1905 movie network news　On July 27th, Beijing time, the closing ceremony of the 5th Jackie Chan International Action Film Week was held in Datong, co-sponsored by the Film Channel Program Center, Datong Municipal People’s Government and Jackie Chan International Group, and hosted by 1905 Film Network. The film channel, the film channel’s media platform and the whole network were broadcast live.

Indian filmofChung Chi LiPavez Sheikh won the Iron Man Award for directing the best action scene. In order to thank these heroes behind the scenes for sketching out the heroic dream of the world of action movies for ordinary people, Jonathan Lee sang a song "Song of Everyman".

Jonathan Lee, Jackie Chan, Emil Wakin Chau

After the concert, Jackie Chan and Emil Wakin Chau also took the stage to interact with Jonathan Lee. They happened to be wearing coats and trousers of the same color, and the atmosphere of reunion of old friends was very harmonious. Jackie Chan spoke out that Jonathan Lee sang "Nothing is the same". Later, Emil Wakin Chau imitated Jackie Chan’s singing songs, which was very funny. Not to be outdone, Jackie Chan sang the classic song "Let Me Be Happy and Worry Me" written by Jonathan Lee and sung by Emil Wakin Chau.

It is reported that Jonathan Lee is attending Jackie Chan International Action Film Week for the first time, and Emil Wakin Chau has attended it twice. Jackie Chan is very moved by the reunion of his old friends. Subsequently, the three joined hands to sing the classic song "True Hero". This song was also sung by three people for the first time 26 years ago, and the scene was full of emotion.

Special feature of 1905 film network On the fourth day of the release of Tsui Hark’s new work "The Four Kings of Di Renjie", the box office broke 300 million, while the cumulative box office of the competing "The Richest Man in Xihong City" has exceeded 1.1 billion, leaving the "Four Kings" far behind.

The first two Di Renjie series have doubled the box office from 286 million to 600 million, but this time, it is difficult to double the box office to 1.2 billion.

　

Is the film bad? Or is "The Richest Man in Xihong City" too strong?

In the audience’s word of mouth, The Four Kings scored 6.7 points for Douban and 8.2 points for Cat’s Eye, which is really mediocre. Look at "The Richest Man in Xihong City" next door, and the cat’s eye score is as high as 9.3 points!

Although the box office and word-of-mouth are not ideal, in the eyes of most people, this new work is the best in the whole Di Renjie series at present.

　

However, Xiao Dianjun also noticed that many viewers had a question after watching the film.

　

"Di Renjie’s Heaven Empire" has a thrilling moment when the statue of the floating pagoda collapses, and "The Dragon King, the God of Di Renjie" has a giant "Aohuang" that suddenly flies over the warship.

But what are the "Four Heavenly Kings" in Di Renjie’s Four Heavenly Kings?

　

Are the four gods of heavenly kings that glared at Wei Chi Zhenjin and the Ghost Badger when they robbed Kang Long Mace in Tianwang Temple?

　

Is it the eye monster "Red-eyed King" who sealed the inferno in the battle of Dali Temple at the end and transformed it with the method of shifting souls?

　

Di Renjie, Sha Tuozhong, Wei Chi and Shui Yue, the four heroes who rode horses to the unknown front in the egg?

　

Or indirectly refer to and echo the core expression in the film with the four great kings of Buddhism — —"Hell is not empty, and I will never become a Buddha."?

　

Whether the "Four Heavenly Kings" are real or imaginary is actually traceable in movies, but what many people don’t notice is that,For director Tsui Hark, he also has his own "Four Kings" in this film, which are the four aesthetic signs of Tsui Hark’s film: strangeness, power, chaos and spirit!

　

Fortunately, "Di Renjie" series didn’t add the word "detective" in the title at the beginning. Although the first one was a suspense detective film with reasoning elements, it has completely turned into a martial arts supernatural film that "collectively fights monsters".

　

Most of the praise for this new film falls on the five visual wonders: the golden dragon, the strange fish, the white ape, the glaring king, and the tentacle monster like rambutan.The most powerful aesthetic label of Tsui Hark’s films is his "strangeness".

　

The first is his monster complex.Tsui Hark is known as "the hermaphrodite in the new wave movies", and the nickname "Xu Laoguai" has been used to this day. He is deeply influenced by Hollywood monster movies, Japanese special films and comics, and he also loves to find creative inspiration in China’s myths and legends.

