Cheng Xiaoyu participated in the Japanese premiere of "Five Centimeters per Second" in Tokyo, and the "Idol Project" also did an offline signing meeting for a new mini album "God" in China, this time the three new songs did not participate in the charts, but only fans who bought the album could have a sneak peek, but GG Music Network, Zhili Music Network and the newly rising different network music are all in contact with "Shanghe", hoping to buy the right to play, preferably the exclusive broadcast right, MV exclusive broadcast right, behind which stands the largest online shopping website in China "Yunli Group" The price of cross-network music has reached 130 million. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

If "Shanghe" is still willing to package and sell exclusive download rights, the condition for the CEO of the different network to "Shanghe" is that the price is arbitrary, and as the battle for players comes to an end, major websites are taking the lead in laying out music websites and music apps, because most of the online music copyrights of "Shanghe" have long been sold, so Cheng Xiaoyu does not plan to compete with others in this regard, and it is also a good choice to become a content producer.

With the change of players, as well as the change of music dissemination, in the next few years, Huaxia Record Company will enter the era of big waves and sands, if it can't keep up with the pace of the times, it will definitely be eliminated, and Cheng Xiaoyu is also writing a detailed "Shanghe Reform Plan", planning to reform the existing system of "Shanghe" after the "67th Anniversary of the Anti-Fascist War", so that "Shanghe" can truly become a star-making factory.

With the painting of "Five Centimeters per Second" in Japan, the controversy over this animated film on the Internet has become more and more intense, Cheng Xiaoyu has tried his best to do a good job of localization, but he didn't expect it to cause so much criticism, fortunately, the Japanese version is the original work in full respect and memory, there is no change at all, he thinks he should be able to save a little reputation, as for making money, he is no longer extravagant, as long as he preserves his capital.

The Japanese release was made with the help of Yoshito Kitagawa, he had read the Japanese version very early, and Cheng Xiaoyu's understanding of Japan surprised Kitagawa, especially the Chinese view of love and the Japanese view of love are actually very different.

In China, the love of more than ten years is called early love, which is something that parents and teachers must strictly guard against and try to prevent, while in Japan, it is called "first love", such a simple and purposeless "like", which is a wonderful experience in the growth of life, perhaps only once, and it is the only way to enrich the soul and emotions. Japanese parents don't make a fuss about this, and they are even happy with their children's innocent love.

According to media surveys, more than 80% of Japanese people, first love is fruitless, so this movie reflects the real life of the vast majority of Japanese people, especially the shooting of pure love movies in Japan, which is always associated with illness and death.

Judging from the history of pure love movies, sad and poignant love has always been admired in Japan, and it was not until the late 90s that it entered a positive attitude towards love, but young love and first love are still inseparable themes.

And "Five Centimeters per Second" is a microcosm of the young generation's view of love in the 80s and 90s from a new perspective, that is, the so-called confused generation at that time. Although it has not escaped the passive state of unrequited love, it also interprets the relationship between love and life from a fresh perspective.

This reflects the persistence of this generation of Japanese people in love.

This is also the reason why this "Five Centimeters per Second" can be successfully released in Japan, because after the viewing party, many young testers and schedulers left tears of excitement after watching it, thinking that this is a very worthy animation to be introduced to Japan, and "Five Centimeters per Second" is also the first Chinese animation to land in Japan, no matter what the final box office is, Cheng Xiaoyu has actually made history.

However, there are still not many Japanese cinemas that play "Five Centimeters per Second", only more than 60 small cinemas opened on the first day, and the main promotion of the poster is: "My Sassy Girlfriend" supervises Cheng Xiaoyu's latest work, the first Chinese cartoon to land in Japan.

And on this day, Su Yuxi, who rarely whispers outside of work, posted a long "whisper" for the first time - "Withered Memory"

"Five Centimeters per Second" is a very personal work of Cheng Xiaoyu, and this personal color has been so strong that I guess this is a semi-autobiographical work.

This is an extremely realistic work depicted by Cheng Xiaoyu, although it has mixed reputations, it has no slanderous value.

Generally speaking, the audience's dissatisfaction with this work focuses on the inconsequential parts such as the background and characters, and the overly hasty third sentence. If you are not satisfied with the background and characters, you can go to the Japanese version, the Japanese version is rigorous, and it will definitely exceed your imagination.

But the roots of this dissatisfaction extend beyond the story itself. It seems to me that the skepticism of "5 Centimeters per Second" reveals the limits of all that is good. Whether such a beautiful painting style can carry such a realistic and cruel story is probably the real reason for the controversy surrounding "5 Centimeters per Second".

In an animated work, what connects the style of painting and the plot is its narrative mode. The narrative mode of "Five Centimeters per Second" is attached to time. Therefore, in my opinion, the beauty and cruelty of this work should be attributed to the characteristics of time and space. Defining "5 Centimeters per Second" as a work of time and space may also cause criticism, after all, it describes a thirteen-year-old train and a sixteen-year-old wave, but it recounts the various transformations of the male protagonist as an adult in a few strokes.

If you look at the length of the three parts and the length of time in the story they carry, you can see that this distribution is extremely uneven. However, physical measurement is not the only measure of time. More precisely, time in life is not "homogeneous" like the scientific measurement of time, but is unrepeatable and inequivalent.

The first part, the thoughts and vows of childhood, have not cooled because of distance, but have gradually dimmed with the passage of time and growth. The so-called "sadness accumulates little by little in all corners of the room" is about what it feels like - something is slowly eroding your life, but you can't see it, you can't hold it.

Time and space, which one is more terrifying?

Anyone who has experienced a long-distance relationship will think about this question. What separates us is space, but space can be crossed in time. Flying from city to city, from country to country, from one point of the earth to another – with a little time and money, it's not that difficult.

