标签： 江浙沪品茶论坛

Every festival is a cultural feast.

□ Qin Yanan

Festivals are a kind of folk culture created by people all over the world to meet the needs of production and life, and are an important part of the world folk culture. Every traditional festival in China has poems to sing and recite. Festival poetry is an expression of China traditional literati’s poetic life. At the age of 20, the season triggered the poet’s emotional gate, and put reason into poetry, expressing feelings through poetry.

Without culture, it seems that there is only food in the festival. Dragon Boat Festival, eat zongzi; Mid-Autumn Festival, eat moon cakes; Lantern Festival, eating Lantern Festival … With culture, the Dragon Boat Festival has the patriotic spirit of "racing for a thousand years, and the loyal soul can be returned when it is gone" (Northern Song Dynasty Zhang Lei’s "Dragon Boat Festival"); The Mid-Autumn Festival has a love blessing of "I wish people a long time and a thousand miles together" (Su Shi’s Mid-Autumn Festival by Bingchen); On the Lantern Festival, there will be the prosperity of "Thousands of doors unlock and thousands of lights shine, and in the middle of the first month, the Imperial Capital will be moved" (Tang Zhang’s "Night Lights on the 15th of the First Month") … China Festival, accompanied by China’s poems, is full of 5,000 years of civilization.

Chen Shuqian, a master tutor and scholar in the College of Literature of Heilongjiang University who is committed to promoting China’s excellent traditional culture, in his new book "Poetry Feast in Festivals", takes China’s traditional festivals as the classics and ancient classical poems as the latitude, rambles about the vicissitudes of ancient and modern personnel, allowing readers to follow the gentle and graceful trajectory of classical poems, walk into the gardens of China’s traditional culture, and feel the smell of fireworks and the beauty of prosperity in China’s traditional festivals.

As a compilation of ancient poems of traditional festivals in China, the book is arranged in the chronological order of 16 traditional festivals, including Yuanri, Renri, Yuanxiao, beginning of spring, Huachao, Shangsi, Cold Food, Qingming, Dragon Boat Festival, Tanabata, Zhongyuan, Mid-Autumn Festival, Chongyang, Winter Solstice, Laba and New Year’s Eve, and selects 276 famous works that can reflect distinctive holiday characteristics from the Book of Songs to the Qing Dynasty for more than two thousand years. The lyrics of poems under each festival are arranged in the order of four-character, five-character, seven-character poems, words and songs. In the content, it is divided into comments (or explanations), notes and comments, and related links are noted in chronological order, telling the origin, implication, development and changes of festivals, the festival customs from the Imperial Palace to the market, and the development and changes of customs in different dynasties, which is of great ideological, artistic and inheritance.

Traditional festivals are precious legacies left by ancestors. Each festival has mysterious legends and specific customs, and each festival has been endowed with unique emotional memories and profound cultural connotations by poets. For example, in the Yuan Dynasty, which originated from the Han Dynasty, there were customs such as eating rice cakes, pasting peach symbols and setting off firecrackers. In the Northern Song Dynasty, Wang Anshi’s "Thousands of families always change new peaches for old symbols" made thousands of families happy for the Spring Festival. For example, it is said that there are customs such as cutting ribbons and making smoked cakes on Nu Wa’s creation day. Xue Daoheng, a poet in the Northern and Southern Dynasties, wrote that "after a person falls into a wild goose, he thinks before a flower", which makes the wanderer’s infinite melancholy of homesickness come to life … From traditional festivals, he excavates relevant folk allusions, captures folk customs and seasonal elegance, shares the true lifestyle, and writes the wisdom and beauty of festival cultural inheritance, which not only entrusts the cultural feelings of the descendants of the Chinese people, but also epitomizes the mature civilization of a nation.