Butterfly Change, the first film in 1979, is a martial arts experimental film with the concept of "mutating butterflies to kill people", which combines Gu Long’s novel Blood-sucking Moth, Japanese horror film Eight Graves Village and Hitchcock’s Birds.

He is also known as "Spielberg of Hong Kong", just as foreign scholars commented on Spielberg, "The skill to win the audience is to extract the essence from Hollywood’s’ groceries’ and absorb the strengths of each family".Tsui Hark is good at "stealing teachers". The elements of Hollywood monster films can be seen everywhere.

　

The opening of the Dragon King, the destruction of the warship by the Aohuang and the great white shark in Spielberg’s film all pave the way for narrative suspense with the way of "only hearing its voice but not its shape" and "still hiding half her face from us behind her guitar".

In "Four Kings", the white ape standing on the roof of Dali Temple tore the monster, which seems to have jumped into the set of "Furious Beast" at a closer point. From a farther point of view, isn’t it the "King Kong" who stood at the top of the Empire State Building and dueled with a helicopter?

In the end, the "magic wheel" appeared when Master Yuan Xiu confronted the boss of the inferno. The package shape was very similar to the face-hugging bug in Alien and the eyeball of the glaring king. You can even think of the zerg big BOSS&hellip in starship troopers. …

　

Counting the monsters in Tsui Hark’s movies in the 1990s, there are the tree demon grandma and the big BOSS Montenegro old demon who absorbed men’s blood in Ghost Story, the Millennium centipede essence in Ghost Story: Infernal Affairs, and the megalithic monster in Ghost Story: The Way to the Road.

The white snake and the green snake in Green Snake, the white crane and the thousand-year-old fire turtle in New Crane Needle, and even the modern monster & HELIP in Monster City and Black Xia 2. …

　

After the new century, Tsui Hark seems to prefer "intensive" and "tentacle" monsters.The glaring king with eyeballs all over his body in The Four Heavenly Kings of Di Renjie was reflected in The Biography of Shushan in 2001, in which the monster Youquan is a huge skull composed of dense stones.

There are also piles of red scarabs … It is a nightmare for people with "intensive phobia".

The tentacle monster like Rambutan in the film is shown in Journey to the West and daoist magic written by Tsui Hark: spider essence, demon "red eyes" and "big nose hair" are covered with red tentacles.

Tsui Hark is becoming more and more fond of presenting some large animals on the screen:The devil fish in Di Renjie’s Dragon King, the big tiger in Taking Tiger Mountain Outward, and the Four Heavenly Kings of Di Renjie have gone from dealing with a single animal to gathering golden dragons, strange fish and white apes. ……

There are 23 concept pictures at the end of The Dragon King, where there are nine-tailed foxes, bronze warriors, Jiuding Beads and Garuda … Garuda’s eagle image appears in The Four Kings. Therefore, as long as the Di Renjie series is filmed, Tsui Hark’s "Monster Universe" will continue to bombard the big screen.

The "weirdness" in Tsui Hark’s films is not only monsters, but also pays special attention to the "weirdness" in character modeling.He not only respects history, but also makes textual research on historical facts in serving Buddhism, but also exaggerates and grotesques the faces and forms of some characters without explanation.

Yang Zirong, the Monkey King and Granny Tree Demon all have thick black eye makeup:

Pei Donglai, Pig Bajie, White-haired Witch, Yuhua Tian … They all have scary faces, and they can’t tell right from wrong.

Although no one wears eye makeup or paints white in The Four Kings, Wei Chi, played by William Feng, has to keep his eyes wide open and his facial expression will collapse like a Peking Opera. And his role, that is, wavering between his own power and interests and Di Renjie’s brotherhood, is unpredictable.

　

Goblins like Green Snake, Xiaoqian and Spider Spirit always have long, thin eyebrows, and some of them even turn a corner. This time, Wu Zetian, who was controlled by alchemy, also has this kind of eyebrows, which is completely different from the short, round and thick eyebrows in Heaven Empire.

Another passive hand and foot on the eyebrows is Shuiyue, and two eyebrows are set with diamonds, which is very strange.

