Greetings everyone. Welcome to the Taiwan Post-New Wave Cinema series. I'm Bi Yu Zhang, the Deputy Director of the Centre of Taiwan Studies. This year marks the centre's 20th anniversary. We are very excited to launch this series to celebrate the centre's dedication to Taiwan Studies, bringing Taiwan to the UK and Europe. The Taiwan Post-New Wave Cinema series aims to investigate Taiwan's cinematic landscape of the past 30 years. It is really our pleasure to welcome Dr Lin Tingying today, one of our centre's regular contributors. Dr Lin is multi-talented. She's an academic, but also she's an artist. She received her PhD in media and communications from Gosmas University of London last year. She is also an independent visual artist and was trained in photography at Central Saint Martins University of the Arts London. She is now an Associate Professor in the Department of Information and Communication at Dian Dian University. Her research focuses on contemporary Taiwan cinema, Hong Kong cinema, East Asian screen media and visual cultures. Since her graduation, she's quite productive. She has already contributed several chapters in academic books, including two new books published this year, Concentric, Literary and Cultural Studies, that's one. Another is Sport, Film and National Culture, both published by Rowlett this year. The other one is in positioning Taiwan in a global context being and becoming. That's last year by Rowlett as well. Before we formally start the talk, I would like to thank our funder and collaborators, the Ministry of Culture Taiwan, the Cultural Division at the TRO Taipei Representative Office in the UK and also the Taiwan Film Institute for their support. Without their generous funding and continuous backing, it would not have been possible to launch such an ambitious project. So please be aware before we formally start the session, this is recorded. I would appreciate that you turn off your audio and video functions during the talk to enhance the quality of the session. You're also welcome to post your questions in the chat column, but I presume you should start posting your question probably 20 minutes into the talk. You know the chat column is actually on the top, there will be a squary icon you can post your chat. Could you make sure that you post only one at a time and keep them succinct? Our assistant curator, Shaoyi, will collate them and present them to the speaker. So may I just ask you to temporarily switch on your microphone and put your hands together to welcome Dr. Lin Ting Yin. Welcome Ting Yin. Yeah, good afternoon everyone in the UK and good evening everyone in maybe Taipei. I saw some friends from Tokyo as well and Hong Kong as well. And yeah, I'm Ting Yin Lin and I'm so glad to be here. And I'm from the Department of Information and Communication and Dianjiang, Tangkang University, Taiwan. And first of all, I would like to say thank you to the Center of Taiwan Studies for inviting me back to the Taiwan Post New Wave Cinema series, which I'm also very excited about. And yeah, so I'm going to show you my slides firstly. Okay, so the title of my talk today is New Authors in Taiwan Post New Wave Cinema, Ho Ji Ran, Lin Shu Yu and Zheng You Jie. And in the following sections, I'm going to focus on the three directors from Taiwan's new generation filmmakers and to examine their individual styles, filmic themes and filmmaking trajectories while trying to position the significance of these three new authors in the Taiwan Post New Wave Cinema. Okay, so at the very beginning, I'd like to raise the question to initiate this talk. Why do we need to locate new authors in the Taiwan Post New Wave Cinema? By answering this question, I would also like to explain the aim of this talk and also the rationale of the research. Since we all know that Taiwan Cinema has long been renowned for its new wave, the so-called Taiwan New Cinema in the 1980s, and also the second wave. Let us help you. Your shared slide has disappeared. Oh, really? Okay, so now you cannot see my slides now. Okay, so maybe once again. Can you see? Yes. Okay, great. Thank you. So, I think the environment, there might be some problems. Yes. Okay, so how you can see the page, okay, the slides of the authorship paradigm here. Great. So, and also the second wave in the 1990s, which have marked the rise of authorship paradigm focusing on the art house authors, such as, oh, we know that, 侯孝贤, Edward Yang, Yang Dechang, Anne Lee, and Cai Mingliang. And, um, famous scholars Emily Yeyue Yu and Dara Willam-Debbas pointed out that it is the foresee an authorship that Taiwan Cinema has been positioned in world cinema studies and gain enormous popularity in global film circuits. Quote, we argue that precisely because of authorship, Taiwan Cinema remains alive and energetic, especially in the context of world cinema, constituting an alternative form of popularity as seen in various international circuits. Quote ends. On the other hand, as Professor Song Huilin also points out, these Taiwan new cinema directors and their works can be seen as a form of soap power that has built up Taiwan's cultural and diplomatic images in the global realm. So from these points of the above mentioned from scholars, we can see that the authorship and author studies have played a very significant role for Taiwan Cinema. However, it should be noted that Taiwan Cinema in the 1990s and early 2000s has encountered a downturn in the box office. Until 2008, it is a crucial year of the release of Wei Doshan's pioneering film, Cake No. 7, 海角七号. This film has triggered the revival of Taiwan Cinema with its enormous box office success and aroused huge popularity among the local audience while also marking the coming of the new age of contemporary Taiwan Cinema. And the new period of Taiwan Cinema is generally called the Taiwan Post Web Cinema Taiwan