising revenue is similar to the income brought by the information flow of effect, and brand revenue includes various implants in the early stage. From the perspective of composition, it is also possible for advertising and brand revenue to reach or even exceed user recharge.

Many people think that you can only make an APP for free, but this is not the case. There are many short drama theaters and a large number of short drama accounts in Tik Tok and Aauto Quicker platforms, and the penetration rate of this model far exceeds imagination. Last year, Aauto Quicker released data that the daily life of short drama users exceeded 260 million. In fact, such a large number of users have watched short dramas for free on Aauto Quicker, which is equivalent to the bottom of the pyramid. The chassis space is very large, and there are many opportunities for mining and screening.

Deep ring: Now there are many opinions that the money of short plays has been earned by the platform. In fact, not only the short play industry, but basically every industry is saying that it is working for Tik Tok and Aauto Quicker. Do you think this kind of benefit distribution is reasonable? Is it possible to change?

Wang Xiaoshu: I think in fact, in terms of business, there will be changes. For example, many short drama companies choose to go to sea this year. In essence, this is a process of exploring a better business model, whether to sell it at home or overseas. This is the problem of business model. I think short drama is a free market. You can freely choose whether to invest or not and where to make money.

However, from the perspective of profit composition, I also think that the income of content creators in the short drama industry is relatively small. This little is relative to movies, which are all about shooting a 100-minute story video, and users pay the bill, but the proportion of making movies may encourage creators more.

Of course, we have also seen some industry changes. For example, Tik Tok and Aauto Quicker have scheduled short plays, which actually encourages content creators to produce high-quality content for the platform. Although the business model is still free, I think it is also a subsidy. How to understand it? The left hand of the platform earns advertising fees by selling free short plays, and the right hand takes out part of the advertising fees to subsidize free short plays. Then the free short plays actually constitute the user base of some paid short plays. I think this cycle is established. Of course, the specific performance depends on the strength of the platform itself.

So I think it should be fine. I think the distribution of the whole profit pattern is dynamically evolving and constantly changing.

Deep ring: I just mentioned that the income composition of short plays includes recharge income, advertising income and brand income. I want to discuss with you again. Where are the difficulties and opportunities for brand implantation of short plays now?

Wang Xiaoshu: Recently, we are also doing a brand short play of a big company. In the process of doing it, we feel that the key lies in the docking of the two sides’ consciousness. We pay more attention to recharge, so advertisers have no demand for recharge, and more hope that its short play will be exposed to a greater extent; Or the brand owner wants to participate in the top-notch performance, then the problem may be that the schedule is relatively tight. In fact, it is understandable. After all, people on both sides of the content side and the brand side do one thing together, and mutual cognitive methods need to be run-in.

Brand owners still recognize the value of short plays. For them, it costs hundreds of thousands to shoot a good commercial, and the short play with similar price is more cost-effective. There are many stories in 100 minutes, so the exposure of the brand is sustainable and the user’s impression will be more profound.

At the same time, because of the way of short play, it is very suitable for publishing from media accounts, no matter whether its own brand account is rising or the brand customized short play is quoted by other platforms, the brand side thinks this is a good deal.

Deep ring: Like short drama implantation and long drama implantation, do you feel that the demands of the brand will be different?

Wang Xiaoshu: It’s not bad. Just kidding, I think short plays have a better sense of service, because we are now cooperating with brands to brand short plays, and the cost of a short play is several hundred thousand. Many brands will pay the full amount in advance, and then we will have a high degree of cooperation, whether we are directors, actors or screenwriters.

Secondly, I think the core is still fast, and it is done quickly by itself, and everyone runs in quickly. Sometimes our screenwriter takes his laptop directly to the brand to make changes. What do you say you want to do and what are your needs? We can make changes normally, and we can finish them in one day, and then satisfy the brand.

So overall, the cycle is short, the investment is small, and the effect of the service is still visible-how much exposure does my account have, how many interactive likes and comments, and will the brand’s search index be improved? These can be quantified. Compared with long plays, short plays are more certain.

Deep ring: Is it more often to directly connect with the brand, or will it be grafted on that platform?

Wang Xiaoshu: Platform. The current advertisers are basically platforms. Because we are also exploring this business model, the biggest advantage of Internet platform companies is that they are still relatively familiar with it. From the perspective of doing business, it is faster to make a list of platforms, and the platform itself has many sub-brands. If all these sub-brands are made in one round, it may be more than a dozen, which is guaranteed in quantity and sustainable. Most consumer brands are difficult to batch.

【 About production factors 】

Deep ring: Are there any important key nodes in your process of making Jiashu?

Wang Xiaoshu: I think "starting to do" is the first. I started writing in July, 2001. I was mainly writing free novels the year before, but I really felt that the best time for free novels had passed. At that time, tomatoes had great advantages, so I was confused about finding directions. Later, I saw this opportunity to combine our own story genes and abilities with trends such as new media and short videos.

Secondly, I think the production and upgrading of the whole content began last year, and many strong people joined in, which will make my understanding of the whole short play more film-oriented. Because at the earliest time, in fact, everyone’s requirements for video were not so high. After the professionals came in, the whole thing was quickly raised, and we also spent a lot of energy to catch up with the average line of the market.

I think these two things are very impressive. One is to seize the opportunity of the starting point. The outbreak of Tik Tok helped us to break the ceiling quickly. The other is that after the short play broke out, many strong people came in, and we also improved with them.

Deep ring: After these professional companies come in, what kind of influence will they have besides raising production costs?

Wang Xiaoshu: I think the production cost is at the level of comparison results. The real difference is that after a large number of Tik Tok MCN and professional production companies that make movies and TV series entered the market, the talent structure of the industry has undergone important changes.

For example, the main screenwriter who writes well now has become the original screenwriter who writes long plays. He has transformed into a short play with small programs and is very active in the market. Including directors and actors are also a migration of long dramas. You finally see the cost increase because the short dramas are finer and better, but in terms of the process, we are more concerned about the change of talents, which has been fully done by talents of medium and long dramas. Now this situation is more and more in the industry.

Deep ring: Are those people who used to do short plays eliminated?

Wang Xiaoshu: In fact, most of them have been eliminated. Of course, there will certainly be some people who are very capable of learning and can be active in the market, but from the perspective of the whole big industry structure, the former head may now be reduced to second-rate, and emerging and really good talents will come in and form a squeeze on them.

Deep ring: It’s like a math problem. After the influx of professionals, the cost will be higher and the profit will be thinner. Does the business model of short play support this surge in cost?

Wang Xiaoshu: So far, it’s actually fine. For example, we say that there may indeed be some producers or platform companies that will suffer mass losses this year, but after the whole market pulls the content to a level because of the head, it looks like malt, just like the situation we are facing, that is, you follow or not, because if you don’t follow, your business can’t go on; At least you have a chance if you follow. If you are in the top five in the whole market, you still make money, and if you are in the top ten, you should not lose money.

Now, the content cost has basically reached a stable period, and its cost growth is slow in a short time or for a long time. In the early years, it changed from 100,000 to 200,000 to 300,000 to 400,000 and 400,000 to 500,000. This change is very strong, and it has doubled. But now you have changed from 400,000 to 500,000, and this growth has become linear, so the impact on us is not great.

Deep ring: Listen, I feel that the short drama practitioners are still in an acceptable state for the platform and professional companies to raise the competition line, right?

Wang Xiaoshu: Objectively speaking, it is actually irreversible.

For practitioners, this incident happened a bit like the early cyber-movie. It was hundreds of thousands in the early days of filming a cyber-movie, and then it may be millions or even tens of millions. Of course, I don’t think short plays are very good, because short plays take the story route, not the special effects route. It will be somewhat different, but I think it can’t be confronted at the regular level. The only way is to actively cooperate with the transformation, because many colleagues have experienced things like what we are experiencing now.

Doing fine products, cultivating high-quality talents, doing more exquisite creativity and refined operations, including brand tonality and content supervision, will all change, so I think this matter is inevitable.

Deep ring: Who is the most central role in the whole process of short play? How to form a more stable relationship between the company and these core talents?

Wang Xiaoshu: In our industry, the core is the script, and we can also tell stories.

In our job, the person in charge of the story is generally divided into two. The first one is product selection, or planning, which mainly sets the general direction and categories. The other is script implementation, which is the familiar screenwriter. These two positions are the editor-in-chief, so simply speaking, this position may be the core driving force. He is setting the direction, and he will go to the script implementation after setting the direction.

