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提升产业集群资源协同配置效率 河北加快培育产业大脑_我的网站

一 |     提升产业集群资源协同配置效率我省加快培育产业大脑日报讯（记者米彦泽）今年加快培育产业大脑，以工业互联网为基础，构建智能化产业生态系统，让特色产业集群企业产能匹配更精准、融资贷款更顺畅、生产管理更高效，助力产业集群加速跑。“每吨带钢比自采便宜15元！”8月18日，展宇机电科技有限公司总经理柴晓东登录永年紧固件产业大脑，看到头天提交的2000吨带钢采购需求已新鲜出价。仅此一单，即可为企业节省成本3万元。作为永年紧固件产业集群企业，展宇机电每年采购盘条、带钢等原材料5万吨。然而，在钢铁生产企业面前，单个企业的采购体量有限，长期以来该公司主要通过钢铁贸易商采购原材料，缺乏议价权，占用大量流动资金。

二 | 而在永年，像展宇机电这样的紧固件企业多达上万家，几乎家家都面临着同样的困境。去年以来，永年区开始建设紧固件产业大脑，创新构建“1+1+N”整体架构，即1个政府全域总平台、1个共享制造基础技术底座、N个专业协同子平台，为集群企业提供原料集采、产品集销、数字金融、仓储物流等多种服务，打造全球紧固件数字化共享制造与数字贸易中心。接入永年紧固件产业大脑后，展宇机电只需发布原料需求，产业大脑便能自动识别型号、归集集群内同类采购，将分散的小单汇集成大单，再以规模优势向上游钢企统一议价。