　

Buludu and Ma Jinliang in flying swords of dragon gate, the eccentric king in A Demon Journey to the West, and Eight donkey kong & HELIP in Taking the Tiger Mountain Outward; Some are foreign people, some are villains, and their faces are printed with grotesque marks.

This time, almost everyone’s face was tattooed with patterns and patterns.

　

Sometimes they can distinguish between good and evil, and sometimes they are difficult to distinguish.Tsui Hark just wants some specific characters to have their own unique visual labels.This kind of plastic art, whether it has a clear personality orientation or a vague faction implication, leaps to the screen, which makes his characters more energetic and memorable.

　　

"Power" is the sense of power in Tsui Hark’s movies, and the most basic thing is his action play style.

　

Hong Kong’s martial arts films are always divided into North and South schools. Roughly speaking, the Southern School is a real Kung Fu school, with Liu Jialiang and Bruce Lee as its representatives.

The northern school pays more attention to the skill of action and has a sense of performance on stage. One kind is the acrobatic Kung Fu comedy of the Seven Little Fooks, and the other is the light, elegant, fierce and chic action drama in the films of directors Hu Jinquan and Chu Yuan.

　

By the time of Tsui Hark, most of his martial arts scenes were more focused on the northern style.Especially the Ghost Story series, the legendary swordsman series and Xinlongmen Inn with Cheng Xiaodong,It’s more a collision move, and there is no in-depth conversion between attack and defense. It’s more like the step-by-step cooperation of two people dancing, and it’s more inclined to show the artistic conception and atmosphere of the action scene.

He also does the integration of the North and the South.Several Huang Feihong series directed by Yuan Bin are all realistic action styles, while Knife is both violent and powerful and has a formal freehand brushwork, not to mention Seven Swords, which has Liu Jialiang’s real skill and a free and easy sword gesture.

Based on the tradition of the North-South School, Tsui Hark’s new martial arts films have more dynamic martial arts scenes, more skillful movements, and more gorgeous and beautiful impressions.

The series Ghost Story of Ghost Story always escapes from the sky, flying swords of dragon gate is full of flying eaves and climbing walls, and The Legend of Shushan is always flying fairy … The same is true of the Di Renjie series, which is where Tsui Hark transcends the tradition of the North-South School:Pay attention to the use of modern stunts.

Tsui Hark is a "technical madman". As early as Butterfly Change, he replaced lightness skill, sword and magic with springs, hooks and gunpowder, and replaced kung fu with science and technology.

In "The New Swordsman of Shushan", he upgraded the technique of hanging Weiya in Hong Kong’s traditional stunts. In the past, the actor in Hong Kong films could only fly in a straight line, but after his transformation, the actor could fly in curves and turns.

Tsui Hark is an overseas student who went to the United States to study, and has a special liking for Star Wars. When filming "The New Swordsman of Shushan", he invited the industrial light and magic special effects team of "Star Wars" to Hong Kong, and introduced Hollywood special effects technologies such as models and optics into Hong Kong films for the first time.

　

In 2001, in "Biography of Shushan", Tsui Hark used live-action +CG technology, and the whole film had more than 1,600 special effects shots. He wanted to make a martial arts film into a science fiction film, even though it seems to be "fifty-five-cent special effects" now, but CG technology just arrived in China, and the actors didn’t quite understand what green screen performance was.

　

Although the 1986 Chivalrous Woman Thirteen Sisters was a three-dimensional martial arts film, Tsui Hark’s flying swords of dragon gate was the first all-3D martial arts film in Chinese history. "Di Renjie’s Dragon King" is a bold breakthrough, IMAX+3D+ underwater shooting; "Outwit Tiger Mountain" is the first 3D red revolutionary movie.

　

Tsui Hark’s step-by-step efforts in technology have made martial arts films move from the handicraft stage of physical fighting to the modernization of science and technology.Based on repeated experiments and upgrades, we can be so carried away by the false visual spectacle of The Four Kings of Di Renjie, which is close to reality.

　

After indulging in 3D technology, Tsui Hark always likes to "shoot" the audience’s eyes with various weapons on the screen.Not only that, but every weapon he designed in the film also made the action scenes have stronger screen impact. Just like this Tianwang Temple duel:

Wei Chi’s 360-degree rotating sword and darts, and the double knives like the "Golden Wheel of the Sun and Moon" in The Legend of Shushan, inspire more powerful action scenes in the offensive and defensive rounds.

