标签： 杭州夜生活

Cctv newsOn January 9, official website, the housing fund management center of the central state organs, issued a notice to adjust the monthly deposit of housing provident fund in the fiscal year of 2023. The notice is as follows:

First, the housing provident fund deposit base

All units are requested to follow the Provisions of the National Bureau of Statistics on the Composition of Total Wages (Order No.1 of the National Bureau of Statistics), the Notice on Conscientiously Implementing the Provisions on the Composition of Total Wages (No.1 of Control Word [1990]) and the Notice on the Deposit of Housing Provident Fund for Central and State Organs in Beijing (No.80 of State Administration of Housing Reform [2009]) issued by the State Council Municipal Administration of Organs and directly under the authority Administration of the Central Committee of the Communist Party of China.

The upper limit of the monthly deposit base of housing provident fund in fiscal year 2023 is 31,884 yuan; The minimum monthly deposit base is 2320 yuan.

Second, the proportion of housing provident fund deposit

In the fiscal year of 2023, the proportion of housing provident fund deposit is 5%-12%, and units can choose independently.

Third, the job requirements

(a) timely convey the layout. All departments are requested to attach great importance to it, timely convey the relevant work to their subordinate units, and do a good job in organizing and implementing it, so as to ensure that the units and employees within the scope of centralized management should be built and paid, and earnestly safeguard the rights and interests of employees’ housing provident fund.

(2) Advocating online handling. Units can handle the annual adjustment of the monthly deposit amount through the housing provident fund business information system platform. If it is really necessary to go to the business handling network, you can make an appointment in advance and handle the peak shift.

(3) Improve basic information. The fund center will carry out credit management of housing provident fund, and whether the basic information of units and employees is accurate will affect the credit evaluation. All departments are requested to accurately fill in the important information such as the nature of the unit, the level of the unit, the mailing address, the contact information of the manager, and the employee identity information. If the basic information changes, it should be updated in time.

(4) ensure that it is completed on time. Units that take the fiscal budget year as the deposit cycle shall, after completing the normal remittance in December, carry out the annual adjustment of the monthly deposit amount and complete it before January 31, 2023. In case of problems, please give feedback to the fund center in time.

"A person’s identity may be in another country,

But her heart belongs to the motherland."

Global person News: Recently, the first Asian head portrait appeared on the new version of American currency. A Chinese Hollywood actress has once again appeared in the public eye, and she is Huang Liushuang.

·The newly issued quarter coin in the United States is engraved with Huang Liushuang’s iconic bangs and big eyes.

Huang Liushuang was the first Chinese to stay in walk of fame, and also the most concerned Hollywood actress of that era. The classic images of Qi Liuhai, doll head and big eyes made her create a classic oriental beauty image in front of the world, and also trapped her in the stereotype of Chinese in the western world.

During her decades of screen career, she kept fighting against racial discrimination and stereotypes, but failed again and again. After coming to China, she deepened the identity of Chinese children and began to spare no effort to help China’s anti-Japanese cause.

discriminate

The world in the spotlight is always disturbed, and there is controversy where there is praise.

Huang Liushuang accompanied these two voices through his life. Some people say that born in that era, she seems to have no choice.

·Anna May Wong

In 1882, the United States promulgated the Chinese Exclusion Act. This is the first immigration law for a specific ethnic group passed by the United States, aiming at preventing workers in the United States from becoming naturalized.

The passage of this bill has completely stimulated Americans’ curiosity about Chinese.

After entering the 20th century, the most popular Chinese character in American society is Fu Manchu. He has long, slender eyes, two moustaches, suggesting scheming, wearing Qing dynasty clothes and even braids, and studying how to harm westerners all day.

At that time, the Chinese characters in western movies were generally like this. Huang Liushuang’s screen career began in that era.

In 1905, Huang Liushuang was born in Huajie Street, Chinatown, and her grandfather was one of the first Chinese workers to go to the United States for gold. She studied in public schools and Presbyterian schools. No matter where she is, there is always racial discrimination around her. Students sitting in the back seat often prick her with needles, trying to see if "Chinese" feels "painful".

At that time, Chinatown was the location of many movies. Huang Liushuang often watched the excitement on the set after school, and some staff members noticed this exquisite oriental face. In 1919, the movie "Red Lantern" needed a walk-on, and 14-year-old Huang Liushuang first appeared on the movie screen. Since then, she has appeared as "chinese baby" in many Hollywood movies.

Two years later, she got her first serious role in Hollywood-playing the wife of the popular actor Lang Cheney in the movie Life.

·Stills of the movie "Life".

Soon, the appearance of Huang Liushuang chinese baby on the screen helped her become the darling of various media, but it also attracted the abuse of racists. An American film critic wrote an article about Huang Liushuang, entitled "The Yellow Disaster! China’s Invasion of the Screen, the article made a mean "group attack" on Huang Liushuang and the Chinese community, and the language was vulgar and unsightly.

Since then, although Huang Liushuang has been seeing many films, her roles are basically the same-she is attached to white people or an Asian woman with miserable fate.

In 1922, she played the role of lotus in the movie "Gone at Sea". At the end of the movie, Lotus faced the white husband who abandoned his wife and children and chose to throw himself into the river. In 1924, she played a Mongolian slave girl in the film The Thief of Baghdad: naked back, legs wrapped with poisonous snakes, flaming red lips and various eyes … Americans made this picture into a movie poster and spread it all over the United States.

·Stills of the movie "Baghdad Thief".

