月度归档 2025年8月11日

　　[Information] In 2011, a brand-new V 12 was released. Recently, the editor learned from the general agent in China, pagani that this super sports car was launched in Hong Kong, China some time ago, while ChinaThe mainland launch date is expected to be April 2012.. Referring to the foreign pre-tax price of 900,000 euros,After entering Chinese mainland, the price of this super run will start at 23 million yuan.. Domestic users are currently booking and will mention the existing car in one and a half years.

"2011 model"PaganiHuayra』

　　Pagani Huayra has two configuration models: the normal version and the sports version.Judging from the latest configuration table, many technical parameters of the ordinary version are not the same as those circulated in the previous network. Both Huayra power models are equipped with M158 series 6.0LV12 customized by Mercedes -AMG. This engine is also used in Mercedes-Benz SL65 Black Series, but it is different from the self-use version of Mercedes-Benz.

　　The sports version of Huayra can output a maximum of 700 horsepower and a maximum of 1100 Nm (above). The ordinary Huayra will have a maximum power of over 650 HP and a maximum torque of 820 Nm.The top speed of the ordinary version can reach 335KM/H, and the top speed of the sports version can reach 370 km/h.The acceleration from 0 to 100 km/h is 3.2 seconds. 　　

　　The two versions of the car are matched with a 7-speed sequential gearbox provided by XTRAC in the UK. This racing gearbox that has been applied in R has been re-matched for Huayra, paying more attention to the balance between comfort and track performance. The front wheel size of the tire is 255/35RZ19, while the rear wheel size is 335/30RZ20, and the maximum curve G value it can bear is 1.5G.

　　Like Zonda in pagani, Huayra’s name is still associated with the wind. The name "Huayra" is derived from the name of Fengshen circulating in the Andes, which will replace Zonda as the main vehicle of pagani. Huayra means "Fengshen" in Spanish, which also continues the naming style of Zonda (son of the wind). It is understood that this change in Huayra, pagani is mainly for the consumer demand in the United States and China.

　　The body size of Huayra in pagani is 4605mm×2036mm×1169mm and 2795mm, and the dynamic layout is adopted, and the weight distribution of front and rear axles is 44: 56. From the appearance, Huayra continues Zonda’s design style, with a wedge-shaped nose and a drop-shaped glass carriage on the front face. The whole vehicle has a streamlined design, and the door has also introduced a brand-new design. Huayra is made of a large number of carbon fiber materials, which makes its total weight only 1350 kg.

　　For the interior, Huayra uses different colors of leather, aluminum and carbon fiber materials to arrange the interior space, and the high-definition touch screen multimedia system in the center of the center console can complete some functions such as navigation, sound, Bluetooth phone and so on. Compared with Zonda, Huayra has a larger internal space, which increases the ride comfort.

　　In addition, it is reported that pagani is considering developing a brand-new entry-level vehicle with lower displacement and lower price. We will pay more attention to and report the news about pagani and Huayra. (Text/car home Zhang Ran)

■ Read more:

Appreciation of more pictures in Huayra, pagani
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V12 supercar PaganiHuayraGeneva motor show debut
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Chinese Poetry Conference

The Chinese Poetry Conference, which just ended during the Qingming holiday, has attracted the attention of many friends.

Watching players from all walks of life answer questions, listening to teachers’ poems and allusions, and the exciting "flying flower order" have made many viewers not only raise their posture, but also summon their inner "poetic feelings" and begin to pay attention to classical poetry.

Art is often interlinked. Poetry is written, but it can also be music, painting or images.

Perhaps it is the lonely fishing in the empty silence of "a little boat, a bamboo cloak, an old man fishing in the cold river-snow", perhaps it is the hard persuasion under the euphemistic tone of "flowers can be folded straight, so don’t wait for no flowers to be folded", or perhaps it is "clouds want clothes and flowers to make them look beautiful, and spring breeze blows the sill to show exuberance" that Li Bai praised Yang Guifei in a half-drunk and half-awake state.

The implication and gracefulness of "poetry" or "the shadow carries feelings" in the film, or a reproduction of China’s classical picture scroll-like charm scene, or a logical narrative of poetry, which is vague, hazy and has a unique charm.

A poetic screen picture

"There are paintings in poetry and poems in paintings" is a realm of poetry. Poetic movies are the natural fusion of poetry and pictures.

