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DPP authorities’ excuses for blocking youth service platform are nothing but separatist rhetoric: mainland spokesperson_我的网站

泡沫之夏

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Photo: Chen Binhua, spokesperson for the State Council Taiwan Affairs Office
    Photo: Chen Binhua, spokesperson for the State Council Taiwan Affairs Office
The Democratic Progressive Party (DPP) has resorted to blocking the Chinese mainland's "Taiwan youth e-home" service platform under pretexts that are nothing but separatist rhetoric. In fact, the very act of blocking only proves that the platform meets the needs of young people in the Taiwan region and strikes a raw nerve with the DPP authorities, Chen Binhua, spokesperson for the State Council Taiwan Affairs Office, said on Friday.
Chen's remarks were made in response to a question regarding the DPP's move to prevent Taiwan compatriots from accessing the platform and their claims that the platform poses risks of personal data leakage and operates as a tool for waging public opinion and psychological warfare.
"Taiwan youth e-home" service platform is a public-welfare comprehensive service platform tailored for young people in Taiwan. It is designed to meet the needs of young Taiwan residents who come to the mainland for exchanges and development, and offers a full range of information services covering exchanges, studies, internships and employment. Since its launch, the platform has been well received and recognized by people across Taiwan, especially young generations on the island, Chen said.
Chen said turning a blind eye to the aspirations and needs of Taiwan's young people for cross-Straits exchanges and development, the DPP authorities have openly threatened to block the platform under pretexts including personal information leakage, united front tactics. All these excuses are nothing but "Taiwan independence" rhetoric, he added.
The spokesperson asked, "Does giving Taiwan youth one more opportunity count as 'united front tactics?' Does letting Taiwan youth make their own comparisons count as a 'risk?'"
In fact, the DPP authorities' blockage only serves as further proof that the platform responds to Taiwan youth's demands and strikes home where the DPP authorities hurt most. Acting perversely against the popular trend, the DPP authorities have ordered relevant parties to block the website address and shield the webpage. Nevertheless, they can never bar young people in Taiwan from pursuing opportunities and development, nor can they shut the door that the platform represents in the hearts of people on both sides of the Taiwan Straits.
The Chinese mainland's 15th Five-Year Plan has gotten off to a solid start with a good beginning, and high-quality development holds vast opportunities. It is a fertile ground for young Taiwan residents to pursue exchanges, studies, employment, and entrepreneurship, he said.
"We always uphold the principle that 'both sides of the Taiwan Straits belong to one and the same China,' and we will continue to create better conditions and provide more convenience for young Taiwan people to pursue and realize their dreams on the mainland," said Chen, adding "We welcome Taiwan youth to make active use of the platform to feel the warmth of home, and to experience services that are getting better and better."
Global Times

B |     Released in 1990, Anjali is often labelled a “children’s film” or “family drama.” While not inaccurate, those descriptors do little justice to its scope. At its heart, Anjali is an unflinching exploration of how a family fractures and reforms in the presence of the ‘other’. That ‘other’ is Anjali, a young girl with multiple neurodevelopmental conditions, abandoned at birth by a father (Raghuvaran) too afraid to allow grief and hope to co-exist. This isn’t merely a story of acceptance. It is one of confrontation, of guilt, of tenderness, of societal callousness. The child becomes a mirror, and every character from her mother (Revathi, sublime even in silence) to her bewildered siblings is forced to reckon with what they see in their reflections.          Beyond the Noise: Anjali as a Radical Experiment in Empathy In the landscape of Tamil cinema in the 1980s and early ’90s, defined by moral binaries and external antagonists, Ratnam’s Anjali was a narrative insurgency. There are no villains here. The real struggle resides within the confines of the home, and in our collective discomfort with difference. The film dares to ask difficult questions: What does it mean to be normal? Who gets to decide? And can love alone mend the gaping wound of fear?           Language of Loss: Visual Poetry and Sonic CompassionSantosh Sivan’s cinematography conjures a visual poem—Anjali glimpsed through half-closed doors, framed in fractured mirrors, or bathed in gentle light. Her presence is not marginalised, but mythologised. She isn’t just a character; she is a quiet force that reshapes the emotional architecture of everyone around her.Ilaiyaraaja’s music doesn’t accompany the film, it animates it. A lullaby becomes a leitmotif of endangered innocence. His string arrangements, especially the plaintive violins and cellos, turn emotional undertow into orchestral language. Without his score, Anjali would still speak, but not sing.And then there is Shamili. Her performance is startling not for its polish, but its truth. There’s nothing rehearsed about it. Mani Ratnam, ever the alchemist of performance, finds in her something raw and instinctual; less acting, more inhabiting.           The Social Politics of Tenderness In hindsight, Anjali might be Ratnam’s most political film; not through slogans or speeches, but through its unwavering gaze at how society fails its most fragile members. The apartment complex, with its manicured lawns and modern facades, reveals itself as emotionally atrophied, until Anjali unearths something resembling humanity. There is no appeal to sentimentality. Instead, Ratnam urges us to sit in discomfort. And in doing so, he crafts a film that listens more than it speaks, a cinematic act of radical empathy in an era of dramatic noise.            A Legacy Too Quiet to Ignore  For all the epic scale of Raavanan or the operatic ambition of Ponniyin Selvan, Anjali remains Ratnam’s boldest creative risk. In a culture that celebrated machismo and mass appeal, he dared to whisper. And perhaps that’s why we don’t talk about it enough. Because Anjali isn’t here to entertain. It’s here to unearth.  And in that stillness, lies its genius.       See Also:Aishwarya Rai Bachchan and Amitabh Bachchan to star in Mani Ratnam’s next?。

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Published on:20:38:09


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