The Burglar in Baghdad was a great success, and Huang Liushuang became a household name. However, since then, almost all the roles she can receive in Hollywood are sexy, weak, abused prostitutes and vases.

Even the film pay has become the carrier of racial discrimination-in the movie "Shanghai Express", the film pay of the white actress marlene dietrich is 18 times higher than that of the long-established Huang Liushuang.

Huang Liushuang in western movies has just changed from a charming and lovely oriental doll to a charming and dripping oriental doll.

fight against

After becoming famous, Huang Liushuang is a special celebrity. She must carry her identification with her at all times when she goes out, in order to cope with the interrogation by the American police anytime and anywhere.

In 1933, Huang Liushuang was interviewed by the Los Angeles Times and denounced the stereotype of Chinese in Hollywood movies: "Why does Chinese always look like a clown on the screen? But also a cruel clown, murder, betrayal, sinister! We are not like that! Our history of civilization is many times longer than that of the west. How can we be like that? "

In order to escape the racist restrictions in Hollywood, Huang Liushuang traveled to Europe in the late 1920s.

In Europe, she showed amazing language talent. In just a few months, her accent changed from American English to British English. After another four months, she mastered German, which is famous for being difficult to learn.

Breaking through the language barrier opened the door to European films for Huang Liushuang. In Germany, she played the heroine in films such as Love is Better than Knife, and critical European film critics praised her with pen and ink. In England, she collaborated with the movie star Lawrence Oliver in The Chalk Circle. Constandt Lambert, a British composer, was fascinated by the actress’s work and then wrote a piece specially for her.

In 1929, she starred in the last silent film of her career, Chinatown Dream. In the film, the popular Gilda Gray is the highest paid actress, but the British Variety magazine commented that "the yellow light overshadowed the big star": "When Huang danced behind the kitchen, she stole Miss Gray’s Chinatown Dream."

·Poster of the movie "Chinatown Fanhua Dream".

Soon, movies and magazines all over Europe rushed to publish Huang Liushuang’s story. Interestingly, European film critics often call her Chinese, and she increasingly agrees with the name Chinese.

During his stay in Europe, Huang Liushuang wrote an article about "Chinese is misunderstood". In her article, she explained: In fact, Chinese people are kind-hearted and love life, and our textiles, ceramics, costumes and banquets all reflect these characteristics. Chinese value friendship and family above everything else.

At that time, Huang Liushuang had never been to China, but she believed that China was what she dreamed of. She once told reporters, "I wish I had been born in China." She called China people her "compatriots, the oldest civilized people". In Europe, she is proud to be Chinese.

A few years later, Huang Liushuang returned to Hollywood with an honor. She thought that with her years of hard work, she could get rid of the deep-rooted racial discrimination in the United States, but she was greatly disappointed in the result.

In 1936, Huang Liushuang lost to Rena, a white man, in the casting of a Hollywood film that showed China farmers getting rich through hard work. What is even more ridiculous is the reason why she was rejected: American law at that time prohibited actors of different races from getting in touch with each other on the screen.

This casting failure made Huang Liushuang fall into intense pain, and also made her decide to visit China, which she had never been to before.

dispute

At that time, Huang Liushuang was a controversial figure in China.

When Huang Liushuang first became famous, Chinese was proud of it. At that time, China media dubbed her as a "Chinese star in the United States", and domestic media such as Companion Pictorial and Life Weekly followed her up, and she gradually became known in China.

·Huang Liushuang’s report in The Companion Pictorial.

As the country is weak, Chinese people hope that Huang Liushuang can re-create the image of Chinese in the world. However, with the deepening of reports, Chinese people are increasingly disappointed. They found that Huang Liushuang’s image on the screen always embarrassed Chinese people, and her evaluation quickly turned into "the situation of insulting China was outrageous" and "the traitor who borrowed foreigners’ nose to get oxygen".

When Huang Liushuang arrived in Shanghai, China in 1936, the scene was grand and crowded.

However, there are also many of her opponents among these people. A Shanghai reporter asked her bluntly, "Why do you want to play so many humiliating oriental women?" Huang Liushuang’s face went red at once. She replied, "That’s not my choice. Even if I don’t play, there will be other actors to play, and I will lose the only chance for Chinese to play Chinese. "

In the same year, Huang Liushuang wrote a long article "My Self-report" in the pictorial of "Good Friends", stating his unwillingness to be pushed around in Hollywood: "Chinese people are a little critical of my role, which makes me very uneasy, because I planted this mistake unintentionally. When I first entered the film industry, I was completely under the direction of the director, not to mention that I didn’t even know what the role I was playing, and even the plot in the film might not be clear to them. This is a fact. The director doesn’t pay attention to the idle actors. Except for several important characters who have the right to review whether the content of the script conflicts with their own opinions, the rest are indifferent. "

She stayed in China for nine months that year, during which she was welcomed by many people.

Mei Lanfang, a famous actress, and Hu Die, the winner, were both surprised by Huang Liushuang’s visit to China. Mei Lanfang gave her her Peking Opera records, and Hu Die accompanied her to visit the star film company. There, Huang Liushuang exchanged creative experience with his domestic counterparts, bringing valuable frontier information to the domestic film industry.

