This article is from the public number:All Media (ID:quanmeipai), author : Xiao Wei, Li Zhaoxia, title map from: Visual China, title map from: “Yan Wei Raiders” stills

“The more ethnic, the more”The world”, sharing cultural experience with all mankind is a beautiful vision, but local culture has never been an easy task. In the context of “new globalization”, what is the story of China? The cross-cultural communication narrative in China has been achieved. What are the long-term developments and achievements? In this issue, the whole media brought Xiao Wei and Li Chaoxia to the original editor of China Communications Innovation Research Report (2019), the author makes a new study on the practice of cross-cultural communication innovation in China in the past year, and explores a new concept of promoting the common development of multiculturalism from practical cases.

Core Discovery

The overall situation in 2018 shows that various Chinese communication subjects are practicing cross-cultural communication consciously or unconsciously:

1. Conceptual innovation mainly solves the problem of “why” Under the pressure of confrontational globalization, China’s external communication needs to express the human destiny of building a harmonious world more clearly and affectionately. Community concept.

2. Content innovation mainly indicates “what to do”. The possibility of shaping a co-culture space through discourse innovation has already emerged. We need to embrace more different voices and improve the handling of cross-cultural conflicts. ability.

3. Platform innovation mainly breaks through the “through what” communication infrastructure layer construction problem, and the continuously optimized new technology is creating a negotiable semantic space and creative ecology, building a cross-over through new media. Cultural virtual community.


Intercultural communication is a historical and cultural phenomenon accompanying human growth and a way of life for modern people. It emphasizes the ideal state of intersubjectivity between “I” and others.Standing from the perspective of the other, overcoming strangeness, anxiety and uncertainty, and creating a fusion of “we” among different cultures. It has extended to a wider field in the new media era, and the practice has presented a more diverse situation. The development, application and institutional construction of digital new technologies have reconstructed the way of human social practice. These social practices have become the endogenous driving force for the development of complex and ever-changing cross-cultural communication models and theoretical innovations.

At present, Chinese media have certain lags and disadvantages in terms of communication concepts, communication skills, and discourse systems.From the perspective of national communication, it is necessary to explore new ideas about Chinese stories from the perspective of international discourse construction, that is, to tell the Chinese stories that the other wants to know in a way that others can understand.

In the context of “new globalization”, China’s cross-cultural communication needs to change in terms of narrative style. From focusing on how contemporary China rises in the world system, it focuses on how China develops with the world, Eastern and Western civilizations exchange and learn from each other. At the same time, contemporary Chinese cultural expressions, especially the cultural practices of young people and their cognitive cognition, have gradually shown their broader influence.

There are studies that have begun to explore innovative practices in cross-cultural communication in China. So, what are the relevant innovation practices in <2018>? What new trends and characteristics are presented? This paper, through the research on the 2018 intercultural communication series, hopes to sort out the path of Chinese cross-cultural communication practice innovation and explore new ideas to promote the common development of multiculturalism.

This case study uses four analytical dimensions:

First, do you actively respect the dominant position of different cultures, respect interculturality, enhance mutual “reciprocal understanding” or reduce cultural conflicts and contradictions;

Second, whether to interact with culture or historical context;

The third is whether it is conducive to continuously enhance the ability of cross-cultural communication innovation, and thus promote the development of cross-cultural communication practice;

Fourth, whether it is possible to open up a multicultural space openly and promote community building and negotiation among different cultures.

Based on the above research needs, we carry out the keyword on China’s diverse information platform (China, cross-cultural communication, external communication, international communication, overseas communication, Innovative) search, classified more than 140,000 words of text according to concept innovation, content innovation, platform innovation, and mainly through the dissemination effect data of various overseas network platforms (Browse, Like, Forward, Comment, etc.) The actual effect of cross-cultural communication in the case was verified, and 18 typical cultural communication cases were selected in 2018.

Conceptual Innovation: Multicultural Expression of the Community of Human Destiny

In reverse globalization and fullIn the dual development pattern of spheroidization, the concept of the community of human destiny proposed by China is becoming an emerging value expression of multiculturalism. In the practice of cross-cultural communication, this concept mainly emphasizes that the two sides actively combine the interests of their own people with the common interests of the people of the world. In the process, China’s communication emphasizes more on the overall progress of human society through China’s efforts.