Post Tang Chaoying. It is commonly considered to have started in 2008 with Wei Doshan's Cake No. 7, 海角七号. We will take on with other subsequent popular films such as 凌淑雨's Winds of September 浙江風, which I will talk about later, as well as 楊雅哲's O.R. Z Boys 中南海. Following the commercial success of these popular films made by the new generation Taiwanese filmmakers in 2008, the era of the Taiwan Post-New Wave Cinema has arrived. And it should be noted that the advent of the Post-New Wave has also led to the continuation of authorship studies or author studies. A lot of scholarly literature focuses on Hou Xiaoxian and Cai Mingliang's work in recent years. For example, many scholarly literature focuses on Hou Xiaoxian's Assassin 司科念營陽, and Cai Mingliang's Dredog 焦油, and maybe his latest Your Face in 2008, as well as other short films and artworks, and maybe also subsequently his latest film 《日子》 of this year. However, considering the non-Taiwan New Cinema Directors, other than Hou Xiaoxian and Cai Mingliang in contemporary Taiwan cinema, only Wei De-shun and Midi Z, you can see from the left one, Zhao Deying, have rather received attention in the international scholarly literature and global film festivals so far. To be specific, for example, the scholarly collection Taiwan Cinema, International Reception and Social Change, edited by Professor Chou Guifen and Min Ye Rosli and Gary Rosli, is a great example for the Taiwan Post-New Wave Cinema and Wei De-shun studies. There have been some other academic publications as well on the Taiwan Post-New Wave Cinema and Wei De-shun. On the other hand, we can see many international scholarly works and global film studies, film festivals have started to pay attention to Midi Z, Zhao Deying, and our house firm is Taiwanese director, who centers on his experience of diaspora and migration in his works. And there have been some researches and journal articles on Midi Z's works that have come out, as you can see on the slides. For example, like Professor Lin Xiong-Hui's tour of cinema, Utbiticus, Trafficking and Poverty as problematic in Midi Z's films, which is included in transnational cinemas. And also Melissa Melling Chan's Male Order Brides and Methodist and Phen Tamins, are signed for business in Midi Z's Burma trilogy, included in concentric literary and cultural studies. And also Luke Robinson's Midi Z network aesthetics from below and cultural politics of Taiwanese imperialism, which is included in the screen. But so far, we can only see Wadersen and Midi Z have rather received the international attention, either in the scholarly works or in the film festivals. In order to build up the entire picture of the development of contemporary Taiwan cinema, we still need to explore more authors in the post-New Wave. And therefore, considering this research gap, this talk aims to investigate those under-examined new authors in the Taiwan post-New Wave cinema, while particularly focusing on three directors from the new generation Taiwanese filmmakers, which are Hou Ji Ran, Lin Shuyu and Zheng Youjie. So in the following sections, firstly, I'm going to focus on these three new authors, early engagement, common engagement in youth romance genre in Taiwan post-New Wave cinema. And furthermore, I'm going to compare and contrast their individual styles, their phemic language they use, and their cinematic aesthetics. In the second part of the talk, I'm going to examine their phemic themes and filmmaking trajectories, while also investigating the differences in their individual characteristics and significances in fiction and non-fiction filmmaking, also the social-political concerns and international co-productions, respectively. Okay, so finally, the concluding remarks part. Okay, so now I'm going to move to the part one, their early common engagement in youth romance genre, differing phemic styles and cinematic aesthetics. So Hou Ji Ran, Lin Shuyu and Zheng Youjie have presented their first short film around the millennium, and they made their feature length debut or their second feature length films around 2008. To be specific, as you can see here, Lin Shuyu's first feature film, was released in 2008, and Zheng Youjie's second film, Yang Yang, was released in 2009, and Hou Ji Ran's debut, One Day You Yi Tian, was released in 2010. In other words, we can see that the time of their debut or their second feature film of these three directors, approximately corresponds to the year of the rise of the Taiwan Post-New Wave Cinema. And furthermore, the other aspect I would like to point out is Ji Ran. It is crucial to note that Taiwan Post-New Wave Cinema has opened up a new path of genre cinema and commercial films in Taiwan, and there is a clear trend of genre-driven and commercial-oriented film production and consumption in the post-2008 Taiwan Cinema, which can be broken down into the following categories, as you can see on the slides. For example, such as local comedies, history films and epics, romance and teen romance, triad and cop films, harrows and thrillers, and so on. And among these genres, the one I would like to focus on is the Youth Romance Genre, or the Teen Romance Genre. And according to Lu Xiao Laoshi, Taiwanese film scholar, Lu Xiao, Robert Chen, Apart from the previous films of Taiwan New Cinema that address national and historical trauma in the Taiwan New Cinema director's works, such as Hou Xiaoxian's A City of Sadness, Fei Ting Chen's Shi, or Edward Yang's A Brighter Summer Day, Gu Ling Jie's Sha Nian Sha Ren's Shi Jian, there is another side to approach Taiwan cinema as a cinema working out of sadness. That is, a genre of youth romance films. For instance, Yi Zhi Yan's Blue Gate Crossing, Lan Xiu Da Men, can be seen as the full-rounder of this genre in Taiwan cinema of the 21st century. And later on, as mentioned in the above, Lin Shuyu's first feature film, Winds of September, was released in 2008, and Zhen Youjie's second film, Yang Yang, was released in 2009, and Hou Jiren's debut one day was released in 2010. And these three films can be generally categorized as Youth Romance Genre films, and these three films have been exactly released in between the success of Cape No. 7 in 2008. And also, the subsequent box office hit, Gui Deng's quote, 九八刀, you are the apple of my eye. 