novelraw Chapter 275: The Morning Light of Kanto TV! The Bugle Call of Assembly!
Chapter 275: The Morning Light of Kanto TV! The Bugle Call of Assembly!
The early morning sunlight spilled through the glass windows of Kanto TV's office building onto the somewhat old conference table, plating the mottled wooden surface with a warm yellow halo.
Nohara Hiroshi stood at the door of the meeting room, watching his colleagues walk in one after another. A gentle yet firm smile appeared on his face.
After resting from the celebration banquet, he showed not the slightest slackness. He drove back to Kanto TV early in the morning—this place carried his promise to revitalize traditional media and spread Kanto's culture, and also held the hopes of the entire team.
"Hiroshi-san!" Matsui Yuichi was the first to walk into the meeting room, holding a thick stack of documents in his hands, his face full of energy. "Your refusal of Mayor Shimazu's invitation at the celebration banquet yesterday and choice to stay at our Kanto TV moved everyone so much! Early this morning, several young director-editors proactively came in to work overtime, saying they wanted to work hard following you!"
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Nohara Hiroshi nodded, took the documents, and flipped through them: "Thank you all for your trust. But we cannot rely solely on being moved;
we must speak with solid works. The revitalization of Kanto TV is not a slogan;
it requires every one of us to put in a hundred and twenty percent of effort."
People walked into the meeting room one after another: Yamada Takashi, Fujishita Ken, Kobayashi Kijiro, Saito Shigeru... Everyone held planning proposals or notebooks in their hands, their eyes full of expectation and drive.
In the past, because of aging equipment and a brain drain, Kanto TV's meeting room was always cold and deserted. Now, however, all seats were occupied, and the air was filled with a long-lost hot-bloodedness and passion.
After everyone had arrived, Nohara Hiroshi walked to the seat of honor at the conference table and sat down. He cleared his throat, his tone steady and powerful: "Calling everyone for a meeting today is mainly for two things. First, we must speed up the production progress for the subsequent episodes 6 to 12 of 'A Bite of Neon' and strive to have them all online by next month. Second, we must determine the planning direction for our next documentaries, leveraging the support of Mayor Shimazu and TV Tokyo right now, and riding the east wind of the traditional culture revival to establish Kanto TV's brand!"
He paused and swept his gaze over the crowd: "Everyone has seen the response to the first few episodes of 'A Bite of Neon.' It not only spurred local economies but also obtained support funds from the Ministry of Education, and even attracted cooperation intentions from overseas TV stations. This proves that documentaries on traditional culture subjects have a market, an audience, and value. We must seize this opportunity and make the subsequent episodes even better!"Matsui Yuichi immediately stood up: "Hiroshi-san, rest assured! The filming material for Episode 6 of 'A Bite of Neon,' 'Ibaraki Lacquerware,' has been mostly collected, and backend editing is two-thirds done. We guarantee to produce a sample cut within a week!"
Yamada Takashi also added: "The on-site filming for Episode 7, 'Changes of Chiba Fishing Port,' is over. The interview material from the fishermen is very touching, especially the story of inheritance and innovation between a grandfather and grandson, two generations of fishermen. We have already organized the editing outline, just waiting for you to check it over!"
Nohara Hiroshi nodded in satisfaction: "Very good! The backend production must pay attention to details. For example, 'Ibaraki Lacquerware' shouldn't just film the shokunin's lacquering craftsmanship;
it must also highlight the processes of lacquer tree planting and lacquer material preparation, so the audience can feel the craftsmanship behind every piece of lacquerware. 'Chiba Fishing Port' needs to balance the contrast between traditional fishing and modern fishery well, focusing on the inheritance of skills and the clash of ideas between the grandfather and grandson, conveying the theme of 'Preservation and Innovation'."
He looked at the colleague in charge of post-production: "The background music should use traditional instruments of the Kanto region, such as the shakuhachi and shamisen, to give the film more regional characteristics. Additionally, the subtitles must include annotations of knowledge points, such as the history of lacquerware and the background of the fishing port's changes, so the audience can also acquire knowledge while appreciating it."
"Understood!" The colleague in charge of post-production hastily jotted it down, eyes full of earnestness.
On the conference table, the planning proposals for the subsequent episodes of "A Bite of Neon" were spread out one by one. Nohara Hiroshi provided guidance episode by episode and put forward specific revision suggestions.
"Episode 8, 'Mie Prefecture Wagashi Making,'" Nohara Hiroshi pointed at the planning proposal. "The current outline only writes the steps to make wagashi;
it is too thin. We need to add the connection between 'wagashi' and the 'four seasons.' For example, sakuramochi in spring, mizu yokan in summer, kuri kinton in autumn, daifuku in winter—every kind of wagashi corresponds to the scenery and emotions of a season. We also need to interview the inheritors of long-established shops and film how they stick to traditional recipes while incorporating modern tastes, like low-sugar wagashi or cartoon-shaped wagashi, to attract young people."