“With Africa”: Constructing intercultural relationships in perceived justice

From September 1, 2018, Beijing time, the Chinese version of the “Span class=”text-remarks” label=”Remarks”>(Trade Winds between China and Africa) large documentary The English version is launched globally through CCTV Integrated, Record Channel and CGTN English Channel, CGTN-Documentary Channel and Xinhua News Agency’s Facebook, Twitter and YouTube official accounts. The documentary was initiated by the Central China Department’s “Record China” project, produced by Xinhua News Agency, and under the China Xinhua News Network. It is divided into two episodes, involving 10 African countries, each containing 5 African protagonists.

*CGTN: China International Television, also known as China Global Television Network, the full name of China Global Television Network, by the Central Broadcasting and Television Station in 2016 12 Established on the 31st of the month.

These African friends showcase their China-Africa cooperation projects to their global audience by telling their stories. The documentary tells a lot about the “big righteousness” practiced in China: When the Matter project was expanded in Ghana, in order to ensure the smooth hatching of turtle eggs on the beach, the Chinese specially hired sea turtle nurses and built a turtle breeding center to fully demonstrate China to protect Africa. The ecological environment is its own “big righteousness”; China’s “Guangmingxing” medical team went to Namibia for a free clinic, brought medical equipment and free surgery for 200 cataract patients, showing the true feelings of the people of China and Africa.

“With Africa” ​​shows the cooperation between China and Africa in infrastructure construction, agriculture, trade, health and other aspects. By telling the story of ordinary people in China-Africa cooperation projects, China is established as a negative to the world. The image of a responsible civilized country. The film spread to users at home and abroad through the all-media channel. As of March 5, 2019, the two episodes were broadcast on YouTube more than 380,000 times. The total number of comments was 1,805. The comments expressed the friendship between foreign and Chinese friends. Affirmation of partnership, love and praise for China, such as: “China is the best country in the world, they care and do (China is the best country in the world, they care about the world and say it must be done) (@abdulahiDiallo, September 2018)“, “China’s idea is win win for all sides (The concept of China is to ensure the interests of all parties to achieve a win-win situation) (@MukasaAbdulkareem, October 2018)“.

The Angel of Kindness: The Resonance Space of the Sino-American Folk Culture Community

Beijing time on October 30, 2018, China and the United States co-produced the documentary “Good Angel”

This film is a Sino-US co-production documentary, which presents a neutral perspective of the story of a famous British director in a third country, focusing on the common needs of the two peoples based on their lives, environment and interests, and showing that the two peoples can communicate and resonate with each other. The cultural space, that is, the Chinese and American peoples build a cultural space for daily life beyond the contradictions and conflicts of national politics. As of March 12, 2019, only the trailers on Facebook were more than 3.22 million, and the number of comments reached 27,000. Many netizens expressed their expectation for friendly relations between countries: “We need to focus on making The world better helping each other as one(We should be committed to helping each other make the world better) (@DennisScott, November 2018) “It’s called trade negotiations not a war (This indicates only trade negotiations rather than war) (@AdamWhite, November 2018)“.

The “Good Angel” emphasizes the common concept and value in the friendly exchanges between China and the United States. From the perspective of folk culture, it shows the social foundation of Sino-US friendship. The creation of culture rather than political community will effectively change the relationship between netizens at home and abroad. Stereotype.

“China: The Story of Change”: Focusing on the cultural consciousness of the 40 years of reform and opening up

Beijing time, December 14, 2018,The Chinese and foreign co-production documentary “China: Change Story” (How China Made It) held a world premiere at the National Museum. The documentary was jointly produced by the Wuzhou Communication Center and the British Meridian Production Company. The magazine was launched by Youku and the US Discovery Channel to more than 1 billion netizens around the world. The target of the document is to show the whole picture of China’s reform and opening up to users at home and abroad.

This film highlights the theme of China’s inheritance of traditional culture and the concept of development in the process of reform, with a view to demonstrating the cultural consciousness of “Concord Wanbang” in Chinese traditional culture, such as the sustainable development of “green water and green mountains” in industrial transformation. In the concept of development, international exchanges and cooperation, the new concept of “One Belt, One Road” is displayed. The macro policy is interspersed in the story, and the boring official story is abandoned, conveying the concept of common development between China and the world.