It was this visit to China that Huang Liushuang got rid of his long-standing identity confusion. When expressing her feelings about returning to China, she said: "A person’s identity may be in another country, but her heart belongs to the motherland. If I don’t come to China this time, my feelings about my motherland will always be vague. Now that I’m here, I’ve got to know the motherland and the lovely people, and I’ve discovered the’ loving mother’s love’. From now on, I’ve confirmed that I am a China woman, and before that, I was just an oriental daughter who grew up in Los Angeles. "

When she returned to Hollywood, she refused to play the role of demonizing Chinese, and publicly said, "I am Chinese. The roles I created in the past have given the audience an incorrect view of China, but the actual China is not like this."

Aid China

As early as the early 1930s, Huang Liushuang publicly condemned the Japanese occupation of northeast China. Later, because "I didn’t want a Japanese-style garden opposite my home", she moved to another house specially.

After his trip to China, Huang Liushuang began to donate materials to China through the China Aid Federation. This is a non-governmental organization used by the American people to help China.

In 1937, she paid all the money for her new Christmas film to Margaret Chung, a Chinese doctor of the China Aid Federation.

In order to raise medicine for China, she auctioned off all her dresses. At the auction, she also brought an extra item-five volumes of papers shot in China. She hoped that the West would know more about China, and that more people would join the fund-raiser and contribute to China’s anti-Japanese war.

In the late 1930s, Huang Liushuang’s popularity gradually declined. During this period, she devoted more energy to aiding China, and later worked full-time for the American Association for Aid to China.

In order to support the anti-Japanese war, she starred in propaganda film’s Bombing Myanmar, aiming at exposing the evil deeds of the Japanese aggressors; She also wrote a preface to Xinhua Recipe, which kept Chinese restaurants busy during the war. In 1942, she portrayed Guan Mei, an anti-Japanese heroine, in the film Woman from Chongqing. In the movie, Guan Mei said categorically before being executed: "The people of China will surely defeat the invaders!"

However, her contribution to aiding China to resist Japan failed to change the views of some Chinese people.

In 1943, at the most difficult time in War of Resistance against Japanese Aggression, China, Song Meiling came to the United States for assistance. At the Hollywood gala, Song Meiling and a group of Asian stars pushed for a change, but Huang Liushuang was missing from the crowd.

Wagner, a close friend of Huang Liushuang, was indignant: "No one has worked harder for the cause of aiding China more faithfully than Huang Liushuang. But was she invited to say hello to Song Meiling at this movie reception? No! "

Later, it was learned that Song Meiling and some opponents thought of Huang Liushuang: she represented the image of old Chinese, which consisted of only laundries, restaurant owners, gangs and coolies. Huang Liushuang was very frustrated.

After recalling these days, although she has regrets, she still feels extremely proud: "I have done my best to support and assist China in resisting Japanese aggression for a long time, and I have no regrets for life."

After the war, Huang Liushuang’s career as an actress was nearing the end, and she chose to return to a quiet life. In 1960, she became the first Chinese to stay on the walk of fame.

·Huang Liushuang’s stay on the walk of fame.

A year later, at the age of 56, she died of a heart attack, ending her ups and downs.

More than half a century later, Huang Liushuang’s name appeared on the American currency. Ventress C Gibson, director of united states mint, said: "This coin was designed to reflect the breadth and depth of Huang Liushuang’s achievements. She is a brave advocate."

Regarding this move by the United States, Qian Feng, director and researcher of the Research Department of the National Institute of Strategic Studies in Tsinghua University, told the reporter of global person: "The Democratic Party of the United States has always boasted that it respects ethnic minorities, and this move is one of its many measures to win over ethnic minorities. Especially since the outbreak of the COVID-19 epidemic, American society has been torn apart day by day, and discrimination against Asians has become more and more serious. Therefore, the Democratic Party also hopes that this coinage plan can save the image of the United States. "

In 2019, another Chinese name, Liu Yuling, appeared next to the star in Huang Liushuang on the walk of fame.

When she made her debut, Liu Yuling suffered an Asian stereotype similar to that of Huang Liushuang, but she persisted. In his speech on the Avenue of Stars, Liu Yuling said: "If my work helps to bridge the gap between the stereotyped role originally given to Huang Liushuang and the mainstream success today, I am very happy to be a part of this process."

Original title: Being discriminated against for a lifetime, this Chinese actress is now on the dollar.

Editor: Chen Yanqi

Editor: Liao Yi

Audit: Feng Fei

　　Sodium cyclamate, as an international food additive, will not be harmful to health as long as the intake is not over the standard. Sodium cyclamate will not make the fruit sweeter, on the contrary, it may make the shelf life of the fruit shorter.

　　Recently, a WeChat WeChat official account published an article "All Taken, Soon Deleted", which introduced the situation that fruit farmers used cyclamate to sweeten oranges. Through careful compilation and editing by the producers, the article has been widely spread on the Internet, causing some consumers’ worries.

　　The saying that citrus is sweetened with cyclamate is an old topic that has been repeatedly hyped. Besides citrus, the hyped fruit types involve winter dates, oranges, watermelons, cantaloupes, peaches, apples, etc. It is rumored that there are many ways to add it, such as soaking, injecting and spraying. Influenced by rumors, some consumers have doubts about the edible safety of fruits, and think that the intake of fruits with sodium cyclamate is not good for their health.

　　What exactly is sodium cyclamate?

　　Sodium cyclamate, whose scientific name is "sodium cyclamate", is a non-nutritive sweetener, and its sweetness is 30-mdash of sucrose; 40 times, and the price is only about 1/3 of sucrose, and it doesn’t taste bitter when used in a little amount like saccharin, so it can be used as an international food additive in foods such as drinks, fruit juice, ice cream, cakes and preserves.