In fact, if a play is successful, I think the story accounts for 50%.

Deep ring: Now everyone in the industry is talking about quality, but in fact, users are looking for coolness when watching short plays. He wants a 70-point thing, but if you give him a 90-point quality, he will not appreciate it. So what is the promotion of short drama quality? Service road? Plot? Actor? How to grasp the degree of this boutique?

Wang Xiaoshu: Short plays are mainly aimed at mass consumers. What is our deepest understanding in this field? Many things are driven by human nature. For example, the actor’s face value, the actors we used in our early years, had a few hundred dollars a day, and there were one or two thousand days. Then the actor who is better now is at least five or six thousand a day, and even better, he may spend more than 10 thousand yuan a day. Then the so-called cost increase actually only brings about one change, that is, the face value can be played better.

People like to see beautiful things by nature, so from the user’s point of view, he actually doesn’t care about your cost, he only cares about saying that the short play I saw is good-looking. Many companies do short plays well, and to some extent, they are "rolled out". If you want to be more successful, you must meet the needs of users. The most basic needs of users are to see more beautiful people, more professional acting skills and stronger emotions. In our interpretation, these things are to use better people, so that the audience’s visual experience will be better.

Short play is a kind of visual communication, which is very intuitive. Your service is not good, your face value is not enough, and many problems are particularly obvious. Some angles are also related to its investment.

Nowadays, dozens of new dramas are put on the market every day. When you are in the stream, the paying ability and depth of the drama must be determined by the satisfaction of consumers. If consumers are satisfied, they will pay more. Paying more will make your bid high enough to get traffic. This is completely the logic of users voting with their feet.

So, for example, we both played a play today, and the actor you used was a little better than the actor I used, and everything else was just the same. From a certain point of view, your competitiveness might be stronger than mine. The pricing of short plays is more dynamic, but because your visual effect is better, that user may be willing to pay 50 yuan to watch your film, while my user is only willing to pay 45 yuan, which seems to be only 5 yuan short, but in fact it may be several times worse.

The video itself makes the good and bad exposed very obvious, and at the same time, the business model of streaming makes this gap more "Matthew effect", which is a bit strong and strong. Or, you can understand the investment flow as a lever. Your advantages and disadvantages are magnified by geometric multiples. You may be just a little at first, but the differences in various superpositions are very big in the end.

Deep ring: So do you do it yourself? Or should I outsource to those distributors?

Wang Xiaoshu: I think it is the different strategies of each company. Like a crowd, it will be more comprehensive. Like most of our startups, we will concentrate on one point. Like Kyushu, although we have almost the same time of establishment, Kyushu is basically purely self-funded and has a team of hundreds of people.

Deep ring: As you mentioned just now, the core of the short play is the script. We see that there are statistical data, and 80% of the short IP plays are online. Is this data accurate? I can see people collecting scripts every day in some short drama groups, which gives people a very contradictory feeling. What is the IP supply situation at the source of short dramas?

Wang Xiaoshu: Generally speaking, many heads and explosions are from well-known IP. The head company has its own novel reserve, a stable screenwriter team, and self-made scripts are the main ones. An IP is very classic, so it is normal to change it three times and five times. For example, Dragon King’s Order is a classic male frequency. As far as I know, it has been changed ten times. Ten short plays are called Dragon King’s Order, and the possible differences are gaiden, prequel and 123.

As for accepting scripts, I think it may still be a new company, which has no script ability and its own screenwriter team in a short time, but if he wants to make achievements, he can only buy them. I think this is a strategy of each company at different stages.

Deep ring: How much will it cost to buy IP now? What is the most expensive link in the whole process of short play?

Wang Xiaoshu: If you only count the source of the novel, the general price is tens of thousands of dollars.

If you want to look at it from the perspective of revenue, it is investment, but we generally don’t count investment as cost, which is called marketing expense, because investment will only happen in one situation, that is, your ROI has become positive. If you can’t vote, you won’t vote. If you don’t vote, you won’t lose money. Although the marketing cost is big, it is not the most difficult place. The most difficult thing is the shooting and production of the drama.

If you want to say the most expensive, it may still be the shooting and production. A 500,000 film may cost 100,000 yuan for IP and scriptwriting in the early stage, and the remaining 400,000 mainly happens in shooting. The shooting cycle of short plays is about 7 to 10 days, and the costs of cast members, costumes, scene props, etc. are all spent in 7 to 10 days after starting.

Deep ring: Short drama actors seem to be hard to be recognized by mainstream entertainment circles. Some film and television dramas explicitly say not to play short dramas when casting. What do you think of their development? This has also led to a chain of contempt. Big screenwriters don’t take short plays, and some actors from good schools in China Opera and North Film don’t shoot short plays. Short plays are the feeling of low in many people’s eyes. I wonder if you have any troubles in this regard?

Wang Xiaoshu: I can understand. First of all, it is a new thing. Objectively speaking, the short play business will last for two or three years. People don’t understand it or there are many misunderstandings, and we are very calm inside. Like the online novel industry in the early days, it has developed for more than 20 years since 2002, and then it has entered the mainstream field. The mainstreaming of short plays will also be an inevitable process.

The core of the content industry is the work to speak, whether the actors have acting skills or not, not by speaking, but the core logic is the satisfaction of consumers. Many actors were amateurs before cooperating with us. After cooperating with us, his fans may now reach hundreds of thousands or even millions, which is another way to grow.

Moreover, the fan stickiness of the head comedian is very scary. If the actor’s Tik Tok account has millions of fans, and there are dozens of fans, each with 500 people, then after a play starring him is launched, everyone in the group will comment, like and forward it. I personally think that actors in medium and long plays may spend the same money, but actors in short plays bring millions of fans, and the cost performance is still very high.

Now doing brand short plays, many brand owners will name names and say that I want someone in this industry. He is in line with my brand tonality. This is a very obvious change, and advertisers have begun to pay the bill.

I think a lot of changes are continuous. Just like making the sea now, many medium and long videos are also making the sea for many years, but the short drama has not been out for a long time. Last November, ReelShort (a short drama platform of Chinese online subsidiary) surpassed Netflix in North America, which has produced a very important influence in developed countries around the world. This has never been done before, and many inherent impressions in ideas need to be slowly told with facts and time.

[About going to sea]

Deep ring: When talking about short plays going out to sea, I feel that the maturity of short plays in overseas markets is still much worse than that in China. However, many media reports have made a lot of money by going out to sea, including that foreign users will like the themes that are popular in China. Everyone has some inherent impressions. Are these impressions consistent with the real situation?

Wang Xiaoshu: I think there is a big deviation, and many concepts may be wrong. I made my own sea, and now the company that made the sea used to be my colleague, just everyone or that group of people. Our common understanding is that going to sea is not a short-term behavior.

Because China is a unified big market, everything you do in China is ready-made. You go overseas to do short plays, overseas users are newer and more fragmented, and there are cultural obstacles. You need to do infrastructure work first. On the one hand, it is necessary to cultivate users, so that users can understand short plays and consume them. Secondly, it is necessary to cultivate creators, including screenwriters and directors. For example, when we do short plays in Japan, we have to find new translations from the basic to the most basic, and we have to help Japanese creators how to write scripts, shoot short plays and find rhythm. In any case, this is not a short-term thing that will get excessive returns. Moreover, the cost of overseas drama production is much higher than that of China. If the cost is high and infrastructure is needed, how can we make money? This is so unreasonable.

Therefore, I think it is a long-term behavior to go to sea. All companies that do short plays to go to sea are more interested in the opportunities in this market in the next three to five years.

Deep ring: It’s like you just mentioned that there is a key node in China, that is, Tik Tok has released the jump of WeChat applet and opened up the whole market. Will there be such a node abroad?

Wang Xiaoshu: I don’t think it will happen in foreign countries, because its ecology abroad is originally in the form of App, and App actually focuses on long-term benefits. There is no so-called hypermedia abroad, such as Facebook, Google and TikTok, and the traffic is very scattered, so generally speaking, it won’t change overnight. Its more strength comes from long-term continuous improvement and steady promotion. From this point of view, I don’t think it will have such a particularly exaggerated moment, or it may have. The first two explosions in ReelShort suddenly brought the market up and drove many manufacturers to the sea. Recently, some colleagues and partners have talked to me, and everyone thinks that there will be some landmark events that show that this road is feasible. The course of history cannot be changed, but more people can come in and do it together, that’s all.