　

Look at Dong Fangbubai’s embroidered needle, Yan Chixia’s talisman, Li Yingqi’s heavenly fencing, Lei Yanjian in the sky, Zhao Huaian’s long sword, and Buludu’s Gankun Circle & HELIP; …

These weapons designed by Tsui Hark not only serve the visual effects, but also are the spiritual weapons of the characters.The most obvious one is Seven Swords, in which seven swords represent the different personalities of seven swordsman.

Di Renjie’s Kang Long Mace is even more so.

　

Kang Long Mace is a majestic artifact presented to the king Ji, which naturally symbolizes Di Renjie’s dignity and rights. But this time, the film emphasizes that it is a defensive weapon with no sharp edge and its function of breaking all attack weapons.

This is in perfect harmony with Di Renjie’s passive and conservative personality and his ability to solve all strange cases and repel the villains.

　

"Four Heavenly Kings" is a bloody case caused by a "Kang Long Mace". This time, Tsui Hark’s weapon has leapt to become the narrative MacGuffin and the driving force of the story.

　

Single shot with an average of several seconds, stormy editing, multi-angle shooting position, push-pull, shake-follow movement mode,Tsui Hark’s previous works generally used such a messy image style to stimulate the audience’s adrenaline.

　

However, because of 3D, the fast-paced cutting and diverse composition movements are easy to make the audience dizzy and vomit. Therefore, watching "The Dragon King of the Gods" and "The Four Kings", the pace of lens editing is obviously slower than in the past, and the shooting angle and motion mode tend to be simple.

However, the visual chaos in Tsui Hark’s films is still changing.

　

One is that he will use the deformation on the lens instead.This is most reflected in The Dragon King of the Gods, such as the distorted picture when Di Renjie first came to Luoyang to read Wei Chi’s lip language;

The second is to fill the screen with colorful and grotesque weapons, costumes, art scenes and special effects monsters, which is complicated and creates instant attraction.

　

Chaos in audio-visual style and chaos in story text are two sides of Tsui Hark’s film.

　

Most of his film stories took place in the years of rebellion. Xinlongmen Inn was the Ming Dynasty when Dongchang was monopolized, Huang Feihong was the turbulent era in the late Qing Dynasty and the early Ming Dynasty, peking opera blues was the period of the Republic of China when warlords were fighting, and Green Snake and Ghost Story were fictional shemale and shemale worlds …　

It is precisely because of troubled times that justice and evil have the soil of binary confrontation, so that heroes and villains can struggle with each other, stimulate the most direct drama conflict, and finally release the chivalrous feelings of loyalty to the liver and righteousness.

　

Even though the Di Renjie series is a prosperous Tang Dynasty under the reign of Ersheng Lingchao and Wu Zetian, Tsui Hark has to create a troublesome context in troubled times.

Heaven Empire is Sha Tuo’s personal dissatisfaction with Wu Zetian, The Dragon King of the Gods contains threats from overseas forces in the eastern island countries, and The Four Heavenly Kings is evil influence who seals the inferno’s challenge to the established regime and Wu Zetian’s lust for power.

In the rebellious world, the story lines in Tsui Hark’s works are actually not complicated, but there are many narrative lines, rapid logical changes and fast transition rhythm.Just like "Four Kings", the four sides wrestle and intertwine with each other, and there is often a clue that has not been explained yet, and the next scene will start non-stop.

Not only that, the disorder of genre is also Tsui Hark’s aesthetic label, and it is also a kind of blameless "original sin" brought by Hong Kong film production environment and Hong Kong film style in the last century.In a movie, martial arts, science fiction, reasoning, monsters, politics, love, comedy … He seems to take care of everything, as in Di Renjie.

　

Compared with the first two films, The Four Heavenly Kings has the most comic elements, and Sha Tuozhong and Shui Yue are almost a pair of funny actors.

Peeping at the bath, beating up, accidentally hitting the wound and vomiting blood … These are all the nonsense tricks used by Tsui Hark in action comedies in 1980s and 1990s, such as Ghost Horse Wises Many Stars, Best Partner, The Secret Order of Queen 3, happy ever after, etc.