The film touches on this – what I call it "the sense of time and space for all ages" – and the distance between a child traveling alone from Kotokuji Temple (in Tokyo) to Iwafune (in Tochigi Prefecture, northeast of Tokyo) feels incredibly far away...... In fact, if you drive normally, including the transfer time, it will only take about 2 hours and 40 minutes to drive (the boy's plan in the movie is two hours and fifty-nine minutes). In the end, this strange journey, made incredibly long by heavy snow and eager longing, this anxious waiting and the joy of meeting each other in the final winter night, constitute the warmest scene in the film - albeit in winter.

So pay attention, in the first word, what Cheng Xiaoyu wants to tell us is - "The distance has become very long because of love, and it has become very short because of love." ”

The second episode "Astronaut". The structure of the story is also not worth saying - she loves him, but he doesn't know, she thinks he loves another her, but in fact he doesn't know what he loves and wants to ....... But it's worth noting that there is a line about the spaceship that appears in the middle - "It was really an unimaginably lonely journey - in the real darkness, all the way forward, even a hydrogen atom is rarely encountered...... It's just bent on approaching the secrets buried in the depths of space. Where are we going, and where are we going?"

This passage is the most profound interpretation of the people who "fight alone", full of confusion and lack of confidence in the unknown.

The actor said, "I'm just doing what I can", but in my heart, I'm still not sure what awaits me in the direction I am running.

In the third stanza, the final chapter "Five Centimeters per Second" is only a few minutes shorter. If you exclude flashbacks and songs, it can almost be regarded as a sketch of the adult life of the protagonists.

The boy returned to Tokyo, had an ordinary love, and became an ordinary programmer. Shinjuku Station, which I thought was far away when I was a child, has become more and more common, and I don't feel any new .......

She almost forgot about herself back then, and when she had a marriage partner, she could only smile at the immature love letters when she was rummaging through old things. The text message sent by the ex-girlfriend seems to be a portrayal of this city and the times: "We have sent 1,000 text messages, but the distance between our hearts is probably only 1 centimeter ......"

According to Bergson, time and life belong to an immeasurable continuity. What's more, the screening of memory has infinitely expanded the heterogeneity of time. In the relativity theory of memory, the cherished moments seem long because the details are vivid, and they are brought closer to eternity by repeated repetitions.

And those boring, tedious, mechanically repetitive time, even if it is long, is difficult to stay in the discerning place of memory.

In Cheng Xiaoyu's story, the narrative mode follows this principle of recollection. Flower petals, lost birds, and snow, all kinds of detailed close-ups, like a kind of Proustian submersion, trying to save some traces of life in the withered youth. However, the name "Janus" does not only have one face. While it provides dream-like memories, it also lays the seeds for the disillusionment of dreams and memories. After all, the cruelty of the plot of "Five Centimeters per Second" is also a product of time.

"There is a huge life and a long time in front of us. This line is to "Five Centimeters per Second" what "tobeornottobe" (destruction or death) is to "Hamlet", with a sharpness and straightforwardness that can sum up the hidden contradictions of the whole work.

Think about it. Instead, one's own life becomes an obstacle to one's life, and time itself makes life in time unbearable. This is the alienation of life itself. As the eye-popping montage in the third part describes, at first it is only the distance that separates the hero and heroine, but it is time that really separates them.

Empty mailboxes and text messages that never sent are evidence of time. Accompanied by the almost desperate lyrics of "OnemoreTime, OnemoreChance", a series of lonely images are connected into a lonely life.

Except for the youthful kiss, they never appeared in the picture at the same time. They look for each other in a scene where there is only one person, but all they find is disillusionment. Such a narrative is like two speeding trains that meet somewhere and then pass by.

This is an analogy with a more modern rhythm than André Moloya's dome metaphor. The petals of the cherry blossoms forced into the window lattice are unique beings that transcend time, and they bring the hero and heroine to the streets and memories. They were almost going to meet again at the railroad crossing. However, a glimpse of looking back after many years was ruthlessly blocked by the passing train.

Here, the train is allegorized, a symbol and metaphor that can be picked up at random, and its reference connects the alienated life and time—the train through which the male protagonist and the female protagonist met at the beginning are now separated by two people. The allegorical symbol of the train is thus as ironic and cruel as life and time. And in this regard, we have no choice but to accept and laugh.

The above is just my finger on the tube of "5 Centimeters per Second". However, for this work, perhaps a peep is enough. Because "Five Centimeters per Second" itself is the product of placing the tube vertebrae of personal perspective in the vast time, and thus shows the two-way degree of life. Our life contains the denial and destruction of ourselves.

Life is building something, and at the same time it is necessarily destroying something. This life process is so blind that what is destroyed is more precious than what is created.

5 centimeters per second does not seem to be very fast, it can even be said to be very slow.

The speed of walking is faster than it.

But what if this rate is maintained for 13 years?

This formula can be calculated.

5cm/s * 13 years * 365 days * 24 hours * 60 minutes * 60 seconds = km.

Kilometer. This distance is exactly the distance of half a circle around the Earth, that is, the distance between the South and North Poles.

This must not be a coincidence.

I am willing to turn such tragedies into withering. It may be that the prosperity will be dispersed to bear fruit, but who is willing to bear such a cruel price?

It's just the fruit of the flower of hope that withered, why is it called "despair"?

Nothing in the world can last forever. If it flows, it will pass quietly, and if it grows, it will slowly wither.

Only memories will never wither, but people can't live in memories forever, they will eventually return to reality, reality is cruel, and time will force you to face, compromise, and then force yourself to deliberately forget.........

The last time Kiki and Akari met at the fork in the road was exactly 13 years.

Two hearts that were once dissolved, after 13 years, have reached the farthest distance on earth from each other.

. (To be continued.) )