Deep ring: TopShort, Jiashu’s overseas short drama platform, launched the "Star Project" at the content production level, giving a list of eight finished dramas. What is the supply of this localized production team? What are the specific methods to cultivate creators in the local market?

Wang Xiaoshu: We are all doing it by local teams in Japan. I think the most basic method is recruitment. In Japan, we have offices, long-term employees, external partners and a lot of visits to many Japanese companies.

Deep ring: Will it appear that the Japanese team will be educated for him, the market will rise, and then people will do it themselves? How can the investment we sow in advance maintain its advantages in the subsequent outbreak?

Wang Xiaoshu: First, your App has users, and user accumulation is your asset. Take Japan as an example. Whether it is the download list or the best-selling list, our Topshort is higher than Netflix, which means that your progress is faster than Netflix at this stage. This is easy to understand. If your growth rate can be maintained for a long time, then you will naturally form your own barriers at the user level and the brand level.

Second, we have a cognitive lead. Now the scale of short plays in China market is very large, which is a good soil for content creators. What kind of lens should be used for shooting, how to adjust your color and how to play your lighting? Slowly, there is an understanding of specific methods and the precipitation of details. It will take a long time for the real local creators to reach the same level of cognition as us in short plays after they have completely grown up.

I think many local talents don’t care so much about which company he must serve. In fact, it is more about which company will have better personal growth and economic returns. I think our enterprises in China still have advantages in this respect. They dare to give new people opportunities and invest in new people to learn. I believe that you have trained 10 such directors, and eventually two or three people think you are very good. This is your precipitation. In the long run, if you make a market in a country and continue to generate profits, you can still survive.

Deep ring: TopShort surpassed Netflix in Japan’s iOS. Why did it suddenly make such a breakthrough? What is the competition situation of short drama App overseas?

Wang Xiaoshu: Surpassing Netflix is a dominant result, and our process is always iterative.

Topshort is the same as ReelShort. Almost a dozen films have been filmed in Japan, and the App has been launched for a while. Our understanding of the Japanese market is improving. At the beginning, we translated dramas online and translated domestic dramas overseas. If the results are not good, then adjust, what kind of Japanese users like, what kind of aesthetics they have for actors, and constantly communicate with local creators.

To tell the truth, the taste of Japan will actually be heavier. Japanese dramas like cheating, but this is not a particularly big category in China. We are mainly fond of cheating. Cheating may be just a negative behavior of love rat, which leads to the tall image of positive people. But in Japan, cheating is the main line of a story, so we have to adapt to this change. Finding a creator is the same. In a local shooting team, it is very likely that the first one is not good, so remove it, and the second one is ok. Then we will see how to make progress and keep iterative growth.

In the process of adaptation, the most important thing is that the understanding of local users has deepened and the accumulation of local talents has become thicker.

Deep ring: Sora released everyone’s discussion, saying that the video generated by AI was the first to subvert the short drama industry. I don’t want to ask Sora’s influence on short dramas, but I want to say whether we use AI in the actual operation process now. Is it happening if it is really practical? Or is it too far away?

Wang Xiaoshu: I think it is quite far away. Sora is really revolutionary, but my point of view is also very clear. It helps 90% ordinary people, but not 10% professional creators.

For example, my son will go to school to give a presentation the next day, which is very difficult for him, so Sora can definitely help most ordinary people. For another example, you are an ordinary user and want to show the decoration designer the decoration style you want. After you have mastered this tool, you can send a video to the designer, and people will know how you want to feel.

But for us, a professional creator of 10%, what we pursue is the optimization of content quality, not the reduction of cost. Because the cost reduction is meaningless in some ways, just like when we shoot a film, there are tens of millions of top-ups in China. At this time, cost is not our most consideration. What we consider is how to make high-quality content.

Therefore, the main value of Sora is to reduce the cost of video production extremely, so he must help ordinary people. Ordinary people can’t make videos or it’s very difficult to do them, so AI is very helpful to him. For professional creators, a thing has a cool effect. If you tell others that it is made by robots, everyone will feel amazing, but if you tell them that you need to pay to see it, I don’t think most people will watch it.

To put it bluntly, it’s all driven by commercialization in the end. Professional content producers are faced with the consumer market where the public pays. A 100-minute short play costs an average of 500,000 yuan, which is a great cost advantage compared with tens of millions of movies. If there is a technology that can make the cost of short plays change from hundreds of thousands to tens of thousands of dollars, but the effect may be much worse than hundreds of thousands, then I think the payment logic will not stand.

　　　　　　 CCTV News:In recent years, the price of traditional Chinese medicine Panax notoginseng has been declining. At present, in Wenshan, Yunnan, the famous hometown of Sanqi in China, fresh Sanqi has been listed one after another, so what is the sales situation of Sanqi? Can growers make money?

　　　　　　 Mou Xing, a reporter from Wenshan Taiwan, said: "This is the Sanqi international trading market in wenshan city, Yunnan Province. These are all newly listed Sanqi this year. It’s nine o’clock in the morning, and the whole Sanqi market is busy. However, compared with the past, the price of Sanqi has fluctuated greatly."

　　　　　　 Jia Yongcui, a Sanqi vendor in Wenshan, Yunnan: "In 13 years, Xiaoqi sold for more than 320 yuan (dry Sanqi per catty), and now it is more than 50 yuan (per catty)."

　　　　　　 He Guoqiang, a Sanqi vendor in Wenshan, Yunnan: "In July, the 28 heads sold for more than 130 yuan (per catty), and the difference in July was about 40 yuan (per catty)."

　　　　　　 Since 2017, the price of Sanqi has been falling, and it has fallen to the lowest point in recent years. On the whole, taking 20 heads of Panax notoginseng as an example, it can be sold for more than 800 yuan a kilogram in 2017, and now the price is about one kilogram in 500 yuan, with a drop of about 40%. Sanqihua and Sanqi also fell by more than 40%.

　　　　　　 The price of Panax notoginseng fell, and growers had to lose money and sell it cheaply. The reporter learned that for every acre of Panax notoginseng sold by growers, it will cost about 10,000 yuan. So why is the once precious medicinal material Notoginseng worthless?

　　　　　　 Luo Jianxiang, a planter of Panax notoginseng, planted 10 mu of Panax notoginseng at first, and then expanded it in a large area when the price rose. There are many planters like Luo Jianxiang in Wenshan.

　　　　　　 Jia Yongcui, a Sanqi vendor in Wenshan, Yunnan, said: "It’s a large quantity, that is, if anyone has nothing to do, everyone will plant Sanqi."

　　　　　　 Tan Jiawen, deputy director of Sanqi and Traditional Chinese Medicine Industry Development Center in Wenshan Prefecture, Yunnan Province: "In the past few years, the price of Sanqi has risen, and many people have seen the benefits, so everyone has followed suit."

　　　　　　 According to the statistics of local authorities, the total planting area of Panax notoginseng in Wenshan reached 130,000 mu in 2019, 1.5 times that of 2018. It is estimated that the newly listed output of Panax notoginseng will be nearly 20,000 tons, which is the largest mining area and output since 2015.

　　　　　　 In order to alleviate the downward pressure on the Sanqi industry, the local government established the Sanqi Agricultural Planting Cooperative, officially launched the official flagship store of Wenshan Sanqi, and established the Wenshan Sanqi Auction Center. Local enterprises are also trying the model of company+farmer+deep processing to solve the production capacity of Sanqi.

According to a report by Korean Central News Agency on the 25th, Kim Jong-un, the top leader of North Korea, recently inspected the defense forces stationed in Changlin Island, the front line in the west of North Korea, and stressed that the army should be prepared for battle, enhance its combat effectiveness, conduct scientific training, and ensure the combat readiness of personnel and weapons. According to the report, Changlin Island is the "forefront of the motherland" of North Korea, and the late North Korean leader Kim Jong Il visited the island.

　

The report said that Kim Jong-un learned about the logistics supply and preparations for the troops stationed on the island, and ordered the coastal artillery units on duty to conduct shooting training. Kim Jong-un instructed the troops to carry out scientific, practical and high-intensity training close to actual combat, so as to ensure that soldiers are prepared politically, ideologically and physically to successfully complete any combat mission. Kim Jong-un also asked all levels of the People’s Army to do a good job in the overhaul and maintenance of technical equipment and weapons and equipment to ensure that any unit can carry out combat tasks at any time. He also presented binoculars, automatic rifles and machine guns to the defense forces, and took photos with all the defense forces soldiers and their families as a souvenir. General Park Jung-tien, Chief of Staff of the Korean People’s Army, and the Central Cadres of the Workers’ Party of Korea accompanied the inspection.