　

Tsui Hark also has a special preference for "disorder" in character gender.For example, Dong Fangbubai, who is gorgeous and heroic, can’t tell the gender, the tree demon grandmother in Ghost Story, the father-in-law Yu Huatian who is sometimes feminine and domineering, and the real person of Jiugong in Journey to the West & HELIP; … This kind of role is also set in Four Kings — Flying smoke.

　

Shangguan Jinger in Di Renjie’s Heaven-reaching Empire has a strong personality before Wu Zetian and a tender side before Di Renjie. Behind her, there is a mask of masculinity.

He loves this kind of female royal sister, just like Shui Yue in this film. She is strong and independent, who dares to love and hate, and is the master of her own destiny.

　

"Without words, Machamp confuses God", and the "God" here refers to ghosts and gods.

　

It is not so much that Tsui Hark loves to show scary or ghostly demons in supernatural films as that Tsui Hark intends to talk about people. Ghost Story is saying: Ghosts also have people’s worldly desires, and ghosts also have the right to love a person;

In "Green Snake", the white snake let the green snake gradually know what human emotion is, and Xiaoqing let Fahai escape into what is the ultimate confusion of the Buddha.

　

"Four Heavenly Kings" integrates the religious and ethical issues of ghosts and gods and Buddhism, and becomes the most critical part of the film.There are not only one kind of ghosts in movies, but at least three kinds: the illusion of sealing demons, magic and shifting souls, and human demons.

　

The setting of alchemy makes Tsui Hark’s imaginative vision more logical and acceptable. This setting is undoubtedly a satire on the demons who avenge the inferno and Wu Zetian’s desire for power: the power struggle is an illusion and a bubble.

In the end, Tsui Hark conquered everything with the Buddhism of the master of circle measurement: "Hell is not empty, and I will never become a Buddha", there is an evil ghost in everyone’s heart, and "a hundred years of lust for power … A generation of hatred, why leave future generations. "

Therefore, it seems that Yuance and Di Renjie are maintaining the stability of the established regime. In fact, they are transcending politics, letting bygones be bygones, letting go of hatred and pursuing the present peace. This is also a projection discourse of Tsui Hark and the whole series of Di Renjie on the present reality.

　

Confucius didn’t talk about "Machamp’s disorderly gods" and wanted to govern the country with benevolence and courtesy, but Tsui Hark described the universal moral concept of peace and justice with the film aesthetic style of "Machamp’s disorderly gods".

　

When Tsui Hark and Shi Nansheng set up a film studio in the 1980s, they asked the directors: "First, they should have their own style; The second is to have something to say — Even if it is a kung fu film, there must be something to say; Third, we should "follow the mass line", and commercial films must entertain the audience, so that they can be vented and feel better.Movies are mass media. I hope we can breathe with the audience … … The masses watch movies with their feelings, not with their heads."

　

Even though filming in the north, Tsui Hark has always insisted on making this kind of popular film, which requires direct and enjoyable sensory stimulation, instant sensationalism and pleasant pleasure.

　

If in "The Four Heavenly Kings of Di Renjie", you have to struggle with why the ghost night didn’t kill Er Sheng directly in the hall, why Wu Zetian, who was controlled by magic, wasn’t instructed to kill the emperor, or how Di Renjie learned magic … You will lose all the fun of audio-visual perception.

　

Although sometimes the plot is scattered, sometimes it becomes hilarious when it is serious, there is a bad taste of B-class movies in A-class productions …These are the labels of Tsui Hark’s existence as a film author, and they are also the game spirit of "going too far and being crazy" in the golden age of Hong Kong movies!

　　China’s National Bureau of Statistics recently released data that China’s gross domestic product (GDP) will be close to 100 trillion yuan in 2019. According to the annual average exchange rate, the per capita GDP has reached 10,000 USD. It took China less than 20 years from 2001, when per capita GDP exceeded $1,000, to 2019, when it jumped to $10,000. Foreign experts and scholars interviewed by this reporter believe that a big country with a population of 1.4 billion has achieved a per capita GDP of over 10,000 US dollars. "This is a miracle in the history of human social development." This proves that the development path chosen by China conforms to its national conditions, and the steady economic growth of China has injected a strong impetus into the world economic growth.

　　"The living standard of 1.4 billion people has been greatly improved, which is one of the fastest economic success stories in history."

