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  Black Tie International Magazine  Mrs. Ma. Xiaoqiu
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Mrs. Ma. Xiaoqiu  My Story With Movies
 

后疫情时代:文化就是生产力- 用文化自信打造中国财富

原创 马小秋 太平洋财经 78

 

——记马小秋文化立业 道德治企的软实力创业之路
7
1日,中国疫情已经过去;74日,美国全面复工在即。过去半年,百年一遇的全球大流行病,让各国经济遭断崖式下跌,影视娱乐、社交活动一律取消,连今夏最火爆电影“No Time To Die  007: 无暇赴死 也得一会儿,暂停上映。但是,福祸相倚,新冠肺炎也让人们更加珍惜养育我们的社会河床-我们的家和我们的社区,让我们在惊慌失措突然无助的瞬间,学会相互守望;学会个人与社会之间的共同陪伴 Alone Together。无论我们的肤色、语言、信仰有怎样的不同,我们在人类病毒的肆虐面前,心愿一样:好人一路平安。这-也许正是将人类命运绑在一起的共同价值观吧?

 
ma xiaoqiu
 
ma xiaoqiu

沃尔玛将其180个停车位改为Drive in 影院——回到50年代的汽车影院

ma xiaoqiu
 

北京枫花园汽车电影院 虽然股市跌了、影院关门了、迪士尼也推迟开园好几次,但是,香港上市公司董事局主席马小秋女士,六个月的中美抗疫,她没有停过,在中国捐物资,在纽约捐歌声。去年春节期间,马小秋女士出了一本书,是她10年来打造公司和财富的心得体会,书名叫《秋言物语》。秋- 可能是取其作者马小秋名字中的字;也可能是马小秋女士在百忙之后宁静的秋夜,写下的与心灵挚友的秋夜对话;也有可能是过往20多年的商业模式:创业-成功-失败-再创业-再成功-再失败-这个循环往复的过程中,她的醒悟?书中用散文和对话记载了她怎样突然悟到原来企业和个人,如果要能做到真正意义上的成功,一定得是文化的成功。没有文化的自信,何以见得能有可持续发展的企业的成功?她开始研读中国哲学,中国历史和中国传统文化中道家、佛家和孔孟之道,虽然有时得囫囵吞枣 《易经》 《道德经》《心经》, 虽然也似懂非懂《清净经》和《论语》,但马小秋不放弃。她视这些书籍为每天的良师益友和同路人。慢慢地, 她悟出一个企业要长存,必须要拥有一个坚实的文化理念,这个文化理念就是企业的DNA:文化立业,道德治企。这就要求中国鼎益丰坚守道德底线, 要求公司的一切投资,要以巴菲特为标准,走商业长期路线,绝不做短期投机。辅以中国天人合一和不变应万变的哲理,渐渐地,马小秋的文化自信开始转换为生产力。鼎益丰的资产开始上扬。10年如一日。也许,这就是一个国家的文化自信,浓缩在一个企业发展的过程中?也许,《秋言物语》要讲述的,正是一个文化就是生产力 的道理和实操经验?

 

由社会科学文献出版社出版的马小秋总裁散文集《秋言物语》美国一位畅销书作家看到了部分《秋言物语》的英文描述,这些描述让他很震撼。于是他决定向世界讲一个中国崛起、文化自信的故事- 用美得令人惊叹、没有瑕疵的英语翻译《秋言物语》。
于是,我们今天就借太平洋财经这个向投资人提供投资理念和风向标的平台,选载秋言物语,每周一则双语《秋言物语》的心灵鸡汤捧给读者,愿读者也能将自己安身立命的文化信仰变成生产力:个人财富和社会效应双丰收!
对,你也许猜到这位畅销书作家的小说《林中枪声》(英文:Julius Winsome 即将拍成好莱坞大片。扮演主角的演员正是丹尼尔. 克雷格!扮演007 超级国际间谍演烦了,换个莎士比亚学者的林中复仇之旅,不也很精彩?!
《秋言物语》 摘选一
这是一篇描写电影给童年的马小秋带来的感动和快乐。在成都家乡的一个街道广场,6岁的马小秋背着1岁的小妹妹看坝坝电影