The above cases show that 2018 China’s cross-cultural communication innovation practice more concentrated on the multicultural expression of the concept of human destiny community. In the comprehensive communication between China and Africa, China and the United States and China and the world, it shows the positive will to share development opportunities with the countries of the world. Through the harmonious coexistence with the people of all countries, cooperation and win-win, we seek common development concepts of symbiosis and common prosperity.

Content Innovation: Discourse Innovation in a Shared Meaning Space

The difference in cultural background is likely to cause obstacles in content interpretation. The familiar discourse and narrative strategies can reduce cultural barriers from thinking and habits. Therefore, the main goal of cross-cultural communication content innovation is to seek a common discourse system between cultures, improve the international expression ability and effect of Chinese stories, and then promote mutual understanding and recognition in the exchange and mutual understanding with world civilization. The content innovation of cross-cultural communication in China in 2018 has obvious development in two aspects.

Foreigners telling Chinese stories, cross-cultural narratives on individual experiences

1. “The Extreme China”: Chinese Natural Human Understanding in Multilingual Emotional Interaction

Beijing time on October 1st, 2018, National Geographic Channel launched the large human geography documentary “Ultimate China” (Extreme China). The film was jointly produced by the China Intercontinental Center and the National Geographic Channel. It was broadcast to more than 170 countries in 43 languages. After the domestic Internet was launched, the entire network reached 100 million.

*Wuzhou Communication Center: affiliated to the State Council Information Office, with the purpose of “Let the World Understand China, Let China Understand the World”, is to make external publicity materials Multimedia, comprehensive external communication agencies.

The film consists of three episodes. The theme is three extreme natural landscapes with unique Chinese humanities: snow mountains, oceans and tiankeng. Throughout the present, the host is the National Geographic explorer and photographer Ben Horton. In the three episodes, he invited three top extreme sports enthusiasts from China as partners to go to Sichuan Siguniang Mountain and Hainan. The island and the Hankang Tiankeng group in Shaanxi explored the Chinese human geography and folk customs in depth and presented the world with a richer and more three-dimensional China.

Chinese and foreign hosts especially emphasized personal experience and emotional interaction. They went to Aba Tibetan Autonomous Prefecture to make and taste butter tea, appreciate Tibetan Buddhism culture, and experience the unique folk customs and activities in Qinba Mountain area through the Yi people. The cross-cultural experience of the spirit feels the unique history, local customs and characteristic culture of the Chinese ethnic minorities. The US National Geographic says that this is “a more impressive China with a more international perspective and production level, and promotes the world’s China’sLearn“.

As of March 13, 2019, the total number of episodes of the film on Facebook exceeded 650,000. The netizens expressed their admiration and yearning for Chinese scenery: “That’s what Icall extreme!(This is the ultimate I said) (@Correz PL, November 2018)“, “Fantastic, finally a show about the rural areas of China (unbelievable, finally there is a film showing the Chinese village) (@Driih Mirella, December 2018, “. The film fully considers the cultural background and needs of Chinese and foreign netizens. The Chinese and foreign hosts are friendly, interactive and equal, demonstrating respect for the culture of both sides. Its communication innovation lies in the organic combination of Chinese humanistic natural landscape and humanistic feelings, and conveys the natural features and social culture of Chinese society through the dynamic discourse communication between China and the West.

2. Two-party micro-videos: Diversified communication based on overseas user experience

The National Conference is not only a hot spot for domestic media coverage, but also one of the focuses of global media attention. During the two sessions in 2018, China Foreign Languages ​​Media and Media Center explored a new mode of micro-video in the form of micro-video, and launched a series of works based on news points and communication needs.

A week before the two sessions, the Foreign Languages ​​Bureau launched an experimental short film “4 minutes and a half to ask quickly: Chinese and foreign partners will take you to quickly understand the two sessions”, and five pairs of Chinese and foreign partners will answer more than ten questions related to the two sessions through question and answer. Through the knowledge-based dialogue between China and foreign countries, the key information of the two sessions will be displayed; “The Post-95s and Two Meetings” will select the original videos of 37 self-timers from home and abroad, and then express the young group through professional processing.Thinking about the two sessions and China’s development.