　　"The development of China in the past 40 years of reform and opening up is one of the most impressive events in contemporary society, which is a miracle in the history of human social development." Francesco Maringio, president of the Italian New Silk Road Promotion Association, believes that China has steadily become the second largest economy in the world, and all China people have made great efforts to this end. "The course of reform and opening up has proved that China’s development path suits its own national conditions and is a successful innovation in Marxist theory and practice."

　　According to a report released by the Legaton Institute, a British think tank, in 2019, China rose 25 places to the 57th place in the global prosperity index, showing strong performance in health and economic quality indicators.

　　"The living standard of 1.4 billion people has been greatly improved, which is one of the fastest economic success stories in history." According to the website of Nikkei Asia Review, consumption has become the main driving force of China’s economic growth. What is important is that the consumption base is getting richer at the individual level and more diverse at the enterprise level.

　　"In the context of the overall sluggish world economic growth, this transcript is very eye-catching, indicating that the macroeconomic policies adopted by the China government have achieved remarkable results." Petrovsky, chief researcher of the Far East Institute of Russian Academy of Sciences, believes that the most intuitive achievement of China’s economic and social development lies in poverty alleviation and the increase of people’s income. "Since the founding of New China more than 70 years ago, the number of poor people in China has decreased by 850 million, and the income level of the people has greatly increased, which shows that ‘ No one can be left behind on the road to a well-off society in an all-round way ’ Not an empty talk, China is moving towards common prosperity step by step. "

　　From the international experience, the per capita GDP exceeding 10,000 US dollars is an important node for the development of countries with medium or above population size. Axel Goethals, CEO of the Institute of Asian Studies, a think tank of the European Union, believes that crossing this node means that the consumption power of China people is stronger, a huge market with great potential is emerging, and the resilience and stability of China’s economy are further enhanced.

　　China will be the most important market in the world for consumer-oriented companies.

　　Bloomberg reported that China’s economy stabilized in the fourth quarter of last year, and investment began to accelerate, indicating that China’s economy may usher in a stronger recovery. Andrew Tilton, an economist at Goldman Sachs, said that the China administration’s policies are long-term, with more emphasis on risk control and restrictions on short-term stimulus measures that may aggravate economic imbalances.

　　According to research by Christian Ruscher, an economist at the Cologne Economic Research Institute, China’s GDP increased by 6.1% in 2019 compared with the previous year, which was hard-won under the risk challenge and downward pressure. This shows that China’s economy is gradually transforming into consumption and service industry, and it is stronger on the whole.

　　At present, China is in a critical period of becoming a high-income country. We should continue to deepen reform and opening up, enhance the resilience of economic development, promote high-quality economic development, and let China’s economic development dividend continue to benefit the whole world. With the growth of GDP per capita, China’s huge consumer market has become a "gold mine" in the eyes of enterprises all over the world. Andy rothman, investment strategist of BenQ Asia, bluntly said that China is "the best consumer market in the world".

　　"China will be the most important market in the world for consumer-oriented companies." Ira Calix, global chief economist of Deloitte, believes that China’s economy will maintain steady growth, and the growth prospects in the consumer sector are very optimistic.

　　"In 2019, domestic demand contributed 89% to China’s economic growth, of which the final consumption expenditure contributed 57.8%, which shows that China’s economic structure is constantly being optimized." As the largest developing country in the world, China’s development means opportunities for the world, said Yukio Tsuda, a professor at Japanese Central University. The expanding scale of middle-income groups in China will further promote China’s economic growth, promote China to import more high-quality products and services, bring more dividends to all countries in the world, and help stimulate the sustainable development of the world economy.

　　"China’s economy will surely achieve long-term stability, prosperity and development and make greater contributions to the world economy."

　　"The economic data of China in 2019 once again shows that China’s development path has strong vitality." According to Alexander Lomanov, deputy director of the Institute of World Economics and International Politics of the Russian Academy of Sciences, China’s economy is progressing steadily, and the government has deepened reforms, improved various systems, and always insisted on opening up, which has achieved good results. "This once again strongly proves that China’s development path is in line with China’s national conditions."