Mr. Zong Baihua mentioned in Aesthetic Walking that "the positive function of the form of beauty is organization, assembly and configuration, in a word, composition. So that the solitude of the scene can be woven into a realm of internal self-sufficiency, and there is no need to stay outside and become a small universe with full meaning, which reveals the deeper truth of the universe life. "

Based on the composition of China’s paintings as an aesthetic foundation, we can see that in the poetic films, the long scrolls of images that are shaken and unfolded by the long lens dissolve the subjective cutting of montage, which makes the films have a vivid and distant artistic conception.

Just like the bamboo sea in Crouching Tiger, Hidden Dragon, it is different from Hu Jinquan’s backbone and Tsui Hark’s romance. What Ang Lee brings us is a poetic interpretation of oriental aesthetics.

In the dense and rich bamboo forest, the camera moves with the figure of two elegant chivalrous men. Sometimes it’s their feet that step on the tender bamboo branches and display their posture at will, and sometimes it’s their swords that are in a calm position when they fly, and sometimes the shadow of bamboo leaves and long hair with the wind float on the hero’s close-up face, as if they are perfectly integrated with this huge bamboo forest, which is natural and unrestrained and free.

We got great audio-visual pleasure in the process of enjoying Crouching Tiger, Hidden Dragon, and at the same time we seem to be able to touch the true texture of oriental culture.

The use of the long lens recorded the real Yellow Land, Yellow Land and Yellow River, which appeared on the screen with a strong posture and acted as the protagonist of the narrative. And the shaping of their plump images is accomplished by panoramic lens.

Under this kind of lens, the image of the yellow land is desolate and heavy, the sky only occupies a small proportion, and the characters appear in a smaller posture. What people see from this static state is an ancient tradition of a nation, and it is also an unchangeable strength and solemnity.

This solidified visual feeling has become the lens language of the logo of Yellow Land. What the audience feels is a breath, an atmosphere, a concern and examination of ancient land and ancient culture.

At that time, Xiaogang Feng, who studied fine arts, wanted to restore the aristocratic style of ancient China with a classical attitude. He believes that "the real aristocratic style is not the kind of luxury, but rather restrained and restrained, because the nobility is not unassuming", so there is the "Night Banquet".

The fifth-generation directors seem to like to speak with colors, such as red in The Red Lantern Hanging High, white in The Promise, yellow in The Golden Flower in The City, and colorful in The Legend of the Demon Cat. Xiaogang Feng is no exception, "The Banquet" can be described as a great effort in audio and video.

The main color of the film is black, which also implies that the tone of the main theme of the film is as turbulent as the dark tide.

At the same time, the film is mixed with white, dark red and black contrast. It depresses the atmosphere of the whole film and reflects the melancholy of the characters.

Each character also has a different color theme. Zhang Ziyi’s red is power and desire, Ge You’s black is authority and loneliness, and Zhou Xun’s green is like a clear water, conveying her persistence in love.

The decoration in the film is also very humane and elegant, and the scene of Zhou Xun’s dancing is very smart by using traditional ink painting.

Poetic and warm humanistic romance

The fourth generation directors in China are called "poetic realism" generation. They focus on writing the beautiful feelings of all ordinary people with simple relationships and subtle and graceful film styles.

Moreover, their films are like prose poems, giving people a sense of eloquence.

Just like "Old Things in the South of the City" directed by Wu Yigong, several pieces of scattered past events make up a reminiscence of lost childhood. Whether it is the quaint city walls or narrow hutongs, the cicada singing in the afternoon or the peddler’s hawking, it shows the beautiful childhood in Eiko’s memory in the dull, detailed and unforgettable trivial life.

Not only the fourth-generation directors, but also other films full of humanistic poetry, mostly express all sentient beings from a small perspective and paint the reality with poetic meaning.

Just like in My Father and Mother, Zhao Di, an 18-year-old, fell in love with the teacher at first sight. Every time Zhao Di went near to fetch water, she just wanted to see him more. After school, she always watched him on the hill and looked forward to cooking for him. Finally, their relationship seemed to break through the window paper, but he was taken away. Her bowl full of jiaozi broke on the chasing mountain road.

The simple story, Zhang Yimou also conveyed to the audience in a plain way.

Another example is the narrative clue of Spring in a Small Town, which is completely dominated by the mood and the emotional ups and downs of the heroine Zhou Yuwen.

For example, in Warm, the reality and the past intersect, and the narrative originates from Jinghe’s memory and the director’s expression of the work.

You don’t have to follow the mode of drama story, but take emotion as the leading factor. With the narrative needs of the director, you can tell the beautiful fables of ancient China by prose poetry.

Vague and vague poetic narrative

Soviet director andrei tarkovsky said: "The reasoning process of poetry is closer to the development law of thought and life itself than traditional drama." What he is talking about is the way of thinking of poetry. Traditional drama reasoning is going to be stable and solidified, while poetry is just the opposite.