　

According to reports, Kim Jong-un also inspected the female soldier company of the 5492nd Army of the Korean People’s Army stationed in the southwest front line, and expressed "great satisfaction" with the company’s soldiers being highly vigilant in carrying out frontline defense tasks. According to the report, Kim Jong-un paid tribute to the monument of Kim Jong Il’s on-site guidance, inspected the company’s facilities for study, life and training, and specifically learned about the military life of female soldiers. Kim Jong-un instructed all the soldiers of the company to remember the honor, follow the revolutionary policy, and set off a training upsurge in the company, thus continuously strengthening the company into a company of god gunners.

This inspection was Kim Jong-un’s third public military-related activity in November. The first two were to observe the combat flight technology competition at Gema Airport in Yuanshan, and to guide the landing training of the Korean People’s Army aviation and air defence forces sniper divisions.

South Korean Defense Ministry spokesman Choe Hyun-soo expressed regret on the 25th that North Korea’s top leader Kim Jong-un directed coastal gun shooting in the buffer zone in the western waters. Cui Xianzhu said that North Korea’s military action violated the September 19 Military Agreement between the ROK and the DPRK, and we urge North Korea to stop all military actions in this region, which may aggravate military tension in the border areas between the ROK and the DPRK and violate the September 19 Military Agreement between the ROK and the DPRK.

South Korean Ministry of National Defense spokesperson Cui Xianyu (video screenshot)

Regarding whether there are plans to protest to North Korea, the South Korean Ministry of National Defense said it would make further observation. Lee Sang-min, spokesman of the South Korean Unification Ministry, said that according to the news released by Korean Central News Agency, this is the first time that Kim Jong-un has inspected the Changlin Island Defence Force since he took office, but it is not the first time that Kim Jong-un has inspected the border guards.

A significant difference between the series models that are currently selling well and the 13 Pro series models is that the two models of the iPhone 13 Pro series have ProMotion technology based on dynamic screen refresh rate. With this technology, the screen refresh frequency of the iPhone 13 Pro series models can be adjusted freely between 10 times and 120 times per second, which is the function of dynamic high refresh rate.

iPhone 13 Pro Max

Because the official calibration price of the iPhone 13 Pro 128GB version is 7999 yuan, and the official calibration price of the iPhone 13 128GB version is 5999 yuan, that is to say, if users want to experience the iPhone 13 with dynamic high refresh rate, they need to spend more than 2000 yuan to buy the iPhone 13 Pro with ProMotion. If you are a user who has the ultimate pursuit of high refresh rate screen display effect, then this 2000 yuan can be said to have to be spent. So what is the experience of the ProMotion technology that can realize the dynamic high refresh rate function in actual use, and what are the differences compared with the traditional 60Hz standard refresh rate? Let’s take you to analyze it.

First of all, according to the official data released by Apple, the iPhone 13 Pro supports 12 refresh rate gears from 10Hz to 120Hz, of which the lowest gear is 10Hz, and the gears above 60Hz are 80Hz and 120Hz. Considering that few digital contents are presented in 80 frames, the 80Hz gear can be regarded as a transitional gear for system animation, while 120Hz is the refresh rate gear for iPhone 13 Pro system animation and high frame rate content display.

Introduction to ProMotion technology

This design enables the system animation and UI animation of iPhone 13 Pro to be displayed at a high screen refresh rate of 120Hz in most cases, which is very attractive to many users who are extremely fond of the smooth visual experience brought by the high screen refresh rate. However, some system animations of iPhone 13 Pro will also be displayed at 80Hz, which also makes some users feel dissatisfied.

In the actual measurement, by sliding the UI interface of the system, we can find that the display effect of the iPhone 13 Pro is very smooth in most cases, but the fluency will decrease when the interface with lower refresh rate is used in the display system settings. In addition, the iPhone 13 Pro is very smooth whether it is reduced from high refresh rate to low refresh rate or upgraded from low refresh rate to high refresh rate.

High refresh rate screen UI sliding effect display

Under the common 60Hz gear, Apple provides a wealth of refresh rate gears, which are 48Hz, 40Hz, 30Hz, 24Hz, 20Hz, 16Hz, 15Hz, 12Hz and 10Hz respectively. It can be seen that compared with the domestic Android flagship that emphasizes the high refresh rate experience, the iPhone 13 Pro pays more attention to the role of dynamic screen refresh rate technology in reducing the power consumption of mobile phones, and provides quite a few refresh rate gear options for this purpose, which also makes the battery life of the iPhone 13 Pro Max reach a quite excellent level among similar models.

With the help of ProMotion technology, iPhone 13 Pro can intelligently adjust the screen refresh rate according to the currently displayed content. In the actual test, we can find that when play online has 30 frames of online video, the rendering frame rate of iPhone 13 Pro is 30 frames. It can be considered that the video frame rate can be accurately identified and displayed at the corresponding screen refresh rate of 30Hz, thus achieving the purpose of reducing power consumption.

30-frame video picture setting

You can achieve a rendering frame rate of 30 frames when watching videos.

Similarly, when running a 120-frame game, the rendering frame rate of iPhone 13 Pro is 120 frames, which also accurately identifies the frame rate and displays it at the corresponding screen refresh rate of 120Hz, thus bringing users a smooth play experience.

120 frames game screen settings

Realize the rendering frame rate of 120 frames when running 120-frame games.

For users who want to get the ultimate visual fluency and have a unique preference for high frame rate content, it is necessary to choose the more expensive iPhone 13 Pro series models with ProMotion technology. For ordinary users, especially those who are not sensitive to the frame rate of digital content and have no professional needs, the iPhone 13 with 60Hz refresh rate screen is a cost-effective purchase choice.

Special feature of 1905 film network Our interview with screenwriter Jia-nan Ran was about the second day after the film was released. At that time, there were a lot of comments on the Internet, and the box office results were even more straightforward.

　

"I have been watching the box office last night and brushed it to 12 o’clock. My school sister (Li Huiyan, another screenwriter of the movie "Red Fox Scholar") is also brushing watercress comments and telling me that the more I watch, the more I can’t sleep. " There was some helplessness and disappointment in her tone, and finally she confided, "Just do what you can."

This sentence seems to be her comfort to herself, and it also seems to have laid a certain conclusion for our interview that day.

　

Jia-nan Ran is the first screenwriter of the film "The Scholar of the Red Fox", and took over this project in 2015, before Jiang Zhiqiang, the owner of Anle Film.

　

After the manuscript was finished, there was no following for this project. As a result, it came to Boss Jiang in 2018. At that time, the two were engaged in the creation of the project "Hulu Brothers", so the other party asked the screenwriter Yang Weiwei to retouch this script many years ago in order to make her concentrate more on it.

　

"The general things haven’t changed, just some minor changes. The main thing is to change the setting of the black fox. Originally, I wrote about a river god, and the final battle was in the river, with a lot of ice, snow and water. I think it may have been changed because of the cost of special effects. "

　

Anyway, after the film "The Scholar of the Red Fox" was made, it was a thing of the past for the screenwriter.

At present, she also needs to face a film in the post-production stage, a live-action film "Hulu Brothers" in preparation, and at the same time, she is incubating a fantasy-themed online drama.

　

From the beginning to the present, Jia-nan Ran has been tied to fantasy movies.

　

However, often after the release of such films, it is easy to be spit out, "the script is thin and the network is large." At the same time, some people will jump out and ask why China’s screenwriters can’t make their own "Lord of the Rings" and "Game of Thrones".

　

All the spit and questions, we talked about in detail in the chat with Jia-nan Ran, and even about whether the universe of "Feng Shen" can meet the expectations of netizens, the answers are solved here.

　

"Five years ago, the setting was very new. I was afraid to write about love."

Some people say that movies are made for people in the future. The current creation is to cater to the audience when the film is released. If it is not entertaining enough, it will be difficult for the audience to pay the bill.

　

So is the movie The Scholar of the Red Fox.

Throughout the conversation, Jia-nan Ran talked about it countless times. "Many things in the movie are now, which is really too old."

　

In 2015, there were many fantasy movies, series,, and so on. In these works, in the end, most men and women set out with a mission and finally felt the world with love.

　

And the "Red Fox Scholar" is a double male-dominated model, and the fox in it is still male. At that time, such a setting should be eye-catching. "And there is no love in it, and the type is a road film."