　　Patricio Ji Ousteau, director of the Argentine China Strategic Cooperation Observation Center, believes that in recent years, China has taken a series of initiatives to expand its opening up. The unprecedented tax reduction and fee reduction policy, the Regulations on Optimizing the Business Environment, the formal implementation of the foreign investment law, and the deployment to accelerate the transformation and upgrading of service outsourcing & HELIP; … "China has been continuously opening to the outside world at a higher level, and its business environment has been continuously optimized, and its achievements are enviable. China has always adhered to the path of peaceful development and supported rule-based multilateralism and the multilateral trading system. I believe that China’s economy will surely achieve long-term stability, prosperity and development and make greater contributions to the world economy. "

　　"The economic data of China in 2019 shows the strong resilience of China’s economy, laying a solid foundation for the decisive victory in building a well-off society in an all-round way." Malinjiao said that the China government attaches importance to people’s needs, and "China is constantly turning its beautiful vision of socialist modernization into reality".

　　(Newspaper Rome, Moscow, Brussels, Washington, Berlin, Tokyo, Canberra and Buenos Aires, January 20th, by reporters Han Shuo, Zhang Xiaodong, Ren Yan, Wu Lejun, Hua Fang, Liu Junguo, Chen Xiaowei and Yao Mingfeng)

　　Studies have shown that long-term intake of waste oil will cause obvious harm to human body, such as developmental disorders, enteritis, hepatomegaly, heart and kidney enlargement and fatty liver. Aflatoxin, one of the main hazards in gutter oil, is a strong carcinogen, and its toxicity is 100 times that of arsenic. Another question is ethical. Can you eat the oil that others have eaten, which goes bad in the sewer and is fished out again?
　　So, is there a simple way to identify gutter oil? We might as well listen to what food science experts and insiders say.
one
There is no good way to scientifically identify waste oil at present.
　　In an era of paying attention to food safety, the ideal state is that when you go to a restaurant, you take out a test paper and dip it in the dish. After a while, you take it out and compare it with the spectrum table, and then shout, "Boss, change the oil!"
　　However, the reality is that up to now, scientists have not found an ideal means to detect and identify gutter oil.
　　"Oil mixed with oil, fairy sorrow, fairy is difficult to separate it. Waste cooking oil has a history of more than 20 years. Even today, we can still see waste cooking oil in rural markets and urban-rural junction markets, and we also feel that it has entered the dining hall. If calculated by tonnage, there should be millions of tons of waste oil digested every year. I am very embarrassed. We can’t find a very effective technical means to identify it. This oil is gutter oil, and this oil is not gutter oil. " When attending a CCTV program, Hu Xiaosong, vice president of the College of Food Science and Nutritional Engineering of China Agricultural University, once said this.
　　Hu Xiaosong pointed out that the current detection methods have not overcome this technology and cannot scientifically distinguish the quality of oil, but the Ministry of Science and Technology has set up a special project for this matter, and I believe that it will be possible to distinguish the quality of oil by scientific means in the near future.
2
Traditional detection methods have certain limitations.
　　In the view of scientific researchers, the difficulty in treating gutter oil lies in that it is difficult to distinguish gutter oil from ordinary oil only from appearance and sense after refining processes such as washing, distillation, decoloration and deodorization. Illegal traders will also mix waste oil into edible oil, and if the content is small, it is even more difficult to detect.
　　He Dongping, a professor at the School of Food Science and Engineering of Wuhan Institute of Technology, has been engaged in the research of gutter oil for many years. In He Dongping’s view, the traditional detection methods only grasp a certain characteristic of gutter oil, and no method can effectively detect gutter oil from different sources at the same time, which sometimes leads to a large detection error and more possibility of misjudgment.
　　Wang Le, a graduate student of Wuhan Institute of Technology, once developed a blue test paper. With the increasing proportion of waste oil, the blue test paper will show yellow-green, light yellow and bright yellow. This is based on the "accumulation" of oil to detect the purity of oil, but this method is also limited by the proportion of waste oil added.
　　On the Internet, you can find a company specializing in the production of "Quick Detection Kit for Waste Oil", but from the instructions provided by the company, "for some unpurified oils (such as sesame oil, pepper oil, etc.) and oils with other ingredients (such as Chili oil), this method is easy to produce false positives".
three
Identify the waste oil refrigerator?
　　Senior chef Feng Peng, who once worked as a chef and executive in many big restaurants in Beijing, said that under normal circumstances, gutter oil and ordinary oil can’t be distinguished, and it is inevitable to be fooled when purchasing. He can only judge by practice: restaurants usually need to oil before cooking. In this "lubricating oil" process, good oil can be used seven or eight times repeatedly, while waste oil will become sticky and have a spicy taste after being used for up to three times.
　　"In addition, when the outdoor temperature is low, waste oil will solidify like palm oil, so people often use waste oil to pretend to be palm oil." Feng Peng said that gutter oil can be identified in winter and can be tested in the refrigerator in summer. Some media think that gutter oil has a taste and can be smelled out. In addition, it contains a lot of water, and the pot will explode. Feng Peng thinks these are nonsense, because water can’t be mixed into oil at all, and gutter oil has no odor.