Ordinary secular life, with lively festivals, constitutes a complete life time for ordinary people in China, which makes life extraordinary because it is full of expectation and pleasure. For example, "beginning of spring whips cattle", "Spring outing in Qingming Festival", "Laba gives porridge" and "Winter Solstice Worship", etc., festivals are covered with bright coats, which show a touch of novelty in the dull and boring life. "Under the guidance of generations of China people, they show harmonious and harmonious aesthetic taste, the philosophy of harmony between man and nature, and the balance of yin and yang", which edifies people’s diet, manners and customs. "Life is dying with the years, and the body is forgotten; No complex Tu Su Meng, burning the lamp night is still young "(Wen Tianxiang’s" Except Night "). Facing the last New Year’s Eve of life, the poet is fearless, and only wants to get together with his family to make a toast. This kind of "fragility" which is sprouted because of family ties is even more gentle and majestic … Festival poems, life scrolls, and deep feelings not only reflect the meaning of "civilization stops and turns into the world", but also infiltrate the muscles and bones of the Chinese nation.

Every festival is a cultural feast. This book not only allows us to find a way out in the feast of festival culture, but also finds a way out in protecting the ecological environment of folk culture.

Chen Kexin’s mobile phone shooting ＂Three Minutes＂ touched people’s hearts.

　　These days, a short film "Three Minutes" has exploded the circle of friends, which tells an unusual reunion in Spring Festival travel rush. The story is very simple. The mother in the film is a train attendant on the "Nanning to Harbin" line. It is the busiest time to work overtime during the Spring Festival, and her son Ding Ding, who is about to go to elementary school, misses his mother, so he asks his aunt to take him to the train station next to his home and meet him while his mother’s train stops on the platform for 3 minutes. This Spring Festival travel rush-themed short film was shot by Hong Kong director Chen Kexin, and the content of the short film was based on a true story. After the short film was launched, it was played more than 13 million times on Youku in one day. Enthusiastic netizens also found the prototype of the story.

　　The story is based on true events.

　　The joy in the compartment or the joy of meeting relatives on the platform are the most familiar memories of the Spring Festival. This can’t help but remind people of the mainland realistic film "Dear" filmed by Chen Kexin a few years ago. The strong local flavor and sense of reality in the film will also surprise people that the film was produced by a Hong Kong director.

　　Outstanding storytelling ability, keen perception of details, concern for reality and strong humanistic feelings are Chen Kexin’s consistent styles. Chen Kexin said that although he has no experience in Spring Festival travel rush, the Spring Festival and reunion are the themes he has been paying attention to for many years. "I can fully imagine the joy and happiness when Spring Festival travel rush comes home." When "Three Minutes" was filmed in Chongqing, Chen Kexin saw the crowds surging on the platform. Although there were all extras in front of him, he was still infected by this feeling of returning home. When the audition actors sang the song of returning home for the New Year, he said that he was also moved to tears.

　　The short film touches the audience, not only because the flight attendants are busy on the train every Spring Festival, but also because the most critical structural design of the plot is that after the train stops at the platform, the mother and son meet for only 3 minutes. Three minutes, the sense of time limit brought by this reunion is the tension of the plot. The short film specially emphasizes this sense of time with the creative idea of 3-minute countdown. In the film, the countdown number is displayed at the top of the screen, which reminds the audience that the separation time between mother and son is approaching from the time the train enters the station. When entering the station, my mother saw her son on the platform through the window, but when the door opened, she had to help the passengers get on and off first, so she couldn’t find her son at the first time. Because there were too many people on the platform, my son couldn’t find his mother at the first time. When the child found his mother through the crowd on the platform, the time of 3 minutes has become 2 minutes. When the mother and son met and hugged, the mother waited for her son to speak with eager eyes. An interesting scene happened. After a moment of silence, the son began to recite the multiplication formula loudly. It turned out that my mother had joked with her son who was about to go to elementary school, "If you can’t recite the multiplication table, you can’t go to school, let alone see your mother." On the platform, my son didn’t recite the formula fluently, and at this time, the countdown on the screen was changing rapidly. The mother didn’t know what to do, and she couldn’t bear to interrupt her son. The tense countdown contrasted with the child’s stuttering recitation, which touched the audience’s mood. When my son recited the multiplication formula, the train started. The brief reunion of mother and son left the audience with endless aftertaste without a few words of dialogue.