那些年我们一起追的女孩 in 2011, which can be seen as another representative example for the youth romance genre in the Taiwan Post-New Web Cinema. And we can say that the youth romance genre can be seen as one of the significant genres and even a trend that has been very popular and predominant during the first few years of the Taiwan Post-New Wave. And it is interesting to see that there is a certain kind of similarity of these three directors due to their early common engagement in the youth romance genre. That is to say, when it comes to the themes in their early works, Lin Shuyu's Winds of September is about the friendship and the love among a group of high school students. And Zhen Youjie's Yang Yang is about a girl who is French Taiwanese mixed and her story about love and self-identity. And Hou Chi Ran's One Day is about the love, dream and fate of a young couple. As mentioned in the above, all of these three films can be generally categorized under the youth romance genre on the one hand. On the other hand, despite their early common engagement in such kind of youth romance genre, we can still see their differing cinematic styles and aesthetics in these three works. So in the following section, I'm going to use these three films as key studies to compare and contrast the differing cinematic styles and aesthetics of these three Taiwanese directors. So firstly, Winds of September, Zhou Jiangfeng, can be seen as a common age film telling a story about a group of high school students in Xinzhu in the 1990s Taiwan. It also portrays their friendship and passion in baseball games as well as their conflicts and this illusion of what the future holds alongside their growth and maturity. In this film, we can see director Lin Shuyu employs a kind of universal film language with solid narrative structure as well as the dramatic elements to illustrate the conflicts between the characters. So in the following clip, we can see the dramatic moments in the conflicts between the characters. So from this clip, we can see director Lin Shuyu is very good at using such kind of dramatic elements to create a kind of tension in the story and he also creates very obvious plotline and solid narrative structure. We can also see a very clear three-act structure in Winds of September that is the setup, confrontation and resolution. And we will talk a bit about Lin Shuyu's universal cinematic style and film language later. And on the other hand, Zheng Youjie's Yang Yang can be seen as a female communist age story that focuses on the French-Taiwanese mixed Yang Yang. The following clip is the very last shot of this film which is depicting a sequence in which the protagonist is constantly running. And this long shot captures her perseverance and insistence of being a runner and this sequence can also symbolize the process of her self-recognition and self-identification. So let's see this clip in Yang Yang, which is about a bit long, about three minutes long, but this is a one shot, so which is a, I think, another amazing shot in Yang Yang. It should be noted that as for cinematography, director Zheng Youjie chose to use a handheld camera to shoot the sequence and he is very good at using handheld camera to create a very close but very flexible distance between the camera and the characters. And this can be seen as his signature style of close humanistic observation. He continues to use the handheld camera in his latest work, Dear Tenants, 亲爱的反客, of this year. And this has also successfully created a kind of close but gently humanistic observation. In contrast, 亲爱的反客, Youjie, is the most stylistic one among these three youth romance films. As we talked about last week in the Q&A session with director Ho, the surreal elements are very unique and the visual style is very poetic in one day, which can be compared to other contemporary films from the Taiwan post-new wave cinema. In the following clip, we can see the very poetic and unique visual style of director Ho, and also how he created such a dream world and there's a realistic elements in this film. So I'm going to show you the first clip in one day. So the first clip is about a dream in which the protagonist meets an Indian guy on the vessel. We can see the cinematography is very unique here and the camera movement is smoothly flowing, just like the characters flows of consciousness in the dream world. Now I'm going to show you the second one, second clip in one day. So the second clip in one day is located nearly on the ending of the film, which shows the tragedy and the fate between this young couple. As mentioned by the director Ho Ji Ran himself last week, he particularly used a shallow focus shot to create such kind of uncertainty in the film. And this can also refer to the segmented memories of the characters in the dream. It should be noted that it is such kind of the surrealistic, poetic and beautiful visual style that made him as a unique alter in the Taiwan post-new wave cinema. So now I'm going to move to the part two. I'm going to talk about the differences in filmmaking trajectories and their individual significance to Taiwan post-new wave cinema, which are our fiction and non-fiction filmmaking, sociopolitical concerns and international co-production. Firstly, I'd like to start from director Ho Ji Ran. We know that Ho is a talented multidisciplinary director who has been focusing on both fiction and non-fiction filmmaking. As for his