Kobayashi Kijiro nodded repeatedly, recording rapidly in his notebook: "Hiroshi-san, your suggestion is excellent! We indeed overlooked the seasonal and youthful elements before. I will contact the Mie Prefecture branch of 'Toraya' right away and strive to film their process of making cherry blossom wagashi."
"Episode 9, 'Yanesen Old Street Visit,'" Nohara Hiroshi continued. "The focus should be filming the 'vitality of life' of the old street. We can't just film the buildings;
we must film the stories of the old shop owners and their customers, such as a stationery store that has been open for fifty years, a kimono shop inherited for three generations, a small eatery hidden in an alley. We also need to film young people's protection of the old street, such as designers returning to their hometowns to start businesses, or students volunteering to sort out the old street's history, showcasing the old street's vitality amidst the changes of the times."
Saito Shigeru raised his hand, his tone excited: "Hiroshi-san, I filmed a lot of establishing shots of the old street before. Adding these stories now, the film will definitely have more warmth! I also know an old photographer from the old street who has many precious old photos;
they can be used as flashback material to show the changes of the old street."
"Very good." Nohara Hiroshi nodded. "Episode 10, 'Saitama Prefecture Traditional Dyeing,' should highlight the conflict and integration of 'inheritance and innovation.' Old shokunin insist on the traditional craft of plant dyeing, while young designers want to incorporate modern patterns and uses, like turning dyed cloth into backpacks or scarves. We must film their clash of ideas and the process of ultimately collaborating to launch co-branded products, letting the audience see the possibilities of traditional crafts."
Fujishita Ken smiled and said: "Hiroshi-san, the advertising sponsorship for 'Saitama Dyeing' has been settled! 'Matsuya' pickle shop not only sponsored funds but is also willing to display the dyed cloth products in their stores, achieving a win-win for culture and business!"
"Episode 11, 'Kanagawa Prefecture Green Tea Cultivation,'" Nohara Hiroshi flipped to the next page, "Needs to film the complete process from planting tea, picking tea, making tea, to tasting tea. Focus on filming the hard work and persistence of the tea farmers, like picking tea at four in the morning and controlling the heat when hand-roasting tea. We must also add elements of tea ceremony culture, interviewing tea ceremony masters to explain the connection between green tea and life, conveying the concept of 'slow living'."
"Episode 12, 'Tokyo Yanaka Ginza Shopping Street,'" Nohara Hiroshi finally said. "This is the concluding piece of the 'A Bite' series;
it must serve as a summary and elevation. Film the various foods of the shopping street, like oden, taiyaki, ningyoyaki... But more importantly, film the human warmth of the shopping street: the mutual help between shop owners, the warm interactions between neighbors, the beautiful encounters between tourists and locals. Finally, point out the theme: Food is not only an enjoyment of the taste buds;
it is also a bond connecting people to people, connecting the traditional and the modern."
Listening to this, everyone's blood boiled, and they all nodded in agreement. Matsui Yuichi signed with emotion: "Hiroshi-san, with your meticulous guidance, the subsequent episodes of 'A Bite' will definitely surpass the previous ones! We are full of drive right now and guarantee to complete them on time and with high quality!"
Looking at everyone's enthusiasm, Nohara Hiroshi smiled: "I believe in everyone's abilities. But I also must emphasize that quality is number one. We cannot do things perfunctorily just to catch up to the schedule. If you encounter difficulties, such as coordinating filming locations or lacking equipment, tell me at any time, and I will contact TV Tokyo or the city government to help resolve it."
After finalizing the production plan for the subsequent episodes of "A Bite of Neon," the meeting entered the next phase—discussing new documentary planning. Everyone brought out the planning proposals they had prepared and spoke eagerly.
Yamada Takashi stood up first and handed over a planning proposal for the "Kanto Traditional Craft Revitalization Plan": "Hiroshi-san, I want to make a documentary series focusing on traditional crafts in the Kanto region that are on the verge of being lost, such as 'Chiba Copperware,' 'Ibaraki Pottery,' and 'Kanagawa Lacquerware Restoration.' Filming one craft per episode, documenting the shokunin's persistence and inheritance, while also exploring how to integrate these crafts into modern life."