　　During the Spring Festival travel rush season, many people are close to their relatives because of their work, but they can’t stay. The short film "Three Minutes" is based on such a real thing. After the short film was screened, some enthusiastic people found the prototype of the story in the film. She is Liu Zhong, the conductor of the Shenzhen-Urumqi team of Guangzhou Bureau Group Co., Ltd. of China Railway. On January 24, 2017, the media reported the story that Liu Zhong met his son Chen Hongjin (nicknamed Ding Ding) during the four minutes when the train stopped at Hengyang Station after passing through his hometown in Hunan. At the premiere of Three Minutes, director Chen Kexin said that when he first saw the story, he decided to shoot it. In the short film, Tintin recited "99 Multiplication Table" to his mother. In reality, Tintin showed his mother "ma ma wo ai ni" written in pinyin.

　　For Chinese people, Spring Festival travel rush is a journey to return home or find their own roots. The director Chen Kexin from Hong Kong has never experienced Spring Festival travel rush, but he has touched countless audiences with simple pictures, regardless of Spring Festival travel rush in the short film.

　　Mobile phone shooting movies has its own advantages.

　　This 7-minute short film continues Chen Kexin’s narrative style of paying attention to reality and storytelling. What’s more special is that it is a short film shot with a mobile phone all the time, and it is also the first time that Chen Kexin was invited by Apple to shoot a short film with a mobile phone. When sharing his own shooting experience, Chen Kexin said that "Three Minutes" gives the audience some perspectives that traditional films can’t touch. The current mobile phone photography technology has reached a very high level, which can not only record people’s daily life, but also serve as a lens supplement to traditional film photography. In "Three Minutes" shot by mobile phone, the vision of the characters in the picture is more realistic. In the short film, the subjective shot of the little boy crossing the platform to find his mother is completed by putting his hand in front of the little actor, which shows the rhythm and height of the movement, which is closer to a child’s perspective.

　　Nowadays, more and more young people without professional training are shooting their own works with their mobile phones. As a daily tool, mobile phones are far beyond the reach of cameras in portability. When shooting in a narrow indoor space, in fact, a considerable space is needed behind the camera to set up the machine, and with such a small device as a mobile phone, you can freely take pictures even in a narrow and crowded train compartment. For the advantages of mobile phone shooting, Chen Kexin greatly praised: "Compared with bulky cameras, mobile phone shooting can try the effect of dynamic camera movement, and it also brings many unique and different shooting angles. For example, you can put your hand frame very close to the actor to capture the true feelings of the characters without making the actors feel disturbed, which is an advantage that traditional large cameras do not have when shooting at close range. "

　　After "Three Minutes" was broadcast online, many netizens were surprised that the picture texture taken by the mobile phone could actually achieve the effect of big screen broadcast, but some knowledgeable netizens reminded: "Don’t think that there is only one iPhoneX between you and Chen Kexin’s" Three Minutes ",but it is actually several times more expensive than the mobile phone. Stabilizer, adapter, lens, drone and palm photographer & HELIP; …” In Chen Kexin’s view, all auxiliary equipment is just a tool to help the director establish an emotional link with the audience. The most important thing in filming is not technology, but creativity. Technology is just a tool, and more and more convenient and practical tools provide the possibility for realizing creativity. The short film "Three Minutes" not only impressed the audience, but also clearly conveyed that the future may enter an era in which everyone is a photographer. The development of science and technology is giving more ordinary people and video lovers the opportunity to complete their dreams about images.

　　Our reporter Qiu Wei