fiction filmmaking, he has created surrealistic cinematic worlds such as One Day,有一天, as we just saw in the clips. And also his second feature left film when the wolf falls in love with a sheep, Nan Fang Xiao Yang Mu Chang. And this one is also with very unique and dream-like visual styles, which can be seen as his personal signature cinematic style that made him as an alter in Taiwan cinema. Considering his non-fiction filmmaking, he has examined and covered various important issues in Taiwan's post-war cultural histories via his documentaries. For example, his documentary, Taiwan Black Movies, Taiwan Hei Ding Yin, in 2005, exposed the social realist crime films in the early 1980s. And this documentary is still very important to Taiwan's cinema studies. His next documentary, O2 Time, 40 Nian, examines the Taiwanese campus folk songs movement, Mingo Yundong, led by a group of local singers in the 1970s, which also explores the complex identity politics and the relations between Taiwan and China. His later documentary, Panana, explores the life story of Gao Zhihua, the daughter of Gao Yishan, a political prisoner during the period of White Tarot, and her life as a legendary singer in a paying club. Via his non-fiction filmmaking, we can see director Hou Jiren has visually rewritten alternative Taiwan cultural histories from various angles, which is equally important to Taiwan's cinema as his works of fiction filmmaking. Secondly, I would like to talk about Zheng Youjie. When we are looking at his filmmaking trajectories, we can see that he has examined and reflected on various significant social issues in his works. For example, his My Little Honeymoon, Ye Lianxiang, focuses on the migrant-bride issue. And Wawa no Sidao, Taiyang's child, underrides to the indigenous group. In his television series, Days We Start at the Sun, they are on the political and social movements. And his latest work, Dear Tenant, 亲爱的房客, on the issue of same-sex marriage and the LGBTQ rights. It should be noted that director Zheng Youjie constantly employs cinema as a medium to reflect on contemporary Taiwanese society, and also to make the audience pay attention to these various social issues, by his very touching narratives and humanistic observation, and it is his sociopolitical concerns that made him as an auditor in Taiwan posting a web cinema. Finally, I would like to talk about Lin Shuyu. He has a very unique background with Western film school training. He received his film MFA from California Institute of the Arts. This background can be linked to his filmic style that can cross the national and cultural boundaries. And this can correspond to his later works in transnational filmmaking. After his award-winning short film, Dabiu, the Pan of Others, Haishun Jianbin, he successfully created his alter-styles with his universal film language in his subsequent feature films, such as Winds of September, Zhou Jiangfeng, Starry Starry Nights, Xin Kong, and Senior Flower by Rui Gaobie. And also his latest international-produced film, The Garden of Evening Mist, 戏物花园 of last year. Starry Starry Nights, Xin Kong, is his first attempt in international co-production with the Chinese founding company and talents. In his latest film, The Garden of Evening Mist, which was nominated as one of the best films in the Golden Horse Film Award last year, he has participated in a global co-produced project. To be specific, this film is produced by HBO Asia and a Malaysian production company, Astro Show. Lin Shuyu also worked with an international team composed of Malaysian, Japanese, Taiwanese, British, and Singaporean talents in the production process of The Garden of Evening Mist, such as the famous Japanese actor Hiroshi Abe and Malaysian actress Li Xinjie. It should be noted that Lin Shuyu's latest film, The Garden of Evening Mist, has opened up a whole new chapter for Taiwan cinema for three layers of research. Firstly, we are happy to see such an alter from the new generation of Taiwanese directors who has established his filmic style and has been vigorously engaged in transnational filmmaking. Hopefully, his experience in transnational filmmaking can bring about more possibilities for Taiwan cinema now. Secondly, collaborating with the global production companies and streaming media platforms such as HBO Asia or Netflix, for example, can effectively enhance the visibility of Taiwan's filmic and television productions. And this is another whole new chapter of international co-production and global distribution for Taiwan cinema. And finally, considering the language, multiple languages such as English, Japanese, and Malaysian languages are used in The Garden of Evening Mist. And this is a good opportunity for us to reconsider Taiwan cinema. Should Taiwan cinema be necessarily situated under the Chinese-language cinema huayu-dian-ing framework, or sign-in from cinema huayu-uxi-dian-ing framework? This question could be opened here, and there might be some debates in the field, I think. And at least from my observation, these are the three aspects that Lin Shuyu's latest work has brought to Taiwan cinema now, which are on the transnational filmmaking experiences, global co-production and distribution, and also the reconsideration on the Chinese-language cinema framework and the sign-in from cinema framework. So concluding remarks. To conclude, these three directors have marked three different routes in the Taiwan Post-New Wave Cinema. That is, Hou Jiren with his poetic cinematic style in fiction filmmaking and his achievement in rewriting Taiwan's cultural histories by his non-fiction filmmaking. Shen Youjie with his humanistic observation and his sociopolitical concerns on contemporary Taiwanese society and identities. And Lin Shuyu with his universal film language and his brilliant experiences in transnational filmmaking. Finally, this