Nohara Hiroshi took the planning proposal, flipped through it carefully, and nodded in praise: "This plan is very good, and the entry point is precise. But pay attention, you can't just film 'tragedy';
you must film 'hope.' For example, for 'Chiba Copperware,' you can film the shokunin developing copper tea sets and ornaments that enter young people's lives;
for 'Lacquerware Restoration,' you can film the restorer's process of restoring antique lacquerware, and the stories of these antique lacquerwares being exhibited in museums and understood by more people. You should also add market data, such as sales growth of traditional craft products or changes in the number of young inheritors, letting the audience see the momentum of the traditional crafts' revitalization."
"I understand!" Yamada Takashi hastily jotted it down. "I will add these contents to make the planning proposal more complete."
Kobayashi Kijiro spoke next, holding the planning proposal for "Young Power in the Old Street": "Hiroshi-san, I want to film stories of a group of young people returning to their hometowns to start businesses and protect the old street. For example, a young cafe owner in Yanesen old street incorporating old street elements into their coffee design;
a young photographer in Kamakura old street using social media to promote the old street's beautiful scenery and culture. Showcasing young people's love for and innovation in traditional culture."
Nohara Hiroshi smiled and said: "This planning has a strong sense of the times and can attract young audiences. I suggest adding the element of 'intergenerational dialogue', filming the young people and the old shop owners learning from each other—young people teaching old shop owners to use social media for marketing, while old shop owners teach young people traditional crafts and the way of business. Also film the difficulties and setbacks they encounter, and how they overcome them, making the story more authentic and infectious."
Saito Shigeru also handed over a planning proposal: "Hiroshi-san, I want to film 'The Shokunin Behind Kanto Cuisine', focusing on the culinary shokunin hidden in the streets and alleys. For example, an old grandma who has made oden all her life, a master who insists on handmade noodles, an owner of an inherited three-generation miso shop. Documenting their craftsmanship and persistence, as well as the stories behind the food."
"This planning echoes with 'A Bite', which is very good." Nohara Hiroshi said. "But highlight the 'uniqueness', such as the secret recipe of the oden broth, the difference in texture of handmade noodles, the fermentation process of miso. Also film the connection between food and festivals/folk customs, like soba on New Year's Eve or miso soup in the first month of the year, making food a medium that carries cultural memories. Additionally, you can add an element of 'food exploration', inviting ordinary citizens or food bloggers to participate to increase interactivity."
Fujishita Ken also couldn't help but speak: "Hiroshi-san, I want to do a 'Kanto Folk Festival Tour' planning, filming the traditional folk festivals in the Kanto region, like the Sanno Festival in Tokyo, the Choshi Grand Fireworks Festival in Chiba, the Chichibu Night Festival in Saitama. Documenting the origins, processes, folk activities of the festivals, and the local people's emotions towards the festivals."
Nohara Hiroshi nodded: "Folk festivals are an important component of traditional culture;
this planning is very valuable. When filming, pay attention to details like the festival's costumes, props, music, dances, and interview the local people, listening to them tell the stories of the festivals and their childhood memories. You can add content about the 'changes of festivals', like how traditional festivals incorporate modern elements to attract more young people to participate, showcasing the vitality of folk culture."
Everyone spoke one after another. Creative planning proposals were put forward, discussed, and perfected one by one.
The atmosphere in the meeting room grew livelier and livelier, everyone's face brimming with excitement and expectation.
In the past Kanto TV, because of the lack of a clear direction and quality resources, everyone could only fight their own battles. Now, under Nohara Hiroshi's leadership, the team had a clear goal, professional guidance, and solidarity and cohesion.
As the meeting neared its end, Nohara Hiroshi stood up and concluded: "The planning proposals everyone put forward today are all very good, full of creativity and sincerity. Next, we will proceed in three steps. First, concentrate our efforts to complete the production of the subsequent episodes of 'A Bite of Neon' to ensure they go online on time next month. Second, establish three special task forces to be responsible for the three key plannings: 'Kanto Traditional Craft Revitalization Plan,' 'Young Power in the Old Street,' and 'The Shokunin Behind Kanto Cuisine';
start on-site research and filming preparations next week. Third, proceed simultaneously with equipment upgrades and personnel training. I have already applied to TV Tokyo for a batch of new video cameras and editing equipment, which will be in place next week. At the same time, we will invite senior directors and editors from TV Tokyo to conduct training and improve everyone's professional abilities."
He paused, his tone solemn: "I know the road to revitalizing Kanto TV will not be smooth sailing. We might encounter various difficulties like funding shortages, filming obstructions, market competition. But I believe that as long as we stick to our original intention, settle our minds to create works, and polish every documentary like a masterpiece, we can definitely overcome difficulties, make Kanto TV radiate vitality anew, and let more people understand the traditional culture and humanistic stories of the Kanto region."