But nowadays, with the increasing number of film and television works of the two male masters, all kinds of online texts of the same type have swept through various forums, which has already made some viewers less interested in the setting.

　

As a screenwriter, what Jia-nan Ran can accomplish is the creation at that time. When she got The Red Fox Scholar, what she thought most was how to convince the audience that people and demons can coexist in this world.

　

She chose the point of "examination" to solve the problem. "This point will resonate with the audience in China, because China itself is a big country in examination."

"How did these monsters come from? Monsters in China are not like vampires in the west, they can take a bite, or werewolves are prolific. Our monsters are cultivated by themselves. In a sense, cultivation is also an examination system. " Therefore, grasping this point, Jia-nan Ran extended the fox demon in the original work, which simply returned to earth to repay his kindness, to a new setting.

　

In addition, she also made some clever thoughts on the setting of villains.

　

In the original version, the villain is a river god. He was enslaved by the fox spirits and wanted to get rid of them, so he always wanted to steal Bai Dan from the fox family. "This kind of relationship is like between Bai Shisan and toad essence, and the other party is under his command." At present, these settings have been slightly modified in terms of production cost.

Of course, we can still spy out the relationship between the original characters through the relationship between black fox and lotus essence, and between Bai Shisan and toad essence.

　

She didn’t go back to the past details of The Red Fox Scholar. Looking at the comments on the Internet, she seemed to understand everything, especially the love drama between Wang Zijin and Lotus Essence. "I also agree that the emotions of the characters here are turning too fast."

　

"A person who suddenly gives unconditionally to his other half can make the other person moved and fall in love with him. This emotional transformation is indeed a bit unacceptable to the current audience. " Jia-nan Ran even admitted that he was afraid to write love plays, especially when people of different times had different attitudes towards love, so there would be a generation gap.

　

After the film "Red Fox Scholar" was released, she and the original author were scolded by many people in private letters, but she was fearless. "It’s good, I told her that if someone scolded them, it would prove that they saw it, and the biggest fear was that no one cared."

　

Indeed, in this industry, black and red are also red. If you create with such a mentality, you may not be bound by the negative of the past.

　

"Feng Shen" is not the first story about father-son relationship in China’s "Quan You".

Among Jia-nan Ran’s future works, Feng Shen is definitely the most anticipated one by the audience.

　

Three films have been written for four years. In her words, the whole process is "vomiting blood production". Compared with "Red Fox Scholar" for addition, "Fengshen" for subtraction.

　

Like The Journey to the West, The Romance of the Gods is a classical mythological novel known to most audiences, but unlike the latter, the film and television works of The Romance of the Gods in recent years mostly focus on da ji, Nezha and Jiang Ziya.

　

So, how to adapt it without "offending" the audience?

　

In the original world view, it has two sects, but they are integrated into the living environment of human beings, and at the same time, they are based on human beings. Human beings drive the gods to sacrifice to the emperor through power, and at the same time they are subordinate to the imperial power.

"It’s not like the fantasy stories in the west, with fairy tribes, dwarves and so on, because from the perspective of European history, they used to be divided. However, Chinese dynasties have lived together, and people from any nation-state can live together. Therefore, on this basis, it also determines the uniqueness of China’s fantasy story. "

　

This uniqueness makes the trilogy of deities not a "right tour" of China, but a fantastic masterpiece that can better reflect China culture.

　

Re-creating a world view suitable for film and television is one of the most difficult parts of this work. "Fantasy movies must let the audience understand your world view in the first 15 minutes, and no new settings can be made at the end of the movie."

　

Besides, hundreds of characters are involved in The Romance of the Gods. How to make it easier for the audience to understand the characters in a concise world view has become the most tormenting place for Jia-nan Ran and her partner.

　

"We did some simple mergers and deletions from the beginning, and then wrote a basic manuscript for them to do market research. As a result, the survey gave us feedback. Many post-90 s people couldn’t stand it and asked why there were so many people and what they were doing. "

The results of this survey have made the whole screenwriter team awake a lot. It turns out that many people don’t know the Romance of the Gods, but only know a few key figures.

　

"We have spent the effort and workload of completely rewriting a story and adapting it in details and events. We want to re-refine the familiarity of the audience and embed it in the film" Feng Shen "." Jia-nan Ran told us that after getting the feedback from the survey, they drastically cut the original work.

　

The trilogy of deities will be three films with independent cores and interlocking links. "But it’s definitely not about power. Now the audience doesn’t like watching such movies. Director Wu Ershan has a strong appeal. He wants to be a mythical heroic epic of China and tell a story about the theme of good and evil in China that no one has ever told. "

According to her, the first part of "Feng Shen" will be the story of two men, "their emotional entanglement with their father."

　

She just finished watching a version in Wu Ershan’s studio a while ago, and this is the second version she has seen. "Now the time is still a little long, and we all think we can delete it again. The director understands, but he may still be a little entangled." She also told us that compared with the previous edition, many wonderful plays have been cut off this time. "But there is no way, and finally we have to consider the film arrangement for the market."

　

"Hulu Brothers is hard to refuse."

In director Wu Ershan’s current work, in addition to the trilogy of deities, Under One Man has also entered the preparatory stage.

　

"I refused." Jia-nan Ran said to us, "There happened to be something at home, so I recommended two school sisters to him."

　

Although she refused the adaptation of the fantasy IP "Under One Man", she still watched all the animated series of "Under One Man". "It’s too difficult, and it has many characters, but unlike the Romance of the Gods, many people don’t understand it. Every character in it has its own fans, and the audience of this IP is highly coincident with the current consumer groups of movies, so many characters can’t move. "

　

Jia-nan Ran sighed with emotion at Wu Ershan’s courage, because the creation of the live-action movie Hulu Brothers made her understand how difficult this "pit" was.

This is also a work that needs to be added, but its addition is different from the Red Fox Scholar.

"This animation is familiar to everyone, but it doesn’t have enough worldview to support him to become a movie. For example, why won’t grandpa be afraid of the seven dolls coming out of the gourd? How did the gourd baby come from? " At present, the screenwriter immediately analyzed the vacancy of film and television for us very professionally.

　

In fact, she also thought about rejecting Jiang Zhiqiang, but never expected that Boss Jiang took out a thick stack of research reports. "This is the thickest research report I have ever seen. He found several people to write different versions of Hulu Brothers, including comedy version, blackened version and normal version … …”

　

Seeing such a result, the "impossible" in Jia-nan Ran’s heart was slowly blotted out.

Although it is a fantasy movie, every time she writes it, she still has to find the corresponding age and geographical location for the whole story, so that the story itself can be more grounded. "I checked a lot of books, and I also saw everyone’s brain holes in Hulu Brothers on the Internet, and finally set the story in Yunnan-Guizhou area."

　

In the adaptation, she absorbed many netizens’ interpretations of the original story and put all the characters into reality as much as possible, so that the audience can better understand the emotional motives inside.

　

Of course, when will this project be officially started? "I don’t know. The other day, Boss Jiang said that he wanted to talk to me. I hope he can tell me that this film is going to be organized."

　

The market has been changing, and fantasy movies have poured out from the past, and now they have entered a cooling-off period.

Themes range from the colorful The Journey to the West in the past to the colorful "Feng Shen" today. As for what the next theme will be, it is difficult for us to predict.

In Jia-nan Ran’s view, those mature IP works or folk stories on the Internet will become the "treasures" excavated by film companies. "Otherwise, many things will be difficult to solve".

　

After the interview, she talked to us about the trailer of The Monkey King that she saw in the cinema, and planned to take a look at it sometime. "After we finished" Monkey King Thrice Defeats the Skeleton Demon "with director Zheng Baorui, he also planned to do this project, but we all felt that it was difficult to do it. I want to see how the movies here are broken. "

　　[Introduction] American scholar Joseph Nye put forward the concept of "soft power", and the attraction of culture is an important part of it. Let’s take stock of 2016 and see how the "soft power" of China’s culture is constantly affecting the world.

　　The Supreme Leader’s Talk on Governing the Country is popular all over the world.

　　During the G20 Hangzhou Summit in 2016, what foreign journalists are most concerned about in the news center is whether they can get the book "The Supreme Leader’s Talks on Governing the Country". Shortly after the official opening of the news center on September 1, the "Supreme Leader’s Talk on Governing the Country" prepared by the organizer was taken into the airspace. China’s wisdom conveyed in the book deeply attracted Chinese and foreign journalists who came to interview.