research has to provide an initial discussion on these three new atorists. While hoping to open up more dynamic dialogues in between Taiwan's rigorous film cultures and contemporary Taiwanese society, and further to raise the international visibility of the new auteurs in the Taiwan Post-New Wave Cinema. Furthermore, there are some more directors that we can focus on in the future, such as Zhou Menghong, Yang Yazhe, Xiao Yaquan, as well as female directors such as Zero Zhou, Zhou Meiling, and Xin Chen, Chen Xinyi, and others. In the end, this research also helps to build up a new discourse for the research on the Taiwan Post-New Wave Cinema and the new auteurs. While also hoping to see how the works of these new auteurs could work as a new form or a new force of Taiwan's soap power, either by international film festivals or global streaming platforms, which can shape a whole new national brand for Taiwan in the field of cultural diplomacy and also world cinema studies. So yeah, that's the end of my presentation. Thank you very much. Thank you very much. It's so comprehensive. I'm really grateful for being so accommodating when we talk about this particular project. It's so amazing. Just come up with something really comprehensive. It's really great to start off this particular series. Thank you very much. Before I open the floor, of course, I have to say I got the privilege to ask the first questions, of course, as usual. So I actually prepared some questions because you all answered them. So I have to come up with some new ones. So I would like to ask you, because you mentioned about Cape Number 7 as a turning point. Then you also mentioned about Cape Number 7 really act as a turning point, overturning the once lousy box office returns for so-called Taiwanese films. So do you suggest that the new generation directors actually have enjoyed a much better box office return and success and the support of the audience as a general phenomena because it's very different from the so-called new wave. They were actually criticized for being difficult to understand all that business. And the second question really is about, I'm asking your opinion based on your research on contemporary Taiwanese cinema, as well as the East Asian visual arts. Can you see any similarity in Hong Kong cinema or in East Asia cinema? Because this is kind of a very different way of presenting the new generation of young people in East Asia. Two questions. Thank you. Hold on. Let me spotlight you. Okay, thank you. Yes. There's a few questions. Hello, director Ho. Hello. Thank you for joining us. So maybe the first question could be answered by director Ho as well because he himself is in the industry. Okay. Yes. Maybe you should go first. Okay. I think yes, because we can see there are several blockbusters happen after 2008. But I'm sure that maybe director Ho has kind of the industry point of view can tell us some more stories about that. But I have to add one thing because because of this year is a kind of the year influenced by COVID-19. And the Hollywood blockbusters cannot produce that much. So Taiwan cinema this year could be a better year than other years because the local audience could choose Taiwan local produced firm rather than other like American blockbusters or something. So far we can see the performance of the box office of Guo Pian local produced firms now is quite good so far. And the second thing I think is the similarity I think that that could be linked to the because in Taiwan our industry is still quite small. But I think our government they take some they try to learn the lesson from for example South Korea South Korea they build a really solid national cinema brand and even distributed and very popular around the globe. So I think our government they're trying very hard to make some kind of the like they established one so you're a kind of the government institution to. Forge in the market of Taiwanese film and television productions in the global realm and to let Taiwan's like it. Enhance trying to enhance the visibility of Taiwan films like the really predominant South Korean films in the global cinema. So I think we're still growing although it's a bit a bit far but we're still yeah. Yeah pay the effort now so so maybe director whole would you like to answer a bit your insights from the industry do you think at the time in the post 2000 way to be better than the previous time. Yeah. And, and, and just, and just to be audience here. And as your question I think the, the 2000 wave. It's just a process of that particular time. And I think the filmmaker and the society environment. Just reflect the Taiwan people's mind in that very particular time so I don't, I won't say it will be the better or worse or something but it just for that particular time. Okay. Okay. Thank you. Thanks. So maybe we can ask a show you to come in to raise some questions show you. And yeah I think so the next question is from David so maybe I'll just if he doesn't mind I'll just ask this question. I'm so David is asking if thinking could comment on how supportive the government is towards this new generation of filmmakers. Thank you. Okay. Okay. Again, because my view would be not really, you know, really comprehensive enough. So maybe if director whole you want to say something as some more points. I've heard that some some filmmakers in the industry they say that the government does not really that they're not really supportive even though they have different policies. And different, you know, like, because Taiwan, the industry of Taiwan cinema or the audience of the local cinema, they're still tend to be, you know, attracted by the American firms or maybe right now Japanese firms, or anime animation film now. Maybe you know the way we need to do something. So Taiwan, Taiwan's local film is confronting lots of competitors