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    Promotional material for Once Upon a Time in the Middle East Photo: Courtesy of DoubanIn the days after Once Upon a Time in the Middle East opened across China, a striking chorus of overseas voices began to surface online. Moviegoers from South Africa, Iran, Thailand and elsewhere hailed the film as a rare departure from Hollywood's war stories, praising its decision to place US forces in the role of invader rather than "liberator." One widely shared post called it the movie that finally showed "the real America."
The excitement is understandable. Director Wen Muye has made something quietly radical: a war film that refuses spectacle. 
There is a wedding scene in Once Upon a Time in the Middle East that stays with you long after the credits. In the middle of a war zone, people still find a way to dance, embrace, and cry as if tomorrow will never come. The joy is desperate and beautiful at the same time. Watching it, you feel the ache of a simple truth: These people should have been allowed every tomorrow. That single sequence captures what director Wen Muye has achieved. He has made a film that only a Chinese filmmaker could have made - because of a sensibility that refuses to treat war as spectacle or moral theater.
The commercial response in China has been equally striking. During the past weekend the film took in 373 million yuan ($55.35 million) at the box office, over 4 times the amount earned by Christopher Nolan's The Odyssey in the same market. Audiences walked out of the theater talking about war, food, and the value of ordinary life. The numbers confirm what the film itself demonstrates: a story told from the kitchen can still command a massive audience.
The story follows Xu Fu, an ordinary Chinese chef who travels to a Middle Eastern city (clearly modeled on Iraq around 2003) to work off family debt. With restaurant manager Ma Junsheng, he opens the Dragon Restaurant and serves Chinese food. Even after the invasion begins, the kitchen does not close. The kitchen becomes a fragile island where meals continue to be cooked while the war begins outside. Xu Fu is not a hero in a Hollywood sense. He does not pick up a gun or deliver speeches about freedom. He just keeps cooking.
What makes the film remarkable is how cleanly it rejects the familiar Western war narrative. Hollywood has spent decades following US soldiers into foreign cities, showing their courage, their trauma, and their brotherhood. Films like Saving Private Ryan and Black Hawk Down place the US experience at the center and often reduce the local population to a background threat or grateful recipients of rescue. Once Upon a Time in the Middle East turns the camera the other way around. It asks a blunt question spoken to an American officer: "Without you, where would the terrorists come from?" The line is not delivered as propaganda. It is offered as a practical observation about cause and effect. Violence creates more violence. Children who lose everything do not become extremists by nature; they do because the options for a normal life have been deprived.
The film makes this point through a recurring image: the knife. In Xu Fu's hands, a knife is a tool for chopping, flipping, and seasoning. It produces the bowl of "Xu Fu stew" that orphans finish and ask for more. In other hands, the same blade becomes a weapon. "The knife is not good or evil," the film suggests. "People are." The same logic applies to the children. Young Saif learns to cook under Xu Fu's guidance, kneading dough, controlling the flame, earning respect through a plate of food. Other kids the same age are packed into cars with bombs instead of books. 
Here the Chinese director's approach proves smarter than the Hollywood model. Hollywood war films usually rely on scale, speed, and moral clarity: big battles, clear villains, and a central hero who grows through combat. The camera stays close to the soldiers, the soundtrack swells, and the audience is guided toward admiration or catharsis. Director Wen Muye does the opposite. He stays small, slow, and unresolved. By placing the story inside a kitchen rather than on the front line, he forces the viewer to confront the human cost without the distraction of heroic spectacle. Instead of telling us who is right, he shows us what is lost. This restraint is more demanding and ultimately more persuasive. It trusts the audience to connect the dots rather than feeding them a pre-packaged moral. Where Hollywood often ends with a sense of hard-won victory or noble sacrifice, this film leaves you with the quieter, harder realization that the real damage continues long after the shooting stops: in the minds of children and in the broken routines of daily life. That choice of focus is not just different; it is more honest and more intelligent.
This perspective feels especially Chinese in its emphasis on ordinary survival. Chinese culture has long treated food as the foundation of life: "Heaven is big, earth is big, but eating is bigger." The dishes in the film, from northeastern iron-pot stews mixed with local grilled fish to carefully prepared fried rice made from whatever ingredients remain, are not exotic decoration. They are the practical language of endurance. One of the most moving moments comes when Xu Fu cooks a simple stew for a group of orphans during their escape. What began as "leftovers not fit for the table" becomes a permanent item on the menu. Anything made with care can feed people. That idea carries more weight than any battlefield speech.
The film's approach to food and daily ritual reminds me of director Ang Lee's Eat Drink Man Woman. Lee used elaborate family dinners to reveal emotional truths that characters could not speak aloud. Wen transplants that same quiet method into a war zone. The kitchen becomes the moral center of the story. Steam, chopping boards, and shared tables matter more than explosions. In both films, cooking is never just cooking. It is a way of insisting that human connection still exists even when larger forces try to erase it.
A quiet but powerful metaphor runs through the story: the potato. A potato is harmless until it sprouts and becomes poisonous. The children radicalized by war are not born poisonous. They become so when the soil around them turns toxic. The film returns several times to the simple instruction "don't waste food." In peacetime the phrase sounds ordinary. In a war zone it becomes a statement about the waste of human lives. War does not only kill people; it spoils what could have been good.
By the final scenes, the Dragon Restaurant has become more than a business. It is a small example that another way of existing is possible. Children are learning to cook instead of learning to kill. The film does not claim this solves geopolitics. It simply shows that the most basic human desire, to eat well and live another day, remains the clearest common language across cultures.
The author is a reporter with the Global Times. [email protected]
。集采模式下，仅原料采购，展宇机电就能每年节省75万元。产业大脑是推动产业集群数字化转型、催生新质生产力的核心载体，是拓展深化共享智造、壮大县域经济、构建现代化产业体系的关键抓手。出台数字技术赋能制造业、数智赋能产业集群高质量发展等系列政策，开展产业大脑培育工程，同步制定建设指南与指标体系，构建“产业大脑+共享工厂”融合模式，培育永年紧固件、宁晋电线电缆等6个省级行业产业大脑，为集群企业提供数智转型、原料集采、产品集销、共享制造、数字金融等“一厂九集”的服务功能，畅通集群产业链、创新链、资金链。景县橡塑产业大脑把整个产业的数字化生产、工业设计、科研创新、上下游配套等各类资源汇聚集成，打造集群共享的“中枢系统”，海量数据共享让企业生产管理变得耳聪目明。

四 | 宁晋电线电缆产业大脑提供一站式数字化供应链服务，帮助企业降低原材料采购成本100-200元/吨，降低运输综合成本达3%，平台入驻企业1000余家，交易额超200亿元。省工信厅相关负责人介绍，今年启动第二批产业大脑培育工作，计划再培育10个省级行业产业大脑，持续深化场景落地与市场化运营，逐步推动产业大脑服务覆盖107个重点产业集群，鼓励集群依托产业大脑开展大模型适配部署与落地应用，提升产业集群数字化水平和产业资源协同配置效率。

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Published on:05:39:45