Matsui Yuichi stood up and excitedly said: "Hiroshi-san, rest assured! We will definitely work hard following you, and not let down your expectations, nor the support of Mayor Shimazu and TV Tokyo!"
"Yes! We will definitely work hard!" The crowd stood up one after another, speaking in unison, their eyes full of firm belief.
Looking at the energetic team before him, Nohara Hiroshi's heart was full of warmth and strength.
He knew his choice to stay at Kanto TV was correct. Here, there was a group of colleagues who loved traditional culture and were willing to devote themselves to it. There were too many stories worth recording and passing on.
After the meeting ended, everyone took action one after another.
Matsui Yuichi took the post-production team and immediately threw themselves into the editing work of "A Bite". Yamada Takashi contacted the wagashi shop in Mie Prefecture to finalize the filming time. Kobayashi Kijiro organized the material for the old street visits to supplement the planning proposal. Saito Shigeru prepared to go to Yanaka Ginza Shopping Street to investigate the culinary shokunin on-site. Fujishita Ken was busy connecting with equipment suppliers to ensure the new equipment arrived on time.
Nohara Hiroshi sat at his desk, looking at Kanto TV's signboard out the window.
The support of Shimazu Yoshihiro, the assistance of TV Tokyo, the efforts of the team—all these were the driving forces for Kanto TV's revitalization.
And what he had to do was lead everyone to implement every plan, and film every work with warmth, depth, and strength.
He flipped open the planning proposal for Episode 12 of "A Bite of Neon," his pen tip lightly tapping on the paper.
For the concluding piece, he had to achieve perfection. Not only did he need to summarize the theme of the entire series, but he also had to convey awe and love for traditional culture, and gratitude and expectations for life.
At this time, there was a knock on the office door. Matsui Yuichi poked his head in, a smile on his face: "Hiroshi-san, Section Chief Hashimoto Ichiro from TV Tokyo called, saying the new equipment is ready and asking when it would be convenient for us to pick it up. In addition, Department Manager Miyazawa from NHK also contacted us, wanting to include the 'A Bite of Neon' series in the 'Cultural Export' key recommendation list;
it will broadcast simultaneously in Southeast Asia next month!"
Nohara Hiroshi looked up, a gratified smile appearing on his face: "Excellent! Tell Section Chief Hashimoto we will send someone to pick up the goods tomorrow. Reply to Department Manager Miyazawa that we will provide the complete episode materials as soon as possible to cooperate with their export plan."
Matsui Yuichi nodded and ran out excitedly.
Nohara Hiroshi looked out the window again;
the sunlight was just right, and the sky was sky blue.
The future of Kanto TV was full of hope.
As long as they persisted, using the camera lens to record reality and works to convey warmth, Kanto TV would definitely be able to become an important platform for spreading traditional culture. And he himself could also realize his film and television dreams on this path, writing the legend belonging to Nohara Hiroshi.
In the following days, everyone in Kanto TV threw themselves into tense yet orderly work.
The filming team rushed to workshops, old streets, fishing ports, and tea gardens around Kanto, capturing one precious moment after another. The post-production team stayed up late editing, color grading, and scoring, polishing every shot. The marketing team actively connected with media, enterprises, and overseas platforms, promoting Kanto TV's works.
Nohara Hiroshi was like a navigator, controlling the overall direction, guiding the advancement of every plan, and solving various problems encountered.
He had to review sample cuts, put forward modification suggestions, as well as coordinate resources, connect collaborations, and also conduct training for young director-editors, sharing his filming experience. Though busy, he found joy in it, because he knew that what he was doing was a meaningful, valuable thing.
And the production of the subsequent episodes of "A Bite of Neon" was also advancing methodically.
After every episodic sample cut came out, the team would hold an internal review meeting. Everyone expressed their own views and put forward revision suggestions until everyone was satisfied.
Nohara Hiroshi always emphasized that the core of documentaries is "reality" and "sincerity", letting the audience see the shokunin's persistence, the charm of culture, and the beauty of life from the film.
As time passed, Kanto TV's reputation grew bigger and bigger. More and more people began to pay attention to this once-silent local TV station.
Support funds from the Ministry of Education arrived one after another, enterprise sponsorships and collaborations multiplied, and young talents also submitted their resumes one after another, wanting to join this vibrant team.
Nohara Hiroshi stood on the roof of Kanto TV. Looking at the busy figures downstairs and the bustling scene of Tokyo City in the distance, his heart was full of a sense of achievement.
He knew this was just a beginning. The future still had a longer road to walk, more stories to record, and more dreams to realize.
But he was confident. With the support of the team and his love for traditional culture, he could definitely lead Kanto TV toward an even more brilliant future.