right now. So I think the government should set some more solid policies maybe like a in in in South Korea from South Korea's experiences like a group in pay or to do something like that. Yeah. But it's kind of a there's some debate in the field and you can you can see there are different camps they they say the government should protect the local film more. But the other can say that we should let the audience choose what they want. So that's the current debate between the the ratio of the local firms in the theaters now. So I think there are still some more problems or something that we can improve. As for all the policies of the government to support the different makers. Okay, so maybe, maybe if director Holly wants to say something about the policies things or something you can add. Well, I think in Taiwan's situation, because the Taiwan was entered the WTO in the early 90s. And at that time, Taiwan, Taiwan government already give up the film local film. Protected protection in that in that very early time in the very beginning in the WTO time so I think it already set up a very clear and the firm structure of Taiwan's film industry. So, after that, Taiwan government tried to provide financial support to the local film making, but the whole market is already wire open for all country, especially Hollywood film is is already here and that no limited with with no limited. So, so I think so that maybe is the, the stretcher structure is already set up. So, I think it's time. So I think now, in the, in the 2000, or the late 1990s, the, the Taiwan in film industry is very weak. And I think for the time now or after 2010, I think it is because there are still certain need in the Taiwan audience to they want to see their own language film. So that and the, the, this kind of Taiwan film is talk about the Taiwan identity, especially like the 2000. I think 2007練習去, and then the hijachi how kept number seven, and all this film is about Taiwan, Taiwan land market. Taiwan few or Taiwan people Taiwan local story and that is not how they will film can say. So, so I think for now, there are still some Taiwan film industry can survive this because this local need. Thank you. Thank you. Thank you. Would you like to come back. Yeah, I'm here. Okay. So you would you like to follow up. Yeah. Just just seeing if teaming has anything to add to the question. If not, I think the next question is from our audience. So, one is asking, has there been any musicals in the recent past from Taiwan. Yeah, there is some musicals. There were some musicals. For example, After he finished his city ballet, his famous epic film, and he was doing a project called a 52 Hertz. Yeah, yeah, yeah, yeah. 52 Hertz. Just, there is a musical, which is about the love in the urban scenario and ever so setting. And I still remember that director Wei Desheng brought that film to London in 2017 or so 17 or so. Yeah, that's a little piece of musical that was very different from his previous work, which we're talking about the Taiwan's national histories or Taiwanese identities or colonial histories or so. So that one is quite different from his previous work. And what else musicals. Yeah. Yeah, you can go first. No, I wonder whether you will catarise Cai Mingliang's whole, the whole musical. Okay, yeah. I think Cai director, yeah, yeah, he put, he loves like all songs and like a really nostalgic musical elements. So he loves that so much and he himself loves to sing that old song so something like that in like a private sector or public sector. So I think he added that kind of the musical sessions in his work to make some contrast between the isolated characters and also the very hilarious musical session. So we can see Xiao Kang and in contrast with Yang Wen's musical, beautiful debut or something like that. So I think Cai Mingliang's case is quite unique because his musical elements is still belongs to the category of our house because that he's like a creative creative art to put that musical into his work. And, but I think for the works for the general public, maybe there's some more possibilities for Taiwanese filmmakers to create more musicals like for the general one. Like these 15 hours, I love you quite contemporary and quite urban. And maybe I heard that they, that is a real musical but not in the film, which is talk about the Taiwanese, Taiwanese film industry, Taiwanese language cinema industry before. That is called Taiwan Yuge Hao, Taiwan Yuge Hao Lai Wu, that is a musical in the theater. It's inspired by Taiwan's previous Tai Yu film industry. Yeah, so that's the, yeah, so far I could think of. Thank you. Thank you. So our next question is from our audience, Jessica. So thank you for your wonderful talk. At the beginning, you mentioned that there's a research gap in Taiwan post new wave cinema with only a few exceptions like me DZ and waiters and so what are the possible factors for the under examination of post new wave authors. What does it have to do with the over saturation of youth romance genre to a certain extent or the increasingly blurred line between art house and commercial tendencies. Thank you. Yeah, I think, I think yes. You can see that way the sense case and maybe these cases are quite different and really even we can say opposing to cases because one way the sense is really for the public and maybe Z is really for the house audience. And we can see that I think, I think yes, because in the post new wave Taiwan cinema, we can see that the different makers they try to mix the genres and also mix their like a like artistic styles or aesthetics into the different genres. And that kind of deep bloodline between our house or commercial tendencies may may not that I'm not sure if I'm right but I think for like a the audiences on the movie, you know the our house global streaming platform.  