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How should we identify waste oil?
　　Take a look. Look at the transparency, pure vegetable oil is transparent, and the transparency will decrease due to the mixing of alkali grease, wax and impurities in the production process; Look at the color, pure oil is colorless, and the oil will be colored because the pigment in the oil is dissolved in the oil in the production process; Look at the sediment, its main component is impurities.
　　Second smell. Each oil has its own unique smell. You can drop a drop or two of oil on your palm, rub your hands together, and smell it carefully when you are hot. Oil with odor indicates that there is a problem with the quality, and it is likely to be waste oil with odor; If there is a smell of mineral oil, you can’t buy it.
　　Three tastes. Take a drop of oil with chopsticks and taste it carefully. The oil with sour taste is unqualified, the oil with bitter taste has been rancid, and the oil with peculiar smell may be waste oil.
　　Listen. Take one or two drops of oil from the bottom of the oil layer, coat it on flammable paper, light it and listen to its sound. The products with normal combustion and no noise are qualified products; If the combustion is abnormal and makes a "squeaky" sound, the water content exceeds the standard and it is an unqualified product; The "crack" explosion during combustion indicates that the water content of the oil is seriously exceeding the standard, and it may be adulterated products, so it is absolutely impossible to buy.
　　Five questions. Ask the merchant about the purchase channel, ask for the purchase invoice or check the sampling test report of the local food hygiene supervision department if necessary. (Comprehensive by this newspaper)

Usually, if your pickup truck is a light vehicle, that is, it weighs less than 2 tons, then its high-speed cost will be the same as that of an ordinary car, about 0.5 yuan per kilometer.

However, for non-light pickup trucks, such as the Ford Raptor, the cost will increase, about every kilometer of 1 yuan.

The state has clear regulations on high-speed charging. According to the weight of the vehicle and the number of seats, the charging standard is divided into multiple levels. For example, trucks weighing less than 2 tons and buses with less than 20 seats charge 0.45 yuan per kilometer. For trucks weighing 2 to 7 tons and buses with 21 to 50 seats, the charge per kilometer is 0.90 yuan. For trucks weighing 7 tons to 20 tons, buses with more than 51 seats and sleeper buses, the charge per kilometer is 1.462 yuan. And trucks and container trucks weighing more than 20 tons charge 2.138 yuan per kilometer.

It is worth noting that during holidays, pickup trucks do not enjoy the policy of free passage. Therefore, when planning a long-distance trip, you need to calculate the relevant expenses in advance.

In addition, pickup trucks need to pay attention to some details when driving on the highway. For example, the seat design of super sports cars usually pays more attention to speed than comfort, and long-term driving may cause waist and back pain and affect the driving experience. The pickup truck is more comfortable in this respect, with better shock absorption system and suspension design, which can provide a smoother driving experience.

Another factor to consider is fuel efficiency. Pickup trucks are usually equipped with economical engines and relatively low fuel consumption, which are suitable for long-distance driving. The super sports car pursues the ultimate speed, so it is equipped with a high-power engine, which leads to higher fuel consumption. For example, Bugatti Veyron’s fuel tank capacity can only support about 15 minutes of driving, which requires frequent refueling. In contrast, pickup trucks have larger fuel tank capacity and lower refueling frequency, which is more suitable for long-distance travel.

Finally, the types of gasoline provided by highway gas stations are also different. Super sports cars usually need to be filled with gasoline above 98, while highway gas stations mainly provide gasoline below 97. Using low-grade gasoline may cause damage to the engine of super sports car. Therefore, when traveling long distances, it is recommended to plan the refueling location in advance to ensure that the vehicle can be provided with suitable fuel.