In addition, Series micro-videos also use the appeal of foreign anchors in China to invite them to set their own topics in the “YouTube Big Two Watch” series of videos to pass their cross-cultural perception through visuals. The language is passed out. The above-mentioned diversified micro-videos are widely spread through overseas platforms such as Facebook and YouTube, and have achieved a total of 20 million domestic and international page views and more than 600,000 interactions of comments, likes, and forwardings.

It is not difficult to find that, unlike the relatively single serious discourse method in the past, the innovations of the two conferences outside the micro video are mainly manifested in two points. One is to disseminate major political news through a large number of unofficial statements, and the second is subtly Tell the Chinese political culture through the cross-cultural experience of foreign communicators. Content production starts from the overseas user experience and enhances cross-cultural communication effects in terms of technology, content and channels.

3. Reform and opening up for 40 years: Inspire foreigners to talk about China’s great changes and open concepts

2018 is the 40th anniversary of China’s reform and opening up. How can it show great changes in 40 years? How to speak to people of different cultures? Practice has shown that on-the-spot visits to China and the strengthening of personalized experiences can effectively mobilize the enthusiasm of foreigners to participate in common narratives.

(1)Overseas big V feels the great changes in the fieldIn the documentary, foreign friends describe the international influence brought about by reform and opening up through personal experience: “I changed with the reform of Beijing and China, and my life is the same as the Chinese people (former CNN Beijing Branch President Jimmy), “Beijing and China have become world-famous, and have become a chapter in our lives (Richard Robinson, co-founder of Renren).

Micro-documents are actually micro-videos. The spread of micro-videos is in line with the new trend of micro-narrative and short presentation of new media platforms. The above content innovation lies in fully mobilizing the Chinese story of foreigners to express their enthusiasm. They are both an intermediary for cross-cultural communication and a goal of cross-cultural communication. Many times, foreigners who are other people pass multiple platforms and more Language and polymorphic narratives have internalized Chinese culture into self-experience and meaning interpretation.

The creative narrative of Chinese cultural elements realizes the global spread of common values

1. Justice and bravery: cross-cultural identity in the spread of Beijing opera animation

In March 2018, the cartoon “Beijing Opera Cat” burst into red in Southeast Asia. The film is based on the national quintessence of Peking Opera. It depicts how an ordinary cat can fight the evil forces and save the “cat soil” by uniting the cats. Inspirational story.

Animals select cats without religious colors as symbolic subjects, consciously avoiding cultural misunderstandings that may be caused by cultural differences. As an international language with a high degree of internationalization, animation has created a new coding method for Chinese culture and provided a new path for Chinese culture to spread. More importantly, the film expresses the values ​​of justice, courage and growth through Peking Opera animation, and it is easy to resonate with users of different cultural backgrounds.

After being broadcast to Malaysian users via AStro, the animation quickly refreshed the viewing history for that period, with a rating of 1.9. Malaysian netizens highly recognized the values ​​conveyed by the film, and spontaneously established the topic #JingjuCats# on social platforms such as Facebook and Twitter when the cartoons were broadcast, expressing their strong love and support for the film. The success of the film depends on two factors. One is to innovate and combine the Peking opera culture with the cat as a human friend. Graft the non-material Peking Opera culture into the vivid animal image, so that the user can have the reading impulse; It is a value dimension that refines the commonality of human culture. The continuous transmission of values ​​such as justice and courage greatly reduces the barriers to intercultural communication. In addition, Malaysia is a typical multicultural country. The popularity of this Beijing opera animation shows that this kind of cultural innovation has broad prospects for development.

2. Love and Dedication: The World of Chinese Love Spread

March 2018, a memoir-style picture book about Chinese love stories. “Flatly beautiful: the story of our two” (referred to as “Ping Rumei” ) The Spanish version appeared in major bookstores in Spain. The English version and the North American version were released in May. The Chinese love story in the picture book is in different languages ​​with 9 countries including the United Kingdom, the United States, France, Spain, and South Korea. The readers of the region have built a world-wide dialogue.

The picture book takes the subtle scenes of daily life as the entrance, shows the companionship and dedication in family life, and depicts the “most ordinary and most touching love story, which is universal for readers all over the world.” As a picture book about Chinese love, “This book is not only a memoir of life, but also a book about Chinese history and Chinese traditional culture in the 20th century”, which vividly shows the trivial and warm life scene of Chinese families.