I'm not sure but like, they really like experimental or kind of the, kind of the real listen thing or kind of the, they really love Taiwan new cinema, like a host of long shot or something like that, and they prefer me DZ and, and they even really love me DZ a lot. And I think, in contrast with way the sun, because way the sense status in Taiwan cinema is, is like, we know he kind of the re, we rise the history colonial history by his on several firms. So he's so important in Taiwan's on historiography things. So way the sense of popularity is not because of his is his aesthetics, but his significance in Taiwan's I don't know academia or cultural histories or something like that. So the scholars focuses on way the sun, because of his ambition of ambitions to rewrite history. Okay, so I think that's a very different thing for me DZ and way the sun. Um, so you can see here. So this I, the house audience, they prefer the very house directors like being easy and, and wait a second, it's not on the house platform. So you can see the global audience, they turn to a very, very, a very, I don't know, specific form for the, the directors who attend to cans Berlin thing festivals or Venice thing festivals or something like that. So I think that's the the phenomenon right now. So maybe what we can do now is to try to promote or to raise the visibility of these unseen directors to the global audience, and maybe as a firm scholars for me and IQ, IQ, I will try my best to write some more pieces of writing or articles on the unseen directors of the post new wave cinema. And I think maybe I think the, I think this project is particularly for to promote this these group of, yeah, unseen directors. So I think, um, yeah, I'm, I'm still very positive toward the future of Taiwan post new wave cinema and I hope on the global audience would see these group of very precious and, yeah, and very good on Taiwanese filmmakers. Okay. Thank you. Great. Thank you. I think so. Jessica just now also commented on like a prominence of youth romance genre, which you've also talked about. So I guess this is also my own question for you. You don't mind. So, um, why do you think all three care, all three directors or, or I think not just these three directors. Why do you think they, they tend to focus on the youth romance genre as as a pet? Okay. Thank you. So, yeah, I think, um, maybe, maybe later on after my answer, maybe director or you can answer your own version. Yeah. And I think that that is because, because I quite agree with Wu Zhou, the professor, he's worse on the kind of cinema looking out of sadness in the 21st century of Taiwan cinema. And at that time, after on the 2002, we can see lots of on the films like a director who just mentioned Lian Xi Qu is about a young guy who cycles around Taiwan Island, something like that. And, and I think that the stories about the youth could catch the eyes of the local audience, especially the group like a in their around their 20s, they would pay for the ticket and to go into the theater to watch a local film. So I think after 2008, they, they, the filmmakers or the producers might might figure out that the local audience like kind of the, the scenario of a young teenagers love or young people's love. So they, um, they focus on that themes, particularly. So you can see a there's a consecutive release like a 2008 hai jiao qi hao and then 2009 2008 hai jiao qi hao and jiao jiang feng 2009 yang yang and 2010. The retos do itien and 2011 you are the apple of my eye. That is by guidance code. And also in 2015, there's another blockbusters talk is talks about the teen romance, which is called our times, what the song is that. And I think there's still some differences between these these jarra firms because you can see like a director whole and director in Shuyu and they have very personal artistic styles, even though they are dealing with that team romance jarra. But as for the other cases like you are the apple of my eye and our times, you can see that's a really commercial oriented firms. So even though they're in the same category, there are still different rules among them. So yeah. Okay. Okay. Thank you. So our next question is from audience. In recent years that Taiwan. Oh, so it's about youth romance films again. So in recent years, and these films have gained popularity also in other regions such as Hong Kong. It's probably part of the Wen Qing culture. So it's interesting that director whole has made Taiwanese black movies. Is there a legacy or continuation of this crime genre and sensational aesthetics among the new wave authors after 2010. Go ahead. Thank you. Okay. So I think they're saying the sequence would be a bit different because director Ho Ji-Yuan Ji-Yuan. Okay. Director Ho made Taiwan black movies that documentary in 2005. So that's that happened between the rise of the post new wave before before before 2008. So after 2008, I think I don't I don't think there is a direct I'm not sure I'm right, but please please add some more points from your own points. I don't think there is a direct link of the social real list crime film in the 1980s to the the the recent years of the crime genre, because I think the the recent years of crime genre would be influenced by the pan Asian productions like a Japanese of South Korea or Hong Kong contemporary crime firms like a, you know, Hong Kong directors like Johnny Toh or maybe South Korea directors there like there are so many directors are focusing on the crime genre. And I think the the young generation of Taiwanese filmmakers they are highly influenced by the the the popular culture transmitted in between on East Asia. So they are really they like the Japanese Haros and also the Hong Kong crime film, child films and South Korea films or something like that. So I think that that's the reason of their tendency to make kind of the crime genre or cop or tried