　　Since its publication, The Supreme Leader’s Talk on Governing the Country has received sustained attention from the international community and aroused enthusiastic response. By the end of October, 2016, the book had been distributed over 6.2 million copies, including over 600,000 overseas copies, which achieved the highest overseas circulation record of Chinese political books in recent years, and also created the sales record of China’s book list varieties on Amazon.com in the United States.

　　Cao Wenxuan won the International Andersen Award, and China literature made the world sit up and take notice.

　　In April 2016, Cao Wenxuan won the "International Andersen Award", the highest honor in the field of international children’s literature, and achieved a zero breakthrough for China writers in this award. After winning the prize, Cao Wenxuan has always stressed on different occasions: "I am not a genius, but the overall level of China literature is constantly rising, providing a good platform for the world to see me."

　　Since the Nobel Prize in Literature was awarded to Mo Yan, a China writer for the first time in 2012, international literary awards have paid more and more attention to the development and breakthrough of China literature. Liu Cixin’s "Three-body" won the Hugo Award and was well received by overseas readers. Even US President Barack Obama brought a copy when he was on vacation in Hawaii.

　　Third, the translation project of China’s contemporary works has caused a whirlwind in the western publishing industry

　　In 2016, the translation project of China’s contemporary works organized and implemented by Publicity Department of the Communist Party of China achieved remarkable results. A large number of literary translations with profound thoughts, exquisite art and excellent production are striding out with the sincerity of the Chinese nation.

　　The writer Mai Jia has caused a "wheat whirlwind" in the western publishing industry. After his novel Decryption was published in western countries, it caused a great sensation and set a record for English translation and sales of contemporary literary works in China. "Decryption" not only won the market, but also won the praise of mainstream western media. More than 30 overseas mainstream media, such as The Wall Street Journal in The New York Times and BBC, reported on Mai Jia and his novel creation and gave high praise. Mai Jia said, "How we are infatuated with them today, they will be infatuated with us tomorrow. China’s works ‘ Go out ’ We must fight a protracted war with optimism. "

　　Four innovationsclassicThe overseas tour of traditional Chinese opera fascinates foreign audiences.

　　What kind of Peking Opera movie can make Japanese audiences crazy? Following the overseas premiere of the 3D panoramic Beijing Opera film Farewell My Concubine at Dolby Theatre in Hollywood, USA, Farewell My Concubine, which won the "Lumiere Award", was shown for several days in the China Art Film Week of Tokyo Film Festival. Japanese audiences are full of praise for China’s bold attempt to display the classic Peking Opera art with 3D film technology. Over the past year, the overseas tour of Peking Opera film Farewell My Concubine in the United States, France, Britain and other countries has made Peking Opera go further into the world.

　　In December 2016, I, Hamlet, which was arranged by Zhang Jun Kunqu Art Center, was invited by many overseas performance organizations to come to Shakespeare’s hometown to perform Hamlet, which is the most familiar to British people, with China’s iconic traditional opera form Kunqu. Zhang Jun not only adapted Shakespeare’s famous works with ancient Chinese words and the rigorous qupai meter of Kunqu opera, but also challenged the four professions of "life, beauty and ugliness" by himself, giving the ancient Kunqu opera fresh vitality and conquering the London audience.

　　Fifth, China’s online novels lead European and American "otaku" crazy "chasing more"

　　This matter, many people did not expect. That is, China’s online literature has successfully gone abroad and landed in the secondary position in Europe and America, and its influence is beyond many people’s imagination. On the websites such as Wuxiaworld and Gravity Tales, which mainly translate China’s contemporary online literature, many foreign readers can see the grand occasion of "chasing after" Xian Xia, fantasy, romance and other novels.

　　Many foreign translation groups upload countless English texts every day, while European and American "otaku" seriously write long comments on books they like/hate.

　　The online novel "Panlong" is over, and western readers are waiting in line below to thank for the translation.

　　China has a long history of culture, and there are countless ancient books left behind, among which many precious ancient books have been exiled overseas for various reasons. The publication project of the Catalogue of Overseas Chinese Ancient Books initiated by Zhonghua Book Company has been listed as one of the five major points in the work of sorting out and publishing ancient books in the 13th Five-Year Plan, which will awaken more and more Chinese ancient books sleeping in foreign libraries, and more and more precious Chinese ancient books scattered around the world will be re-published in various forms, and the family background of Chinese ancient books will become clearer and clearer.

　　In 2016, this project has received positive responses from libraries in North America. At present, 13 overseas book collection institutions have joined the project of Overseas Chinese Ancient Books Catalogue. Why should we make every effort to compile a complete Catalogue of Overseas Chinese Ancient Books? Because if you want to know the influence of China’s ancient books and Chinese traditional culture on overseas, just look at it.

　　When Tang Xianzu met Shakespeare, the binary stars of Chinese and Western cultures shone.

　　Four hundred years ago, two bright superstars fell in the human starry sky. They belong to the East and the West, but they are immortal giants in the history of literature. Through centuries, people still enjoy their spiritual creation in theaters and books. On December 6, 2016, Chinese and British experts and scholars gathered in Shanghai for the "Dialogue across Time and Space — — Sino-British seminar to commemorate the 400th anniversary of the death of Tang Xianzu Shakespeare. Tang Xianzu’s meeting with Shakespeare indicates the broad prospect of China’s traditional culture going to the world.

　　In 2016, in order to commemorate the 400th anniversary of Tang Xianzu’s death, Shanghai Kunqu Opera Troupe rehearsed Tang Xianzu’s masterpiece Peony Pavilion, Purple Hairpin Story, Handan Dream and Nanke Story, which constituted a complete version of Linchuan Four Dreams. The series has held 42 performances at home and abroad, and it is hard to get a ticket everywhere.

　　Eight Jackie Chan hit a sky, and the Oscar lifetime achievement award went to Chinese.

　　On November 12, 2016, Jackie Chan won the Oscar Lifetime Achievement Award, and he was also the first Chinese to win this honor.

　　Jackie Chan spread China’s action movies around the world, and was the first actor to combine kung fu and comedy perfectly. More importantly, Jackie Chan opened a new perspective for foreigners to see a different China and a different Chinese. As Jackie Chan himself said, "The time when no one listened to Chinese is over!"

　　For the China audience, the childhood without Jackie Chan’s movies is certainly incomplete.

　　Nine China movies take advantage of the wind to go out to sea.

　　For many years, going abroad has been the goal of China film industry. However, the piecemeal state makes China’s films have little influence overseas. Now China filmmakers finally realize that unity is power. Going out to sea in groups has become a common choice for everyone.

　　On November 30, 2016, the Film Bureau of the State Administration of Press, Publication, Radio, Film and Television held a symposium on overseas work of "China Movies Showing All over the World" to discuss how to further promote the overseas influence of China films under the new situation.

　　More than 30 first-line film production companies, including Chinese Culture Holding Group, Chinese Film, Wanda Film, Enlight Film, Huayi Film and LeTV Film, actively organized groups. At the end of the year, the film "The Great Wall" was released, which was the first step out of the international packaging of China films.

　　Ten documentaries "Challenges Facing China" won the 68th Emmy Award in Los Angeles.

　　On December 16th, 2016, the launching ceremony of the third season of the documentary "Challenges Facing China" was held in Beijing.

　　The Challenge Facing China is a series of feature films produced by the Foreign Language Channel of Shanghai Radio and Television Station, which is hosted by robert lawrance kuhn, an internationally renowned expert on China. It is the first documentary on social reality in China to observe, study and analyze the current situation in China from the perspective of westerners. The first season of the film was broadcast in 2012, and since then, it has landed in many overseas mainstream media such as the United States, Germany and Australia. In the United States alone, its first and second seasons were broadcast on 210 public television stations. As of July 2016, there were more than 4,000 episodes, and the coverage rate in the top ten cities in the United States climbed from 70% in the first quarter to 96% in the second quarter.

　　"China has become the second largest economy in the world. The documentary we filmed is to tell the world a real China. " Kuhn said. The interview and filming of the program lasted more than one year, with a total journey of more than 40,000 kilometers. The program is simple, vivid and eloquent, explaining to the international community what is the "Chinese dream", how to realize it, what is the biggest challenge to realize it, and what it means to the world.

　　At present, this documentary has been recognized by a large number of audiences at home and abroad, and is known as "opening up the public opinion field between China and the West". It not only won many domestic awards, but also won the 68th Emmy Award in Los Angeles this year.

　　* This article is the exclusive manuscript of Wenhui. Unauthorized reproduction is strictly prohibited. | The picture comes from the network.