　　Sodium cyclamate as a food sweetener, according to the evaluation results of the Joint Expert Committee on Food Additives of FAO/WHO, the daily allowable intake does not exceed 11 mg/kg body weight. Xu Weisheng, an associate researcher at the Institute of Nutrition and Health of the China Center for Disease Control and Prevention, said that in China, there are strict regulations on the approval of food additives and the limitation of the scope of use. As long as the goods purchased by consumers are regular and the sodium cyclamate intake does not exceed the standard, it will not affect health.

　　Is it feasible to sweeten fruits with sodium cyclamate?

　　Xu Weisheng believes that sodium cyclamate is water-soluble and insoluble in oil. Even if sodium cyclamate is sprayed on the surface of fruit during its growth, sodium cyclamate cannot enter the fruit. If the fruit is sweetened by injecting sodium cyclamate, it needs to be injected in all directions, which will cause the destruction of plant cell walls and the fruit will rot and deteriorate in a short time. It is harmful to businesses, so it is impossible to add sodium cyclamate to sweeten fruits.

　　A large number of data prove that enough vegetables and fruits are beneficial to health, including weight control, antioxidant supplementation, blood lipid and blood pressure control, reducing the risk of malignant tumors, promoting and protecting intelligence, and preventing cognitive decline. Consumers should not believe in rumors, do not spread rumors, believe in scientific knowledge, and eat enough fruits.

　　BEIJING, Beijing, April 15 (Reporter Zhang Xi) On the evening of the 15th, the opening ceremony of the 8th Beijing International Film Festival was held in Beijing. For the first time, the top three directors in the box office list of domestic films were on the same stage. Among them, Jason Wu, director of Wolf Warriors 2, said that China filmmakers are working hard to be craftsmen, and China audiences are increasingly supporting domestic films. He said frankly, "As long as the audience likes it, it is worthwhile to suffer again."

　　This year, the Beijing International Film Festival continues the seven main activities of the Tiantan Award, the opening ceremony, Beijing screening, Beijing planning theme forum, film market, film carnival, closing ceremony and award ceremony.

　　As the chairman of the International Jury of the Tiantan Award, Wong Kar-wai, a well-known director, said that although judging a movie can be very subjective, different people have their own tastes, but good movies must have one thing in common regardless of the theme and length, that is, the concentration and persistence of the creators.

　　Wong Kar-wai mentioned on the stage that when he was drinking soybean milk in a shop recently, he saw the words "I am willing to grind for you all my life" written at the bottom of the bowl, and he was deeply touched. In his view, although grinding beans and making movies are two different things, spirit and temperament are closely related. "I remember the famous director Mr. Yasujirō Ozu once commented on his creative process. He said that he just opened a tofu shop and only sold tofu. So I believe that only through this purity can an excellent work be achieved, so I value this purity. "

　　At the opening ceremony, for the first time, the three directors who won the first place and the third place in China box office were on the same stage. As the third-place director of Detective Chinatown 2, Chen Sicheng said with emotion that at first, a cinema manager pointed out that the film’s 123-minute length was too long, and suggested that it would be more beneficial to arrange the film if it was cut to 90 minutes. "But I hope to put ‘ Tang Tan ’ As a brand, the audience’s word of mouth is far more important than the box office, so I persisted. "

　　Lin Chaoxian, the director, said that no matter whether it’s "operation mekong" or the box office hit Operation Red Sea, such war movies are very tiring to shoot, but he likes them very much. "I like this kind of movies that make people excited and have positive energy.".

　　Jason Wu, the director who won the box office title with the film Wolf Warriors 2 last year, is also impressed on the stage today. "I was still very uneasy when I recommended Wolf Warriors 2 at the Beijing Film Festival last year. The film took three years from preparation to shooting, and finally presented 4,077 shots, which won 159 million people’s views. This shows that China filmmakers are trying to be craftsmen, while China audiences are increasingly supporting domestic films. As long as the audience likes it, they will suffer again.

　　Later, the three directors also looked forward to China’s films in ten years. Lin Chaoxian thought that there would be more and more realistic films, Chen Sicheng hoped that more foreign audiences would see China’s films, and Wu Jing bluntly said, "We need to study hard and exercise hard in this decade, and Do not forget your initiative mind will serve China’s films for another ten years."

　　It is worth mentioning that the shortlist of the Tiantan Award of this year’s Beijing International Film Festival was also announced at the opening ceremony. After five rounds of screening, 15 films from 19 countries and regions were shortlisted, including two China films such as Eighteen Cave Village in Operation Red Sea, and 13 overseas films such as Dark Wind, End of Journey in Britain and Scorching Summer in Iran. (End)

Nowadays, the main SUVs of joint venture brands are slashing prices like crazy. For example, SAIC Volkswagen, the entire Buick family, and Toyota’s RAV4, Toyota and other models have all slashed prices. And today we want to talk about Dongfeng Honda CR-V is no exception, and has also joined the price war. Next, we will do a comprehensive analysis of it to see if it is still worth starting.

Price part: The price range of Dongfeng Honda CR-V is 18.59-26 3,900 yuan, providing 1.5T fuel version and 2.0L oil-electric hybrid, as well as 5-seat version and 7-seat version for our consumers to choose. Consumers who pay attention to Dongfeng Honda CR-V should know that its preferential strength in the end point market has always been very stable, and the preferential market is about 50,000 yuan. In the current competitive market, Honda CR-V has given 60,000 preferential strength in some areas.

