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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.
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