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影视创作如何为城市赋能？冯小刚建议：留存城市文化印迹_我的网站

一 |     北京日报讯（记者 袁云儿）影视创作如何为城市赋能？在昨天（4月23日）举行的北京市影视摄制服务机制启动会上，冯小刚、梁振华等影视从业者就北京如何借鉴国际化都市影视产业发展经验展开对话，为北京影视发展建言献策。

二 | 　　作为京味喜剧代表人物，导演冯小刚拍过多部以北京为故事背景的电影，《甲方乙方》《没完没了》《大腕》等片中的北京街景，至今仍为影迷津津乐道。

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    Ronald Sakolsky fills a jar with sand from the Mu Us Desert in Inner Mongolia, planning to bring it back to the US, on August 24, 2026. Photo: Lin Xiaoyi
On Monday afternoon, Ronald Sakolsky, an American teacher, set foot once again on the soil of the Mu Us Desert, in the Uxin Banner of Ordos, North China’s Inner Mongolia Autonomous Region. He first came here in 2000. Back then, the land was little more than drifting sand. Today, it is green with trees – a transformation driven by decades of local effort.
He stood within Sakolsky Forest, a woodland formally named to honor his early donation toward local ecological restoration. There, he carried out a plan he had held long before this trip: filling a jar with sand from the desert to bring home to the US.
More than two decades ago, sand was the one thing this place had in abundance. In 1999, when Sakolsky arrived in China as a participant in a bilateral teacher exchange program, he was moved by the tireless efforts of Chinese desert fighter Yin Yuzhen and her husband to curb desertification in the Mu Us Desert. He raised $5,000 – equivalent in 1999 to three years of income for Yin’s entire family – to fund their local tree-planting initiative.
The young saplings bought with that donation have since matured into more than 50,000 full-grown trees, transforming the once desolate, sandy wasteland into a thriving green landscape.
When Sakolsky met Yin at the airport on Sunday, 26 years after his first visit to Inner Mongolia, he joked that he could not take a tree from the Mu Us Desert, but he could slip some sand into his shoes and carry a piece of the land back with him. Now, he had found exactly the sand he wanted – not just any sand, but from a place where persistence had turned desert into life, and where his own name had become part of that story.
“Promise is a promise,” he said. “Ms. Yin made a promise, and she fulfilled it.”
For Sakolsky, the sand is not just dirt. It is a metaphor, a bridge, a shared ground. He plans to tell his grandchildren what it means. “It’s not just a piece of sand in the jar,” he said. “It’s a jar of love.”
He used the jar of sand to symbolize that America and China share a relationship rooted in the same soil. He shook the jar, holding its two ends as if they were the two countries, and said that it shows we’re all on the same planet.
There is an old American joke, he noted, that if you dig a hole deep enough, you will eventually reach China. “We’re all on the same planet,” he said.
Earlier that day, while visiting Yin’s home, he spoke about the need for Americans and Chinese to see each other as family. “All Americans should understand that Chinese people and Americans can be family,” he said. “We can transcend differences if we focus on our common ground. We all love our countries, and we all value loyalty and respect – these are the shared virtues we hold dear.”
As for the sand he collected, Sakolsky said he would treat it as a treasure, alongside all his other precious keepsakes from China. He expects to display it in his living room – a daily reminder of the forest that carries his name and the people who made it grow.
。冯小刚建议，做好城市文化印迹的留存工作。

四 | “比如北京的公共汽车，从新中国成立到现在经历了好几代的变化，每淘汰一种，能不能留下三四台？包括曾经活跃在北京街头的夏利、奥拓。现在剧组要去复刻一辆当年的‘面的’，不仅费用高，难度也大。

五 | ”他认为，留下这些时代印迹不仅能给影视剧组参考，也是对城市文化的一种保护。　　北京师范大学教授梁振华曾创作过京味电视剧《心想事成》，在他看来，以北京为背景的文艺作品经过时光沉淀，已经变成北京文化的一部分。“我们追求的目标不是把北京作为一个简单的拍摄地，而是通过这些作品去展现和传承北京的文化内涵，同时打造北京的影视品牌，让影视行业为城市发展赋能。”　　阿里影业总裁李捷认为，北京作为国际大都市，同时又是国内影视产业最发达的城市，应该在国际影视行业交流互动中承担更多责任，加强与不同国家和地区在影视上的合作。　　中国艺术研究院教授支菲娜提出，不少国家都有剧组前来取景拍摄可以享受退税的优惠政策，国内在这方面可以有所借鉴。当摄制组离开、作品完成后，要解决观众如何与影视作品联动的问题，比如设计影视主题的旅游观光路线、对展现城市形象的优秀影视作品给予奖励等。

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Published on:01:58:18