For example: Honda CR-V 2023 240TURBO CVT two-wheel drive vitality 5-seat version, the official guide price is 185,900 yuan, after the discount naked car price is 132,900 yuan, this discount for the joint venture Japanese car, obviously is very big.

The appearance part: I personally think this generation of Honda CR-V is the most handsome version in history, because its design style uses more straight lines, which will be more concise and tough visually. The headlights have become slender and sharp, and the area of the middle net has been significantly increased. At the same time, a large-size grid grille is used, which looks much tougher. It is integrated with the front grille and looks very sharp.

Coming to the side of the body, it can be seen that the body line of Dongfeng Honda CR-V is more straight and resolute, and the contour of the whole car has become much more square, and the overall visual effect will be tough and atmospheric. The Founder’s tail design will help maximize the internal space compared to the back-running design, and the rear lights on both sides continue the L-shaped tail light design, the functions are clearly distinguished, and the lighting effect is also very eye-catching. The double exhaust layout below makes the rear of the car look quite imposing.

In terms of the chassis, the front McPherson independent suspension + rear structure is used, and the high-end model also provides a timely four-wheel drive system and a multi-disc clutch central differential. The chassis driving texture of the Dongfeng Honda CR-V is very good. It has a certain toughness when driving, and it filters the impact of the road very naturally. In addition, the chassis can show a stable side when driving at high speed, giving the driver confidence.

In addition, noise reduction is definitely a shortcoming of the Dongfeng Honda CR-V, as engine noise and tire noise are obvious, which will have a certain negative impact on driving quality.

In terms of size, space has always been Honda’s killer, and the space of Dongfeng Honda CR-V is the same. The length, width and height of the new car are 4703/1866/1680mm, and the wheelbase is 2701mm. This space can also meet the demand for ride space during daily commuting. The middle position of the rear row can provide good ride comfort. It is worth mentioning that its four-wheel drive model has a low rear floor bulge, which basically does not affect the normal ride.

It is worth mentioning that the Honda CR-V, like the Honda UR-V, also has a door opening angle of nearly 90 degrees, making it easier for rear passengers to get on and off the bus, and easier to load and unload child seats.

In terms of seats, the seats of this model we experienced are wrapped in fabric, and the fabric seats are skin-friendly, breathable and heat-resistant. I personally like them very much. The backrest and seat cushion are quite soft, and they can fit the body very well after sitting on them, but the support will be worse. The riding experience of the second row of seats is similar to that of the front row.

In terms of the trunk: storage capacity is also a strength of the Honda CR-V. In fact, when the rear seats are not reclined, the width and depth of the Honda CR-V trunk are no different from those of the same class, but one of the advantages of the Honda CR-V is that the floor is low and the opening is large, making it very convenient to pick and place items. After the rear seat backrest is reclined, it can form a flat floor for easy storage of large items.

In terms of interior, the materials and workmanship of the Honda CR-V’s interior are also beyond expectations. The previous trend of this transverse metal honeycomb mesh was controversial, but if you look at the real car, its texture is quite good. The dual-zone automatic air conditioner adds a small display screen and air volume knobs, and the use of three knobs is unexpectedly good. The three-spoke steering wheel is fully functional, moderate in size, comfortable in leather, and corresponds to the dashboard to control multimedia on the left and the driver assistance system on the right.

As for the configuration, the entry model provides driving mode switching (economy, standard/comfort, snow), engine start-stop technology, automatic parking, uphill assistance, steep slope slow descent, variable steering ratio, fixed speed cruise,,,,, Bluetooth/car phone, support CarLife, automatic speech recognition control system (multimedia system, navigation, phone, air conditioner, window), vehicle to everything, 4G network, OTA upgrade, Wi-Fi hotspot, automatic air conditioning, rear seat out trend, PM2.5 filter device in the car and other technology configurations.

In terms of power, it is equipped with a 1.5T turbocharged engine and a 2.0L gasoline-electric hybrid power system. In terms of transmission, a CVT gearbox and an E-CVT gearbox are provided. Among them, the 1.5T engine has a maximum horsepower of 193Ps, a maximum power of 142kW, and a maximum torque of 243N · m. This 1.5T engine can have good torque output at low speeds, and daily driving is very brisk. The CVT gearbox has an S sport gear and an L hill-climbing gear.

Summary of the full text: It can be seen that the Dongfeng Honda CR-V still has a good product force in the joint venture compact SUV market. The stylish and sporty appearance is in line with the aesthetics of mainstream consumers. The comfortable and luxurious configuration in the car should not be too shabby, and the powertrain can also meet the needs of daily commuting. Especially after the Dongfeng Honda CR-V has fallen to the early 130,000, it also highlights its high cost performance, so we think it is still worth buying.

If your budget is about 150,000 and you want to buy a joint venture SUV model with comprehensive product power and outstanding cost performance, then you may wish to pay attention to the Dongfeng Honda CR-V.

Meng Yao and Cheung Ka Fai starred in "Mong Kok Prison"

　　Unlike "Zero Dog," director Wang Jing will film "Mong Kok Prison" after the filming of "Onei Agent Lingling Dog". Unlike "Zero Dog", "Mong Kok Prison" will continue the people and lives in "Money Empire", which has both social realism and human care. The Academy Award-winning actor Cheung Ka-fai will play a schizophrenic in "Mong Kok Prison", while the role of "Crystal Girl" Meng Yao is a bit mentally retarded.