　　Without network security, there is no national security. The Network Security Law of the People’s Republic of China is an important law in the field of national security and the first basic law in the field of network security. Over the past five years, this law has played an important role in implementing the overall national security concept, comprehensively implementing the strategy of strengthening the country through the internet, and safeguarding the sovereignty, security and development interests of the national cyberspace.

　　The General Secretary of the Supreme Leader stressed: "We must adhere to the rule of law, run the Internet according to law, and surf the Internet according to law, so that the Internet can operate healthily on the track of the rule of law." The promulgation of the cyber security law conforms to the development trend of cyberspace security and rule of law, and opens a new stage of managing the network according to law. The network security law not only sets the basic systems of network operation security and network information security, but also provides the basic legal basis for establishing and improving the specific management system of related aspects.

　　In recent years, China has accelerated the top-level design in the field of network security, and a system of network security laws, regulations and policy standards with the network security law as the core has basically taken shape. From the promulgation of laws and regulations such as the Data Security Law, the Personal Information Protection Law, and the Regulations on the Security Protection of Key Information Infrastructure, to the promulgation of departmental regulations and policy documents such as the Measures for the Review of Network Security, the Measures for the Security Assessment of Cloud Computing Services, and Several Provisions on the Safety Management of Automobile Data (for Trial Implementation), to the formulation and publication of more than 300 national standards, and the promotion of the publication of a number of international standards & HELIP; … The continuous improvement of relevant systems in the field of network security has provided a solid legal guarantee for safeguarding national network security and the vital interests of the people.

　　The vitality of law lies in its implementation. In recent years, all localities and departments have incorporated network security into the overall situation of economic and social development to plan and deploy, increased network security protection, and promoted the implementation of the network security law. The National Internet Information Office investigated and dealt with all kinds of illegal cases according to law, which formed a powerful shock. According to statistics, in 2021, the national network information system interviewed 5,654 website platforms in accordance with the law, and cancelled the website license or filing with the telecommunications authorities and closed 17,456 illegal websites; The Ministry of Public Security has deployed special actions to resolutely crack down on illegal crimes that infringe on users’ information security and effectively curb the spread of such illegal and criminal activities. Relevant measures have greatly improved the level of Internet governance in China and pushed the network security work to a higher level and deeper level.

　　Network security is the line of defense and the bottom line. To maintain network security and nip in the bud, we should coordinate the legalization and standardization of network security. It is necessary to speed up supporting legislation and strengthen cross-departmental, cross-regional and cross-industry law enforcement cooperation in network security. At the same time, strengthen the top-level design of national standards for cybersecurity, constantly improve the national standards system for cybersecurity, and make great efforts to improve the quality of standards. In accordance with the requirements of the Network Security Law, we should pay equal attention to the development of information technology and network security. For network security, we should not only attach importance to information security and ideological security, but also create a clean and energetic cyberspace, effectively prevent network attacks and effectively safeguard the security of network information systems.

　　Maintaining network security is the common responsibility of the whole society. Further improve legislation, strictly enforce the law, promote law-abiding, give full play to the joint role of management departments, network operators, service users, industry associations and users, and constantly promote the legalization of cyberspace, so as to continuously build a network security defense line and let the people enjoy a beautiful digital life.

　　People’s Daily (June 10, 2022, 05 edition)

　　This report is compiled in accordance with the requirements of the Regulations on Government Information Disclosure of People’s Republic of China (PRC), and based on the 2017 annual report on government information disclosure of township people’s governments, sub-district offices (hereinafter referred to as "township governments and sub-district offices") and district government committees, offices and bureaus (hereinafter referred to as "district government departments").

　　The full text includes the implementation of the "2017 Pinggu District Government Affairs Openness Work Points"; Government information disclosure organization, system construction, channel places, education and training, etc.; Voluntarily disclosing government information, disclosing government information upon application and refusing to disclose government information; The application for administrative reconsideration and administrative litigation due to the disclosure of government information; Charges due to the disclosure of government information and their exemption; Shortcomings in government information disclosure and improvement measures.

　　The statistical period of the data listed in this report is from January 1, 2017 to December 31, 2017. The electronic version of this report can be downloaded from the website of Pinggu District People’s Government (http://www.bjpg.gov.cn/). Due to the limitation of space, if you have any questions about the report, please contact the Government Affairs Office of Pinggu District, Beijing (Address: No.7 Fuqian Street, Pinggu District, Beijing; Postal code: 101200; Tel: 010-69961264; E-mail: bjpgxxgk@126.com).

　　First, the implementation of government affairs disclosure work

　　(a) the implementation of the main points of government affairs.

　　According to the requirements of Beijing Municipal Government’s open government affairs, combined with the actual work in Pinggu District, the Key Points of Open Government Affairs in Pinggu District in 2017 were formulated, and the implementation of the Key Points of Open Government Affairs in Beijing in 2017 was promoted, so as to timely disclose the key work division plan of the municipal government’s work report, the key tasks deployed in the division plan of important livelihood projects, and the phased progress made in livelihood issues.

　　(2) Promoting the openness of government affairs in key areas.

　　In the prominent position of the government portal, our district has set up the column of "Open List of Government Affairs in Key Areas of Pinggu District", and dynamically updated the open list of government affairs at district, township and street levels. In 2017, there were 347 district-level government affairs disclosure lists and 67 township-level lists. In order to ensure the timely and effective disclosure of information related to the open list of government affairs in key areas, a working mechanism is formulated to arrange all relevant units to conduct a self-inspection every six months and submit self-inspection reports and related links.

　　In order to promote the standardization and standardization of government affairs openness, our district has further refined the list of government affairs openness in key areas, sorted out the public authority and responsibilities of district-level government departments, and formulated the list of government affairs openness in district-level departments.

　　(3) Promote the implementation of the "five openness" and expand public participation. ·

　　In strict accordance with the requirements of the Notice of the General Offices of the General Office of the Central Committee of the CPC and the State Council on Printing and Distributing the Opinions on Comprehensively Promoting the Openness of Government Affairs (No.8 [2016] of the Central Committee of the Communist Party of China) and the Notice of the General Office of the Beijing Municipal People’s Government on Printing and Distributing the Key Points of the Openness of Government Affairs in Beijing in 2017 (No.26 [2016] of the Beijing Municipal Committee of the Communist Party of China), our district actively implements the openness of government decision-making, implementation and management. Establish the "Pinggu District Government Meeting Opening System", and invite deputies to the District People’s Congress, members of the District Political Consultative Conference, public information officers and representatives of the masses to attend the district government executive meeting. Establish a pre-publicity system for major decisions, collect opinions and suggestions from the masses in advance through TV stations, websites, newspapers and other channels for key work in the region in 2017, carefully sort out their opinions and demands, adjust their work plans in time, and actively improve their recognition.

　　(4) Policy interpretation.

　　In order to ensure the implementation of policy interpretation, after the promulgation of important policies and regulations, our district strictly follows the working principle of "taking interpretation as the principle and not interpreting as the exception", and sets up "policy documents" and "policy interpretation" columns on "Pinggu District People’s Government Network in Beijing" to publish and interpret all kinds of important policies and regulations in time. In 2017, 52 policies and graphic interpretations were launched for people’s livelihood projects such as education and medical care; Weibo, the government affairs of "Beijing Pinggu", the platforms of "Happy Pinggu", "Pinggu Bao Bao" and "Pinggu Mandarin" WeChat WeChat official account, etc., timely published articles on the background, purpose, significance and implementation caliber of policies and regulations, and strengthened doubts and doubts. In view of the hot issues concerned by the public, the relevant units of policy release were invited to carry out special online interview activities on the website platform. By providing information such as policy background, cases and data, the relevant policies were interpreted in a simple and easy-to-understand way by means of digitalization, diagrams, audio and video, so that the people could hear, understand and supervise, and the people’s right to know, participate and supervise was effectively guaranteed.

　　(5) Responding to social concerns.

　　In view of the diversity of Internet public opinion at present, our district adopts a combination of technical means and manual operation to monitor the network public opinion in the whole district, and submit and judge the network information that affects the social stability of our district at any time. While understanding social conditions and public opinion, we actively publish the progress of hot events and related policy interpretations through government portals, government affairs Weibo, WeChat WeChat official account and other platforms, and use online platforms to participate in online messages and comments, etc., to correct mistakes and promote the main theme, transmit positive energy, actively guide public opinion, and effectively play the role of network pressure relief valve and weather vane.