《我的光影故事》作者:马小秋译者:杰拉德·多诺万 Gerald Donavan

我的光影故事
我小时候,电影远远不如今天这样普及。那时电影院很少,影片远不及现在多。露天电影是让所有人期待与享受的娱乐方式。
每次放电影,消息都会传得飞快。天还未黑,大家都早早地把晚饭吃了,搬着自家的小板凳去占取中心位置。我也常常搬着小凳子,背着小我五岁的妹妹,欢天喜地的坐在露天坝看电影。
一台电影放映机,一个大喇叭,一块白荧幕,把幕单绑在树木或电线杆上。一切准备就绪,等放映机的光束照射上去,那荡气回肠的英雄赞歌﹑海誓山盟的儿女情长﹑韵味悠长的乡土故事就在那块四四方方的幕布上上演了。
光影在孩子纯真的眼波中流转,流转,流转......把《英雄儿女》《永不消逝的电波》《闪闪的红星》中正义﹑无私和大无畏的英雄种子种到孩子的心田,也让《远山的呼唤》中的高仓健为少女的情窦初开勾勒出自己理想型的影子,幻想将来的他也要是这样一个历尽沧桑﹑思想深刻﹑能够让我仰慕的成熟男人。
记忆中最深刻的一幕,是王成在电影中高喊着向我开炮壮烈牺牲的画面。面对令人恐惧的炮火与死亡,他那坚挺桀骜的身姿平静无波得像矗立在山崖的松柏,只在那滚烫灼热得能将人刺痛的眼神里,写着他对人民与国家那样强烈的爱,为了保护他们,他可以放下一切,从容地在炮火中粉身碎骨。
那一幕,沉重而长久地冲击着我幼小的心灵,情不自禁地痛哭失声。在以后的人生道路上,这个画面经常出现在我的脑海中,那在高贵坚定信念下诞生的坦荡无畏伴我闯过无数风雨。
这就是电影的魅力吧,人类的一切,历史、文化、想象、情感、经验都可以呈现在这神奇的光影世界中。故事、感知、感觉、美丽或氛围的体验,让人沉醉其中,带来令人心悸的感受,回味良久。这就是电影的作用吧,大到影响和改变世界,小到塑造一个人的心灵与人格,培养高尚的情志。
曾经,我真的很爱电影。电影中有我向往的一切,英雄主义、正直善良、质朴纯真、无私奉献,还有美的感受与体验。那些画面、故事与人物,投射了我们内心深处的浪漫情怀与梦中心境,令人动容,甚至撕心裂肺。
随着国家的经济改革越来越深入,老百姓的日子越过越好,电影给我的感觉也好像变味了,远离了我们那个年代的纯真质朴,充斥着肆无忌惮的物欲、色情、暴力、恐怖。令人眼花缭乱的画面特效,掩盖不了其中虚空迷茫的本质。这让我渐渐对电影敬而远之,再豪华的影院都不及我童年的土坝露天电影。
电影是精神与文化的缩影。这个阶段的电影,只是我们在物质生活变好的同时,精神生活落后,人们的灵魂与心灵迷失的反映而已。这几年,这种现象好像有所好转。《芳华》《无问西东》《我不是药神》《战狼》这些片子让我找回了儿时的感觉。在这些电影里,闪烁着爱国主义情怀和纯真善良的星光,这些是我们无论如何都不该失去的可贵品质与情怀,一旦失去就失去了生而为人的意义。
除此之外,我也发现中国电影人终于将目光投向了传统文化,这个取之不尽、用之不竭的素材与灵感源泉,开始在这个领域经营布局,这让我看到中国电影的希望。民族的就是世界的,中国电影这种艺术手段理应成为传播我们优秀而灿烂文化的翅膀。
现在我们的集团事业版图里也有了电影板块。怎么让电影去传承我们老祖宗的文化、去承载我们的中国梦;怎么去描绘习近平总书记提出人类命运共同体的构想;怎么去关注我们当代老百姓们的喜怒哀乐﹑悲欢离合;怎么去影响我们的下一代,让孩子们热爱传统文化,以身为中国人为傲,并有世界大同的格局,是将传播文化视为心中太阳的我一直在思索的问题,也希望能与更多志同道合的伙伴们结伴而行。
随着中国越来越强大,全世界电影从业者都在觊觎着中国市场,这不仅会改写世界电影格局,也会提高中国文化在全球的影响力。在这24格胶片中蕴藏着无法想象的生产力与话语权。我们将会在这24格胶片上演绎出怎样的光影传奇呢?新的挑战开始了!


My Story with Movies

When I was a child in China, going to the movies was far less common than it is today. There were few films available for people to watch, and cinemas were often makeshift structures erected outdoors. Nothing like the lavish productions and movie hall palaces of today.Despite the primitive viewing conditions, movies still proved to be a huge attraction. Word spread fast whenever a show was about to begin. Entire families had early dinners; they gathered chairs and hurried in small groups to the venue, hoping to get a good vantage point. Even before the film began, the small rituals of family life were set aside for the excitement of this special occasion.

In the West, most people are familiar with the ‘ice cream man’, who drove a van playing music through the streets of city neighborhoods. The sound of the music was like thread drawn by a needle, bringing together the rich and the poor for those few minutes of magic. When children first heard the faint jingle from a long way off, it was like a clarion call. They ran to their parents and pleaded for the money to buy a cone. By the time the van turned the corner and parked, a crowd had already gathered. Through a sliding screen, you handed over a coin, and a cold ice cream was placed in your hand. On a hot summer day, you had a couple of minutes to eat it before it melted. The entire episode was brief and unforgettably intense. The old cinema days in China were a long way from ice cream vans in the city suburbs of the West, but the effect on children was precisely the same—because no matter where they live in the world, children possess the same capacity for magic.(译者加注)

With my younger sister in one arm and two stools in the other, I arrived at an open field.There was a white screen tied at all four corners to trees or telegraph poles. Nearby, a projector and a loudspeaker had been set up. Chairs were placed on the ground as the crowd filled the open spaces like pixels, forming their own images of delight and anticipation as they waited for the show to begin.