In movies, it is to break the habitual structure of signifier and signified of language symbols and image symbols, as well as the continuous and holistic space-time structure. "Beyond the limitations of coherent logic, it conveys the high complexity and truth of the deep phenomenon and intangible connection of life."

Professor Yang Li of Peking University said: "Bi Gan pulled China’s film from Italian neo-realism to French film Last Year in Marion Bade." It refers to the breakthrough made by director Bi Gan in China’s film space and time consciousness.

In "Picnic by the Road", the past is recalled by the present as the fulcrum, and there is no pure present, only the ups and downs different from the past time.

At the beginning of the film, Bobby Chen, the hero, went to Xiao Weiwei. At the moment when he was about to close the door, the scene of him and his ex-wife in the ballroom appeared in the depths of the room that used to be his wedding room. After Bobby Chen decided to go to Zhenyuan to find Xiao Weiwei and the old doctor’s lover, Bobby Chen was released from prison. He missed his ex-wife in the pump mine pool and Bobby Chen’s conversation with his brother on his way home. After that, it is "now".

That famous long shot is a Tarkovsky-style "time synthesis" paragraph — — Every moment is the coexistence of past, present and future. In those more than forty minutes, Bobby Chen met his wife in the past and Wei Wei in the future. This documentary physical feature film contains Bi Gan’s creation and fiction of time.

As the protagonist Bobby Chen said when he left Zhenyuan, "It’s like a dream."

In the Mood for Love, on the other hand, is a narrative text with a "double structure" and is considered as an "anti-narrative" film.

The film tells the story of two victims of extramarital love. In his text, narration is only a verbal action, and it is no longer a simple representation of history and reality. The ingenious narrative of the film lies in the fact that the stories of four people are only interpreted by two people, and their respective partners are hidden and absent.

This highly simplified "double-layer structure" actually expands the plot capacity and enhances the tension of the emotional conflict of the people in the play, which is embodied in three unique "plays in the play", and these three plays just constitute the narrative structure of traditional films on extramarital affairs.

The film omits some transitional plots as much as possible, and only uses these three "plays in the play" to perfectly show an extramarital love story. This simplification of the plot makes the effect of "blank space" appear again, leaving the audience with unlimited imagination.

There is also a long shot in the Yangtze River Map, which is also the creation and fiction of time under real physical conditions.

In the film, the hero falls in love with a girl who is in the "reverse current" with him while sailing against the current. In the physical journey against the current, there are two parallel but opposite time tracks: in the same space, there are two times, namely, the man’s present and the woman’s "past present".

They have different time and space, but they have a common memory, which is about last year’s meeting and agreement.

Excellent film works come not only from skillful film skills, but also from the inner poetry of the creators. Because a poetic filmmaker is a poet who records his life with light and shadow. But no matter who you are and where you are, you can be at home in the distance if you have poetry in your heart.

Then tonight, let the movie read poems for you.

　　Author: Wang Baohui

　　Recently, the topic of young people’s reluctance to use credit cards has been hotly searched. Credit card business has always been an important position of bank retail finance, which plays an important role in stimulating consumption willingness, releasing consumption potential and promoting consumption upgrading. Is it that credit cards are "cold" after entering winter?

　　Xu Zewei, Party Secretary and President of Beijing Internet Finance Industry Association, said that the attractiveness of credit cards has weakened, which is mainly affected by factors such as the progress of Internet technology and changes in the market environment. With the rapid development of mobile payment, many young people are no longer used to carrying cash and physical bank cards with them.

　　Although credit cards have the advantages of paying in advance and paying later, with the development of financial technology, many Internet platform apps have also launched some services similar to credit card functions, which has a certain impact on the credit card market. In addition, online consumption scenarios are increasing, and the substitution effect of mobile payment tools on credit cards is obvious. In addition, mobile payment tools have no annual fees, management fees and other expenses, and they are flexible and convenient to use, which is very popular among young users.

　　In addition to the change in payment methods, the "coldness" of credit cards also means that some young users’ consumption concepts are changing. Statistics show that today, 35% of young people do not use credit consumption, and most of the credit consumption accounts for less than 20% of their income. More and more young people are trying to bid farewell to "ahead of consumption" by closing consumer credit.

　　In addition, problems such as declining service quality and opaque rates are common reasons for credit card complaints. For example, some credit card products do not fully disclose the relevant fees when they are promoted, or there are unclear charging items in the bills, which affects the experience of young customers and reduces the user’s stickiness.