　　This year, our district clarified and positively publicized more than 40 false information and comments on the Internet, such as "2.7 million villas illegally built in Beijing Scenic Area are sold to the village secretary as a pension industry", the labor-capital contradiction between Korean enterprises in Xinggu Development Zone, and "Black tour guides in Jinhai Lake Scenic Area fraudulently bring tolls".

　　Second, the mechanism platform construction

　　(1) The organizational management system is sound.

　　First, the Pinggu District Government Affairs Publicity Leading Group and the Pinggu District Government Affairs Publicity Office were established in our district to coordinate and promote the government information and government affairs publicity work in Pinggu District, ensuring the smooth operation of the work in 2017. Second, we will continue to promote the standardization and institutionalization of government information disclosure, focus on serving the people and standardizing the administrative behavior of administrative organs, and solidly promote the work around deepening active disclosure and exploring and standardizing disclosure according to application, thus ensuring the orderly development of government information disclosure.

　　(2) The institutional guarantee system has been further improved.

　　Combined with the actual work, establish and improve the Pinggu District government office information disclosure confidentiality review and disclosure attribute review work system, Pinggu District government website safety management system, Pinggu District government website daily supervision system, and promote the government affairs disclosure work on an institutionalized and standardized track.

　　(3) Open channels have been continuously broadened.

　　First, through the Pinggu District Government Information Disclosure Inquiry Center, the District Archives and the Library Reference Center, the administrative organs in the whole region are provided with the initiative to disclose government information access services. Open a "government information disclosure column" with the function of searching and downloading in Pinggu District portal website "Beijing Pinggu District People’s Government Network" to focus on displaying government information that is voluntarily disclosed. Second, various administrative organs have set up government information consulting windows accordingly, and timely disclosed government information on key project planning and construction and hot issues of public concern. Third, the government affairs Weibo of Beijing Pinggu, the network service windows of Happiness Pinggu, Pinggu Bao Bao and Pinggu Mandarin WeChat WeChat official account have been established successively, and the government affairs Weibo, WeChat WeChat official account and other channels have been used to transmit government information, publish policy interpretations, respond to netizens’ concerns and guide online public opinion. Fourth, the intensive construction of 27 government websites in our district (1 main station and 26 sub-stations) has been completed, and unified planning and scientific design have been carried out from the website style to the column setting, and an effective website information confidentiality review system, daily supervision system and monthly inspection and notification system have been established, which has institutional and technical guarantee for standardizing the disclosure and safety of government information.

　　Third, information disclosure data

　　(a) take the initiative to disclose the situation.

　　1. A total of 39,308 pieces of government information were made public in our district through different channels and methods throughout the year, and the full-text electronic rate was 100%.

　　2. 7711 items of government information in key areas were made public throughout the year. Among them: 274 items of financial budget final accounts, "three public funds" and administrative funds were voluntarily disclosed; Take the initiative to disclose 160 pieces of information such as the construction plan of affordable housing projects, the start and completion of projects, and the distribution and withdrawal of affordable housing; Take the initiative to disclose food safety standards, food production and business license, special inspection and rectification and other information 169; Take the initiative to disclose 332 pieces of information such as environmental verification and approval, environmental status bulletin and major environmental emergencies; 62 pieces of information, such as illegal bidding activities and their handling, and projects that should be tendered according to law with state-owned funds as the holding or leading position; 391 pieces of information such as government measures, disposal progress, risk early warning and preventive measures of production safety accidents were voluntarily disclosed; Actively disclose 133 pieces of information such as approval of agricultural land conversion to construction land, approval of collective land acquisition, announcement of land acquisition, announcement of land acquisition compensation and resettlement, and settlement of collective land acquisition; 15 items, prices, basis, implementation time and scope of government-guided prices, government pricing and adjustment of charging standards; Take the initiative to disclose 7 warning information and good information in the enterprise credit information system of this Municipality; Actively disclose 79 pieces of information such as the audit results of government department budget implementation; 1,452 pieces of information on the supervision and management of public enterprises and institutions closely related to the interests of the people by administrative organs; Voluntary disclosure of other information decided by the Municipal People’s Government 3593.

　　(2) disclosing the information according to the application.

　　1. Application status. In 2017, the total number of applications accepted by administrative organs in the region was 731. Among them, the district government accepted 110 cases and the district housing and urban-rural construction Committee accepted 533 cases, mainly involving land acquisition, demolition, shed reform, demolition and other matters. Among the application methods, 659 applications were made in person, accounting for 90.2% of the total; 25 applications were made through the Internet, accounting for 3.4% of the total; 47 applications were made by letter, accounting for 6.4% of the total.

　　2. Response.

　　The number of responses to application matters was 731, of which:

　　23 items have been voluntarily disclosed, accounting for 3.1% of the total;

　　60 "consent to disclosure", accounting for 8.2% of the total;

　　"Agree to partial disclosure" 3 items, accounting for 0.4% of the total;

　　18 items were "closed", accounting for 2.5% of the total.

　　Among them: 1 item involves trade secrets, 15 items are not government information referred to in the Regulations, and 2 items belong to other circumstances stipulated by laws and regulations;

　　409 items "not disclosed by this administrative organ", accounting for 55.9% of the total,

　　196 "information does not exist", accounting for 26.8% of the total.

　　"Inform to make changes and supplements" 3 items, accounting for 0.4% of the total,

　　"Inform other ways to handle" 1 item, accounting for 0.1% of the total.

　　3 according to the application of public government information charges. The administrative organs in the whole region charge 0 yuan for searching, copying, mailing and other fees for providing government information upon application in accordance with the provisions of the Measures of Beijing Municipality on Charges for Providing Government Information upon Application (Trial).

　　(3) the reconsideration and litigation.

　　1. Administrative reconsideration. In 2017, there was no application for administrative reconsideration against Pinggu District Government; Two applications for administrative reconsideration were filed against relevant units of government information disclosure, all of which were settled. After trial by the district-level legal department, it was ruled that the administrative organ was corrected in 2 cases according to law.

　　2. Administrative litigation. In 2017, there were 3 administrative lawsuits against the Pinggu District Government, and all the parties withdrew their lawsuits; There are 3 administrative litigation cases against various government information disclosure related units, of which 1 case was withdrawn by the parties and 2 cases are under trial.

　　(four) institutional construction and security training.

　　In 2017, there were 57 specialized agencies for information disclosure in our district government, and 3 government information disclosure access points were set up. There are 137 staff engaged in government information disclosure, including 3 full-time staff and 134 part-time staff. In order to promote the openness of government affairs, our district has stepped up publicity and training in terms of improving the ability to accept applications and implementing the Guidelines for the Development of Government Websites. In the whole year, all relevant units held 158 meetings or special meetings on government information disclosure, held 144 training courses and received 4021 trainees.

　　Fourth, the existing shortcomings

　　In 2017, the information disclosure work of the local government has achieved certain results, but there are also some shortcomings: some units still have a weak awareness of active disclosure; Active disclosure of information content needs to be further standardized and institutionalized; The construction of public places for government information needs to be further strengthened.

　　V. Improvement measures

　　(a) continue to do a good job of government information disclosure.

　　First, in strict accordance with the relevant regulations, conscientiously do a good job in cleaning up and reviewing government information, and timely complete the disclosure of reports and the submission of various texts and data. Second, conscientiously do a good job in the disclosure of government information according to the application, study and discuss with the legal department the difficult problems in the disclosure of government information according to the application, and further improve various mechanisms and refine working procedures in accordance with the work requirements of "answering according to law, avoiding risks, strengthening coordination and enthusiastic service", so as to lay a foundation for standardizing the response to various government information applications. The third is to handle administrative reconsideration and administrative litigation cases steadily. In the face of people’s growing legal awareness, we should make positive preparations, cooperate with the legal department, and properly handle administrative reconsideration and administrative litigation cases caused by the disclosure of applications by relevant units.

　　(two) to promote the development of government affairs.

　　First, in accordance with the requirements of the "Implementation Opinions on the Openness of Government Affairs in Beijing", the "five openness" was solidly promoted. The second is to implement the formulation of the open list of government affairs in key areas and the disclosure of the contents of the list. The third is to implement the requirements of the "Guidelines for the Development of Government Websites" and promote the information content construction of Pinggu District government websites. Fourth, according to the new work situation, organize relevant work training to ensure the smooth development of all work.

Pinggu District People’s Government of Beijing Municipality

March 2018

Pinggu District People’s Government of Beijing MunicipalityStatistical table of government information disclosure

(2017)

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