The projector sprang into life and a sent a sharp light over our heads in the evening air. The beam spilled across the screen and formed into shapes of actors and distant landscapes. For me, the legends of heroes, the romance of love stories, and colorful news stories were as if woven into that beam. The endless delight of a magic quilt unfolding before my eyes.The shadows on the screen danced with the light across the faces of the crowd. We too were a screen, and on our minds, the future was forming its shapes as each of us thought about how the stories of our own lives would be written.What would we become, and where would we go?
Magic has been part of film from the very beginning.In 1838, the first ever photograph of a human was taken by Louie Daguerre of a boulevard in Paris. The photograph required ten minutes of exposure time: even though the street was busy, only one person appears on the photo—a man standing still while getting his shoes polished. Because everyone else was moving about, they literally disappeared. In 1888, the French inventor Louis le Prince filmed a short black-and-white movie of his wife’s family dancing in a garden. These moving photographs appeared at twelve frames per second, too fast for the human eye to separate. It is the world’s first movie. Soon the film of an oncoming train caused people to jump aside in terror when shown in small theaters on Paris Boulevards.
The magic of moving pictures was more powerful than whatever circumstances I might find myself in, and I was transported to a world of childhood heroes, a special place of the imagination where poverty or wealth were no longer a determining factor in happiness. On the silver screen, heroes did what heroes were supposed to do. And in the end, even after many setbacks, justice prevailed.

In Heroic Sons and Daughters, The Eternal Wave and The Sparkling Red Star, I watched courageous people selflessly pursue justice.  The actor Ken Takakura, in The Call of the Remote Mountains, became an ideal prince charming for many girls in their first stirrings of romantic love: he was introspective, he had experienced  the ups and downs of life, and his natural charisma commanded love and respect. What deeply impressed me as a child was a scene in which a soldier, Wang Cheng, stands calm as a tree and shouts, ‘Fire at me!’ before going bravely to his death in a hail of gunfire. He sacrifices his life for a cause—and with passion burning in his eyes. That passage has given me the courage to overcome many difficulties in my life since then. 

History, culture, emotion, and experience--all live within the wonderful world of images. The charm and power of film awakens the perception, it enlivens our sense of beauty and establishes an enduring atmosphere that intoxicates viewers long after the show has ended.  Movies can change the world for the better. They can shape the personalities and hearts of countless millions. And yes, they can cultivate in the hearts of the young a sense of personal dignity.

I used to love movies so much. They had everything I longed for: heroism, integrity, kindness, simplicity, purity, selflessness, and beauty. The screen brought those images and stories and characters into my life. I laughed and cried with every adventure. I dreamed a romantic dream that lay dormant in my heart.

After decades of economic reforms, material life has improved dramatically in China. Yet the movies have strayed from the storytelling art. Instead, they showcase greed, eroticism, violence, and horror for their own sake. No amount of head-spinning special effects can camouflage an emptiness of substance. What was once an unbreakable bond in my life—the love of film—became strained. A luxurious cinema cannot deliver the simple power of faraway adventures played on those screens and projectors in the open fields. Technology is not storytelling. Storytelling is not technology. 

As a general rule, movies embody the spirit and culture of a country. And so, in recent decades, Chinese film has indeed passively reflected the lost hearts of people entirely transfixed by opulence at the expense of spirit. However, the situation seems to be improving. Productions such as Youth, Forever Young, Dying to Survive and Wolf Warriors have re-ignited in me those childhood feelings. These are films lit with a love of country and the spirit of kindness, which we should not let slip away no matter how far we progress in economic terms. Once gone, these qualities are difficult to regain. As humans living in a fragile world, we can all too easily lose our connection with what’s important in life. 
Chinese filmmakers are now more attentive to traditional culture, which is an inexhaustible source of material, and this gives me hope for the Chinese film industry. What’s national is international: the artistic expression in Chinese film has the potential to reflect the natural wisdom and beauty in Chinese culture. 

The fact is that filmmaking has become an integral part of my company. The question remains—how do we create movies that promote the culture of our ancestors and the Chinese experience? How do we depict the concept that President Xi Jinping has put forward: ‘One world community with a shared future for mankind’? How do we portray the happiness and sorrow of the Chinese people today in films that will influence the next generation and endear them to their Chinese roots? I look forward to walking with more like-minded partners on the same path.

As China becomes stronger and richer, filmmakers have woken to the possibilities in the Chinese movie market. Not only will this new awareness change the global landscape of the film industry, it will increase the influence of Chinese culture on a global stage. What kind of storytelling legends are we able to create in film? These new challenges have just begun.
The magic in a great story cannot be measured. Its power to change lives is best viewed over a lifetime; in my case, from the first experiences as in the child, to the lasting proof in the woman.What I received was so much more lasting than the temporary pleasure of ice cream. From movies I experienced the taste of inspiration and hope, I learned the importance of dreams, and saw how justice and virtue come to those who strive for them. I have never forgotten the images of my childhood and the simple places where I first encountered the glory of cinema. 

 

 

Gerard Mc Keon and Joyce Brooks.  Photo by:  Rose Billings/Blacktiemagazine.com

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