　　In fact, the "cold weather" of credit cards does not mean that the credit card track is unpopular. Chen Xu, a senior analyst at Tianyancha Data Research Institute, said that credit cards have obvious advantages in terms of credit limit and installment payment. Cardholders can not only enjoy the preferential treatment of special merchants, but also effectively accumulate personal credit, which is convenient for handling businesses such as credit loans.

　　The data shows that the cumulative number of credit cards issued in China increased from 432 million in 2015 to 786 million at the end of the second quarter of 2023, and the total credit amount increased from 7.08 trillion yuan in 2015 to 22.31 trillion yuan at the end of the second quarter of 2023. The credit card business has deeply penetrated into people’s modern consumption life.

　　With the growth rate of credit card issuance and transaction volume of various banks generally slowing down, more and more credit card businesses have also turned to the development model of "reducing costs and increasing efficiency". Previously, a number of banks announced that they would adjust the rights and interests of some of their credit cards from 2024. In particular, many commercial banks continued to exert their efforts in increasing fees and benefits and improving the rights and interests of using cards.

　　While the credit card is "cold", it is also forcing commercial banks to carry out the reform of stock credit card business and reasonably balance the relationship between retaining customers and expanding customers. Du Yang, a researcher at China Bank Research Institute, said that under the background of stricter supervision, the credit card business needs to move from the extensive development stage of "staking the land" to the professional, fine and high-quality development stage. On the whole, on the one hand, banks should pay attention to digital construction, risk management and brand building, constantly expand market share and develop more potential users; On the other hand, it is necessary to strengthen credit card compliance management, protect the legitimate rights and interests of financial consumers, and enhance brand influence and customer stickiness.

　　"Credit card business is a relatively mature consumer finance model, which can provide cardholders with reliable and convenient consumer financial services, meet the diverse consumer needs of residents, and then consolidate the basic role of consumption in economic recovery." Du Yang said that China’s commercial banks continue to strengthen the transformation and upgrading in product systems, service capabilities and risk management, and promote the rapid development of credit card business to meet the diverse consumer needs of users. (Wang Baohui)

　　In June, in Shayuan, western Liaoning, mulberry trees more than one meter high spread out green leaves and scattered small flowers spit out their pistils; The wind in early summer blew Chinese pine green all over, and the buds of pine flowers gave off a little fragrance.

　　This is the southern edge of Horqin Sandy Land where liu village, Sihe Town, Zhangwu County, Fuxin City, Liaoning Province. 74-year-old Hou Gui is standing in his own forest. There is a shade at the height, green grass at the foot, and the sand in the sand is firmly covered.

　　At 9 o’clock in the morning, Hou Gui has completed more than three hours of mountain patrol every day, and the next job is watering. In April this year, Hou Guixin planted 20,000 seedlings. Now is the critical period for Chinese pine to stabilize seedlings, and only by pouring water can they take root.

　　It is not easy to water the saplings on the mountain. To carry more than a dozen buckets more than one meter high and 50 meters long connecting pipes, Hou Gui’s tool is a small four-wheeled tram. There is no smooth road on the mountain. If you are not careful, the car will sink into the sand. Finally arrived at the destination, more than 300 meters of water pipes were divided into eight sections, and Hou Gui connected the connecting pipes section by section. Screw three or five thick iron wires on each interface to fix it. Only then can he walk for ten minutes and open the gate by the well.

　　A day is only 24 hours, and this trip will take four or five hours. Compared with more than 20 years, four or five hours is nothing. It is the 24th year since Hou Gui cut and cultivated the first poplar seedling. Twenty-four years ago, Hou Gui and his fellow villagers laughed at themselves for living in "Fengkou" and "Shawozi", and there was a wind every year, blowing from spring to winter.

　　"Our area is deeply affected by sandstorms. The wind brings all the sand to our yard and crops. The output of farming can’t go up. Sometimes the roads in villages are blocked by sand, and some gardens have been scraped into sand, so they have to be pulled out by car and sent far away. " Hou Gui remembers it clearly.

　　In 1951, a nursery settled in Zhanggutai, west of Sihe Town, and Hou Gui was born in that year. At that time, the desertification area of Zhangwu had reached 96%. The story of the first generation of sand control people, Hou Gui heard from childhood.

　　Sometimes, a row of trees can grow into a forest; Sometimes, the barren hills turn green easily and are covered with yellow sand a little bit. In 1983, Hou Gui became a tree planter for the first time: "There was a news in the newspaper that if farmers planted trees in wasteland and barren hills, the forest land would be free of charge and allowed to be inherited by future generations. At first glance, this is a good thing. " Hou Gui understands that the policy is to mobilize everyone to plant trees on their own borders and improve the living environment and production conditions.