Wang Jing is not funny. "Mong Kok Prison" writes about a cruel life

　　"Money Empire", which was released in the mainland in May, made fans who had been waiting for Wang Jing for a long time happy and sad. They were happy that the idol finally came out and brought a very different Hong Kong film. The sad thing was that the idol was no longer entertaining, whether it was a transformation or a take-all. Fortunately, the comedy of "Onei Agent Lingling Dog" brought a lot of comfort to fans who liked Wang Jing, while "Mong Kok Prison", which continued the brutal style of "Money Empire", continued to make people look forward to it.

　　Although director Wang Jing doesn’t care about the awards, just because he personally likes to write the script of "Mong Kok Prison", he has considered the cast. In addition to Zhang Jiahui and Meng Yao, who have cooperated for a long time, he will also invite Bao Qijing and Chen Liyun, who have performed well in the movie "Day and Night in Tin Shui Wai", and the combination of one emperor and two queens + royal crystal girls shows Wang Jing’s emphasis on this film.

Wang Jing’s ruthless hand on Zhang Jiahui, Bao Qijing, and Meng Yao are all "sick"

　　Many viewers are obsessed with the violent clips in "Money Empire", and in "Mong Kok Prison", Wang Jing shows her "ruthless" hand again, not in the film, but in the "ruthless" hand on the actors. Zhang Jiahui’s character in the film is schizophrenic, Bao Qijing will suffer from dementia in the film, and the most "pitiful" number crystal girl Meng Yao is not only mentally retarded, but also has suffered sexual violence.

　　Unlike the boss scene in "Money Empire", "Mong Kok Prison" is the life of the little people, and in fact, the little people are the group that Wang Jing has always paid attention to and expressed in most of the movies. "Mong Kok Prison" means that everyone has a past that cannot be mentioned and the inner innocence of the protection, everyone is trapped in Mong Kok Prison.

　　The three oil crises of the 1970s and 1990s profoundly changed the industrial structure of the automotive powerhouses in Europe and the US. But they also represented opportunities. If there was only one winner in this far-reaching series of historical events, it was Japanese cars.

　　Before the oil crisis, although Japanese cars had an export layout in overseas markets, their share was always small. At the same time, the inherent impressions of Europeans and Americans such as counterfeit products, quality and low grade always lingered on the top of Japanese cars. However, after the oil crisis, Western consumers had to accept the reality, and Japanese cars ushered in the trend of going global.

　　Taking advantage of the opportunity of the oil crisis, Japanese cars eventually became an important pole of the global automobile industry. But in addition to the impact of objective events now known as "black swans", the subjective initiative of the Japanese automobile industry is also worthy of future memories. Freezing three feet is not a day’s cold, the formation of an automobile industrial country is the main reason.

　　Growing up in war

　　The original Japanese auto industry was born in the 1930s, 30-50 years later than the developed countries in Europe and the United States. At that time, the Japanese market was dominated by American cars, and giants such as General Motors and Ford established assembly plants in the country. Later, factories such as Toyota and Datsun (the predecessor of Nissan) created the first cars produced by Japanese companies by reverse-copying European and American models such as Chevrolet, Chrysler, and Austin.

　　At the same time, in order to encourage the production of autonomous vehicles, the Japanese government also promulgated the "Automobile Manufacturing Business Law", which stipulates that companies that produce more than 3,000 cars a year must be approved by the government, and more than half of the shares must be owned by local companies. However, the Great Depression that swept the world at the time brought the fledgling Japanese automakers to the brink of bankruptcy.

　　At this time, they were saved by a full-scale war of aggression launched by Japanese militarism. The early Japanese car companies were transformed into arsenal factories that started the war machine, but they were also quickly dealt a heavy blow by the defeat of the war. After the end of World War II, Japan, a defeated country, was devastated by society and economy, and its fledgling automobile industry was also on the verge of destruction.

　　In this context, the Japanese government, which had just announced its unconditional surrender, still called together the few car companies at the time, demonstrating the government’s support for the auto industry. On the other hand, the United States, out of consideration against the Soviet camp, stationed troops in Japan and began to support Japan’s economy. Especially during the Korean War, the US military provided a large number of military truck orders to the nearest Japan, allowing Japanese car companies that were struggling after the war to quickly recover. For Japanese cars, this also provides an opportunity for them to open up the US market in the future.

　　In order to make up for the lack of resources during the economic difficulties, the Japanese government began to encourage the production of short-wheelbase and small-displacement cars through preferential policies such as tax reduction, resulting in the series of cars known as K-Cars. These economical and practical cars not only quickly popularized cars in postwar Japanese households, but also laid the foundation for the subsequent industrial upgrading of Japanese cars. With the support of policies, the number of car companies in Japan after the war rapidly increased from single digits to nearly 30.

　　Since the 1950s, the Japanese government has promulgated the "Basic Guidelines for the Introduction of Foreign Investment in Passenger Vehicles", and began to continuously introduce technology to developed countries in Europe, America, and Japan’s car companies have successively established cooperative relations with overseas auto giants. In 1950, Toyota’s then president, Eiji Toyoda, made a special trip to Detroit to inspect Ford’s factories; Nissan’s predecessor, Datsun, officially purchased the patents of Austin in the United Kingdom in 1952 and assembled cars in Japan in the form of CKD. Austin provided technical assistance to Datsun. In addition, cooperation between Hino and French Renault, Mitsubishi and Chevrolet of the United States is also developing.

　　By the early 1960s, Japanese car companies had completed the original accumulation of technology, and the annual production and sales of domestic cars exceeded 400,000. In November 1963, Japan further established the automobile industry as a strategic industry at the Industrial Structure Review Conference. From the 1950s to the 1970s, Japan has introduced more than 400 technologies from developed countries in Europe, America and other countries.