The book combines language and image as a medium for cross-cultural communication. “Image as a “global” grammar that transcends language” breaks the boundaries of culture and makes it easier for readers of different cultural backgrounds to understand. At the same time, the author carefully answers each translator’s question about the content of the picture book. “After carefully explaining the ‘life details’ that need to be added to make the Western readers understand it accurately, so that the translator can fully understand the content. Translating solves the cultural barriers faced by literary works in the process of translation, thus ensuring that overseas readers can read the picture books to the maximum extent.

The picture book is a new literary expression that combines images and texts to impact the reader’s emotional world through the visual beauty of concise text and pictures. The love and family devotion in “Ping Rumei” is not so much a Chinese love and family view as a collective emotional consensus of the majority of the world.

3. Women’s autonomy and independence: gender culture resonance in domestic dramas

In 2018, the Chinese costume TV series “Fujian” and “Yanqi Raiders” have gained considerable traffic and good reputation in overseas markets. “Fujian” was released in China on June 18, 2018, Beijing time, and then broadcasted to netizens in various countries and regions through the Internet and national TV stations in 12 languages; the “Latentation Raiders” broadcast in China in July 2018. On December 12th of the same year, it topped the list of Google’s annual global hot search TV series.

Because the cultural dramas in the past can only be spread in close proximity to the country, the two dramas have moved to more distant regions such as the Americas, Africa, and Europe. They take the female perspective as the starting point, portray the growth trajectory of the small characters, express the female progressive consciousness, and have a strong metaphor of reality, which triggers the emotional resonance of netizens at home and abroad.

These two dramas are domestic costume dramas based on historical themes. Combining Chinese traditional culture, the “Chinese texture” is created through the simple and atmospheric images and exquisite composition, which has aroused the high interest of netizens at home and abroad. The “Yanlan Raiders” is to apply the intangible cultural heritage elements with Chinese characteristics to costumes, props and scenes, and become a highlight of attracting overseas netizens.

As of July 21, 2018, “Fujian” scored 4.8 (out of 5) on the American Asian drama platform Dramafever. , rated on the famous website Viki in Singapore as high as 9.7 (out of 10 points). The play is also very popular in Pakistan, and the mainstream media “Pakistan Daily” has published a report on its popularity.

There is a report citing comments from foreign netizens: “This looks so good! I think this is gonna be my first Chinese drama!(Good-looking! It wants to be me See the first Chinese drama)” so far I like it!! hope it keeps up the good pace. really like that the coloring isn’t too bright and I think overall the special effects have been pretty Good. really like the fighting scenes and the costumes. acting seems pretty good so far.(I really like “Shake”, I hope it will continue to be wonderful. Really like its color, not very bright, the whole special effect is really good. Really like its martial arts effect, clothing, so far, the actors performed very well)“.

These two dramas adopt a female-oriented narrative structure, with special emphasis on women’s self-awareness and independent spirit. The heroines and Wei Wei of these two TV dramas are not attached to the male rights. They are from the bottom and pass. Constantly struggle with the imperial power to achieve self-identity and convey an independent and independent female consciousness.

Under the backdrop of historical grandeur, the ancient Chinese cultural elements (architecture, food, literature, colorEtc.) becomes an external representation of female spiritual expression. The intangible cultural value of the Chinese culture that is difficult to replicate has made the Chinese costume drama “going out to sea” have achieved more than expected communication effects.

The content innovation of the above cases strives to explore the possibility of discourse innovation in a common sense space. On the one hand, we began to tell the Chinese story with international expressive ability and world value, and based on the background of the times and the needs of Internet users to debug and innovate the discourse mode; on the other hand, the content of the work is exploring the essence of Chinese culture. And innovative paths of unique expressions that resonate with people of different cultural backgrounds by conveying values ​​of common values.

Terminal Innovation: New Media Building a Cross-Cultural Virtual Community

The development of new digital communication technologies has created new opportunities for intercultural communication and dialogue. Platform (platforms) as cross-cultural The significance of disseminating infrastructure is becoming more and more obvious. As the foundation layer of intercultural communication, the platform not only provides technology as the physical attribute support of intercultural connections, but also provides channels and negotiation space for content and concept innovation through its own technology update and optimization.