　　He went into battle with a spade. How powerful can a person be in front of the yellow sand? That year, Hou Gui planted 71 acres of trees by himself — — This woodland, which he has used to this day.

　　After more than ten years, Hou Gui was busy farming and worked as a village cadre. The planted trees plunged into the soil and grew into his heart. By 2001, the tree in my heart met with spring rain.

　　"The party’s policy is consistent," Hou Gui said. This time, in order to control the sandy land as soon as possible, social forces can also participate in afforestation. Hou Gui went up the mountain conveniently. At the age of 50, he took out all his savings and contracted the Sihecheng Forest Farm.

　　Hou Gui contracted more than 2,000 mu of land to plant trees at once, and everyone thought that he was going to make a fortune. Hou Gui wants to make money? Of course I want to. But he soon found that planting trees not only didn’t make money, but also had to pay money. At that time, poplar seedlings cost more than 10 cents a tree, and Hou Gui could not afford it, so he had to raise them in the field himself. He carried a sickle all over the hills near the village, looking for new branches on young poplars and "sticking" them everywhere. This is how the seedlings are bred.

　　From branch selection and seedling raising to cutting, in a few days, the seedlings were "swallowed" by the sand, and sometimes it took three or four times to plant a seedling to take root. In the first year, Hou Gui planted 300 acres of poplars. The villagers laughed at Hou Gui, and his wife Li Shuyuan was angry: "I said what’s the use of planting that tree?" Next to scold, brown talks. He said that our country’s call for afforestation is sand fixation, and others can think about it if they like, but what should we do or do? "

　　Saying "I can’t make money" is still light. Hou Gui said that afforestation not only cost him more than 500,000 yuan in savings, but also brought him "debts". His house is the worst in the neighborhood. In summer, it needs plastic sheets to keep out the rain, and in winter, it needs to burn more fires and paste an extra layer of windows to keep warm. Hou Gui half jokingly, "I don’t want to live in a good room? Do you have to live in a broken house? " He not only told his family, but also told the villagers that he would build the best house as soon as the forest at hand was finished.

　　Planting trees to control desertification is more difficult than expected. In the first two years, he overcame the difficulty of "planting", and Hou Gui had a headache for "managing". The trees are growing and the grass is dense. Cattle and shepherds all want to come to Hougui to graze in this forest. At first, I heard that "my cattle and sheep don’t eat trees, but only eat grass", and Hou Gui was not easy to stop. Seeing that the cattle and sheep ate the saplings, Hou Gui was anxious. At last, he and his wife nailed wooden poles to build a fence, and with two hands, they nailed a 7-kilometer protective net.

　　"Grazing up early, and greedy. If you don’t want to go because of the heavy rain, one or two hundred cows will come in and eat all the thick poplar trees. Niu Guan sees that you are coming, and he is rushing out. If you’re not watching, just leave it there, eat and go. If we don’t hurry in time, the loss will be great. " Hou GUI said.

　　For more than 20 years, covering an area of 2,400 mu, Hou Gui planted more than 260,000 trees, of which 200,000 survived. For him, every tree is a painstaking effort.

　　In the tenth year of planting trees, Hou Gui began to think about what kind of tree is a better sand-fixing tree because of poplar diseases.

　　"I designed a plan for the transformation of forest land. Each tree species is planted in ten rows to form a forest belt, with Acer truncatum as the interval in the middle, so that it will be more spectacular after forming in the future. The tree species used are all long-lived tree species with strong drought resistance, which are suitable for growing in our region and creating a fine project with wind-proof and sand-fixing ability for more than 100 years. "

　　— — This is the answer that a farmer in China fumbled with his hands.

　　A shovel, a drive, a belief, and a tough battle. Hou Gui never thought about the past twenty years. He looked forward: "I will not be 84 years old in 10 years, but I will not go down the mountain. I can’t do it. I am also here. This is where I really want to support the elderly. " He even thought that a hundred years later, "I will go empty-handed, and the tree is still growing here."

　　In the June wind, the white wind car rotates slowly, bringing clean energy.

　　This is the hometown where 74-year-old Hou Gui never says "love". It is still windy in Zhangwu, but the sand has stopped.

Producer Gao Yan

　　Planning Shen Jingwen Zhang Chengxia Feng Huiling

　　Coordinating Du Ximeng

　　Reporter Yan Jiang Jiyuan Chao Xiangrong

　　Video director Sun Huan

　　Video shooting, Zhu Chenghui

　　Video editing, Zhou Bin

　　Video packaging Wang Haihan Liu Pufei

　　New Media Editor Lian Jinliang