　　However, while absorbing technology, the Japanese government has also implemented measures such as tariffs and foreign exchange controls to protect the domestic automobile industry, and implemented them through legislation such as the Enterprise Rationalization Promotion Law and the Machinery Industry Revitalization Temporary Measures Law. The tariff barrier for imported automobiles was once as high as 40%. And the penetration of foreign capital into Japanese automobile companies is also strictly guarded.

　　In addition to government support, the improvement of technology, quality and management by Japanese automakers at that time also greatly improved the quality of Japanese cars. For example, the Toyota production method, which has far-reaching impact on future generations, was born in the early 1950s. And some classic models that continue to this day, such as Toyota Crown, Corolla, Nissan Bluebird, Honda Civic, etc., were also introduced one after another in the 1950s and 1960s.

　　In addition, in order to strengthen the overall quality of Japanese cars and eliminate uncompetitive enterprises, under the leadership of the Japanese government, Japanese cars carried out a series of mergers in the 1960s, reducing the number of highly competitive 30 to about 10, which increased the concentration of the industry.

　　By 1970, the annual sales of Japanese cars had reached 4.10 million, 10 times that of the early 1960s, and the number of cars owned by 1,000 people had risen from 14 in 1960 to about 170.

　　After all, the local market demand in Japan is limited. At the same time as the rapid growth of the industry, Japanese car companies are also trying to export. However, throughout the 1960s, Japanese cars were mainly aimed at the third world countries in South America and South East Asia. The best-selling models in Japan, such as the Toyota Crown, were also exported to the United States, but sales were also very low because they did not meet the needs of American consumers.

　　It was not until the arrival of the first oil crisis that Japanese cars were "a blessing in disguise" and really went to the world, especially major automobile consumer markets such as Europe, America and others.

　　blessing in disguise

　　In 1970, at the call of American social environmentalists at that time, the US government introduced the "Air Purification Act" (Musky Act), which stipulated that after five years, cars emitted only one-tenth of the pollutants. This bill undoubtedly dealt a heavy blow to the three American giants that were popular at that time, but it provided an opportunity for Japanese cars to further open up the US market.

　　In 1972, the CVCC engine developed by Honda became the first engine to comply with the Musky Act and quickly gained popularity in the United States.

　　In October 1973, shortly after the outbreak of the Fourth Middle East War, the United States publicly sided with Israel and provided it with $2.20 billion in military aid. In order to sanction the United States and the West, the Organization of Petroleum Exporting Countries (OPEC) began to implement a series of production cuts and oil embargoes. After the war, the oil exporting countries continued to cut production by more than 10% and pushed to raise the price of oil from $3 per barrel to $13, which was the first oil crisis.

　　The oil crisis dealt a heavy blow to the developed automobile industry in Europe and the United States. During this period, global automobile production fell from nearly 40 million to 33 million. Car consumers in Europe and the United States had to give up their favorite large-displacement cars and performance cars in favor of affordable small-displacement cars. The auto giants were also forced to abandon their original production plans for large cars.

　　Throughout the 1970s, Japan’s domestic auto market ended a period of rapid growth, with sales increasing from 4.10 million to 5 million. After the shock, Japan launched a new energy technology development plan in 1974, and introduced an industrial policy to reduce energy consumption, focusing on the development and promotion of energy-saving technologies and equipment. Later, the Energy Conservation Law was introduced to restrain it.

　　But at the same time, Japan’s industrial structure dominated by small-displacement vehicles has allowed Japanese cars to find opportunities to break through overseas. Although the previous Japanese cars were scorned by many Europeans and Americans because of their brands, more people began to choose cars with better fuel economy due to the economic pressure caused by fuel consumption. At this time, in addition to affordable prices, Japanese cars have made great progress in technology and production management. In the past, the stereotype of counterfeit products and inferior quality in the eyes of Westerners was changed. Coupled with the good relations between Japan and the United States, Japanese cars soon became popular in the American market.

　　In 1975, Japan’s domestic automobile production exceeded 7 million for the first time; by 1977, Japan’s automobile exports had reached 4.35 million, three times more than in 1970; the proportion of exported automobiles in total automobile production skyrocketed from 20% in 1970 to more than 50%.

　　The shadow of the first oil crisis has not yet dissipated. With the outbreak of the Islamic Revolution in Iran and the Iran-Iraq War, the second oil crisis followed in the early 1980s, with oil prices rising from $14 per barrel to nearly $40. Global car sales fell for four consecutive years during the crisis, from 42 million to less than 39 million.

　　This time, however, Japan’s increasingly mature auto industry has achieved greater success. During the second oil crisis, Japan’s domestic automobile production exceeded 10 million and 11 million in a row, and its exports exceeded 6 million for the first time. In 1980, Japanese automobiles surpassed the United States for the first time to become the world’s largest.

　　The most important reason why Japanese cars can overtake American cars is the continued "attack" on the US market. During the second oil crisis, the production of American cars fell from 11 million to 8 million. In contrast, from 1978 to 1980, the number of Japanese car exports to the United States increased from 1.50 million to nearly 2 million, and the sales reached 2.40 million. The proportion of imported cars in the United States reached 80%, and the share of Japanese cars in the US market was as high as 20%.

　　The real crisis

　　Japan’s economic take-off and the strength of Japanese cars in the US market have threatened the US government and automakers. Under the impact of Japanese cars, American giants such as GM, Ford, and Chrysler have laid off more than 220,000 workers. The United Auto Workers (UAW) even broke out a campaign to smash Japanese cars.