At present, the technology platform and its series of products that are continuously supplied by technology companies will continue to expand their overseas market scales for commercialization after they have realized their technology maturity in China, and thus continue to deepen the cooperation of the information industry. From the perspective of cross-cultural communication, the platform innovation of commercial organizations effectively supplements the shortcomings of overseas media dissemination by the state media, and it is entirely possible to form a mutually supportive communication matrix to spread the excellent Chinese culture more broadly and effectively.


The overall situation in 2018 shows that various Chinese communication subjects are practicing cross-cultural communication consciously or unconsciously. The national media revolves around the major theme (Human Destiny Community, 40th Anniversary of Reform and Reform, National Conference, etc.) and Chinese Culture (natural humanities, etc.), diversified use of new media technologies to present China’s development style and emerging globalization claims. It is worth noting that foreigners(Reporters from well-known foreign media, overseas V, foreign Chinese, etc.) are increasingly becoming narrators and communicators of Chinese stories. Full of personalized emotional experiences and storytelling effectively reduce the cultural distance of cross-cultural communication.

The new media company’s commercial media is launching a positive overseas communication vitality. With the continuous maturity of its own technology, platform and products, commercial companies are becoming an important force in cross-cultural communication, and their content innovation and activity have improved China. The overall quality of cultural “going out” and the good results of its platform innovation highlight the possibility of Chinese culture listening and recognizing globally.

Either the national and commercial media concept innovation, content innovation and platform innovation depend on the support of individual users and readers of Internet production and audiences. Personalized narrative and interactive participation have contributed to the cross-culture of Chinese culture. The spread of global network connectivity, the interpretation, experience and significance of global user-participatory production determines the actual effect of external communication.

Concept innovation in cross-cultural communication mainly solves the “why” problem, under the pressure of confrontational globalization, China’s external communication needs to express a clearer and more cordial way to build a harmonious world. The concept of the community of human destiny and the construction of a multicultural community have highlighted the important value of the times.

Content innovation mainly indicates “what to do”. Under the premise that digital technology is increasingly convenient and diversified, the possibility of shaping a co-culture space through discourse innovation has already emerged. The main body, form, symbol and meaning expression of discourse innovation will simultaneously have a diversified ecology. We need to accommodate more different voices and enhance the ability to deal with cross-cultural conflicts.

Platform innovation mainly breaks through the “through what” communication infrastructure layer construction problem, and the constantly optimized new technology is creating a negotiable semantic space and creative ecology, and the multicultural interaction brought by technology Effectively promote the perception, acceptance, understanding and recognition of Chinese culture by global users.

(Xiao Wei is a researcher at the Media Development Research Center of Wuhan University and an associate professor at the School of Journalism and Communication at Wuhan University. Li Zhaoxia is a 2018-level master’s degree student in Communication Studies at the School of Journalism and Communication, Wuhan University. This article is an excerpt from the single wave editor “China Communication Innovation Research Report (2019)”, Social Science Literature Publishing House,2019, pp. 144-164. )


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8, National Geographic: “Official! Secrets are revealed! 》, 20iz = MzA3MzQ1MzQzNA == & mid = 2656957436 & idx = 1 & sn = 72052cfc68a097191222a0d91a5ecb2a & chksm = 84a789e9b3d000ffcfd2fd4483d2acfb952f9e9c925511581cabbd8ee2197eeae7cd44a7e834 & mpshare = 1 & scene = 1 & srcid = & sharer_sharetime = 1573784916737 & sharer_shareid = e4b33bab7f9162ad54c7d1654baf8898 & key = 902c524e4bb052f9b6616d50bd50ab6dbb29a67d670d9d94027383af42d5d51ed65f793ae4ff5934fe7df884d9f27c233e35e22e5a562237e3a60cc0f968e5e513d4d93d4a0ec957fa6596f0c5da28dd & ascene = 1 & uin = MjY0ODM0MDIzNA% 3D% 3D & devicetype = Windows + 10 & version = 62070158 & lang = zh_CN & pass_ticket = RQuFxBLnLC0Gy3jubEkzAjHs6Zv4E0ZvJhVxtG2DRxVbPfk3soW8snAs2mrTCSlL “target =” _ blank ” Rel=”nofollow” style=”text-decoration: none;”>All Media (ID:quanmeipai) author: Xiao Jun, Li Zhaoxia