　　Under pressure from the United States, after negotiations between Japan and the United States, an agreement on independent restrictions on Japanese exports of cars to the United States was formed in 1981, which stipulated that the export scale of Japanese cars to the US market in subsequent years was limited to 1.68 million cars in 1981-1983, 1.85 million cars in 1984, 2.30 million cars in 1985 and 1986, and then dropped to about 2 million cars in subsequent years.

　　At the same time, Japanese automakers began to choose to set up factories or joint ventures in the US market to avoid policy restrictions. After 1982, Honda, Nissan, Toyota, and Mazda successively established factories in the United States. In addition, joint ventures between Toyota and General Motors, Mitsubishi and Chrysler were also established during this period.

　　On the other hand, under the premise of limited sales, Japanese cars to improve brand perception and increase profitability, Honda, Toyota, Nissan and other leading companies have launched high-end models for the needs of North American consumers, Acura, Lexus and Infiniti were born in this period.

　　As a result, despite the decrease in imports, the profits of Japanese automakers have actually increased due to the high-priced luxury cars produced in the United States. With the outbreak of the Gulf War, the third oil crisis came. In the 1990s, the world’s car production decreased from nearly 50 million to 47 million, but Japan’s domestic car production approached 13.50 million, and sales reached a historical peak of 7.77 million. In addition, Japan’s overseas car production also exceeded 3 million for the first time, and the proportion of Japanese cars in the world rose to nearly 40%.

　　However, luck has not always favored Japanese cars. Since the Plaza Accord in 1985, Japan’s domestic economic bubble burst due to the appreciation of the yen, which ushered in the "lost decade", and Japan’s domestic car production and sales have also slipped from their peak and began to decline year by year.

　　Under the policy protection of domestic enterprises and the continuous suppression of Japanese cars. In 1994, American cars regained the first place in the global market. In 1995, the US government further announced a 100% tariff on luxury cars from Japan. The following year, Japanese car exports fell directly to 3.71 million, a decrease of 45% compared with the 1985 Plaza Agreement.

　　Faced with the difficulties caused by economic stagnation, Japanese automakers are not sitting still. In order to continue to cater to the industry trend of energy conservation and emission reduction, Japanese automakers continue to develop engine technologies with stronger fuel economy. In 1997, the Toyota Prius based on THS hybrid technology was launched, and it became the best-selling model in North America again in the early 21st century. Later, the Honda i-MMD and Nissan e-Power were launched one after another, and the Japanese hybrid once again played a brand effect in the global market.

　　In addition, while the US market is encountering bottlenecks, Japanese automakers are also continuously providing growth impetus by expanding into more overseas markets and increasing their emphasis on the emerging Chinese market. Entering the 21st century, Nissan, Toyota, Honda, Mazda, Mitsubishi and Suzuki have successively established joint venture factories in China, and have continuously introduced overseas best-selling models into domestic production and sales.

　　Today, Japanese cars still have a 30% market share worldwide. Toyota is still the world’s largest automaker, with Honda and Renault-allied Nissan also in the top 10. In the United States, Toyota surpassed General Motors for the first time last year. In the Chinese market, the share of Japanese cars that came from behind has also reached more than 20%, which is on par with Germany. The value retention rate of mainstream Japanese brands is also among the best in China.

　　Take a look.

　　The rise of Japanese automobiles has been regarded by many in the industry as a model for the development of Chinese automobiles. For example, the Japanese government’s protection of local automobile companies and the control of the shareholding ratio of joint ventures, as well as the policy support for the production of small-displacement automobiles, have been used for reference by the Chinese automobile industry that has fully emerged after the reform and opening up.

　　In addition, the experience of Japanese cars expanding overseas markets and gradually going global 60 years ago is also similar to the aggressive route of today’s leading Chinese independent brands. At present, Chinese independent brands are exporting small cars to developing countries in Southeast Asia and the Middle East in the early years, and turning to more regional markets. Even Europe exports some mid-to-high-end models and new energy vehicles, and sells back some cars produced by European and American automakers in China to the mainland.

　　However, there are still significant differences in the automobile development environment and era background between Japan and China.

　　Japan is an island country with relatively few natural resources, and it relies almost entirely on imports for the basic energy that supports the automobile industry, which is also the inherent disadvantage of the rise of Japanese cars. On the contrary, China not only has rich land resources, but also has the largest population and the largest market in the world.

　　In today’s world, a series of black swan events such as the COVID-19 pandemic, Sino-US trade, and the situation in Russia and Ukraine have seriously impacted the world economy and the process of globalization. The shadow of previous oil crises still hangs over the heads of major countries. Although China is rich in resources, it is as dependent on oil imports as Japan. Getting rid of dependence on oil and reducing carbon emissions has become the consensus of major automobile industrial countries.

　　The oil crisis of the 1970s and 1990s had the greatest impact on the automobile industry because of the irreplaceability of petroleum energy. However, with the development of technology, new energy vehicles led by electricity began to show a substitute role for fuel vehicles. Therefore, the development of new energy vehicles, which is the trend of overtaking cars in China’s car corners, has been formulated as a national policy by our country. At present, China has been the world’s largest new energy vehicle market for seven consecutive years, accounting for more than half of the global share. The overtaking of traditional fuel vehicles in Europe and the United States 50 years ago by Japanese cars is now being recreated by China’s automobile industry.