genre after 2008 or after 2010. So I don't think there is a link between the social real list and frame of 1980s and the nowadays phenomenon of the crime firms. Okay, so maybe others you do have different point of view you can just add in. Thank you. Okay. Thank you. Um, so do you think I think I'm just probably adding to audience's point about the rise of this kind of romance youth romance films in in, for example, Hong Kong. Do you also think do you think there's a correlation of influence between between this this kind of trend. Okay, so to correlation between what and what. Oh, sorry. I'm sorry, I should make it clear. So, um, so I think our audience mentioned that there's also a rise of this kind of youth romance films in Hong Kong. Yeah, do you think do you think there's some kind of influence. Okay, okay. Oh, thank you. I still remember that last last week when director whole talk about the element of Shaoqing Xing. Yeah, yeah, so last week, we talked about that things. So I think when we do have kind of the youth romance genre, which was started exactly from 2008, 2002, and that kind of the, the trend of Shaoqing Xing or Wenxin kind of the distributed to to Hong Kong and maybe other other areas or something. Yeah, so I think there should be some influence because, for example, because I'm also doing kind of contemporary Hong Kong cinema studies. And there is another, there's a very latest film called Huan Ai. I don't know if you are, you have heard about that Huan Ai. Okay, that film, and you can see the, the visual styles or the cinematography or something, which is quite kind of the. I'm not sure if the director agree it or not, but kind of the, you can compare that with Taiwan's youth romance films or Shaoqing Xing films or something. Yeah, and also, na yi tian wu me hui fei, there's another film in contemporary Hong Kong cinema about kind of the youth romance things. So I think it could be compared. Yeah. And I don't, I don't want to be to say, oh, that work is definitely influenced by Taiwanese filmmakers or something. I'm not, I don't want to say that, but you can see there's some similarity in the visual elements or the similarities in the, the, the cinematography styles or something like that. Okay, thank you. I think we have one more question from Kevan. So do you think it is common for Taiwanese films to go in into partnership with with Chinese company to make a movie. I suppose that means cross. So those kind of collaboration films. Okay. So, actually, Taiwanese filmmakers have tried that model before, particularly in during I think 2011, 12 and 13. There's several firms come coming out during that, that these years, for example, we see the starry starry night, which is co-produced with a Chinese production company. And also in 2012, we do have a term called love, I, and that's a co-production film as well. And in 2013, if I remember it right, it's 健忘村 by director Chen Yuxun, which is another co-produced film. But after that trend, because I think that's a, the trend of the, I don't know, collaborative economic network with Chinese companies because of the policy of the government of that time during, you know, the 2011 to 2014 or something like that. And at that time, you can see lots of Taiwanese filmmakers have involved into that model. But however, you can see the effect on some of the firms has very good box office results like a love in China or in Hong Kong and other places. But like a 健忘村, it doesn't make a very good result either in Taiwan or in China. So some critics might say that that's because Taiwanese directors does not really know what the Chinese market wants. So they even think that Taiwanese directors are more good at focusing on local stories. For example, Chen Yuxun's latest work, 消失的情人, some critics say that it's much better than his previous 健忘村. So you can see there's a kind of the Taiwanese filmmakers have tried before the results. This is not really good as they expected. Yeah. So that's the situation right now. Okay. Thank you. Okay, thank you. I guess the next question is actually my own question. So I think, yeah, my question is also actually inspired by by one of the audience's question. So I think after and actually this is one of the things we observed when we were working on this project. I think there's probably still a kind of I think I'm not sure if this is a result of the Taiwan New Wave Cinema, but I think there's still a very strong sense of detachment or bifurcation between art house and commercial cinema. So people who who are very altruistic or very with a very strong personal style continue to embark on that path of being an attuer. But meanwhile commercial cinema of course is also on the rise. Do you think that do you think that that is inappropriate understanding of the situation now? Yeah, I think I think you're right. I think there are so many different routes that the post new wave. So some filmmakers are engaging into the very commercial oriented firms and some of them are trying to go for the International Film Festival or other I know the platform to make the global audience to see their works. And I think there's a trend of the artistic works from some young generation of directors, even much younger than like director whole and Ming Zhu Yu and Zhen You Jie. And they're around their 30s and even younger than me. And they have a really good artistic background. They have trained in French film school before, and they have a very good quality of short films so far. They have their feature length film but they do have their short films work so far. And these short films have gained lots of art house awards in the short film festivals. So I think that's another route of the young filmmakers are now doing. And I'm personally very looking forward to their feature length film. I think they could create another outhouse scenario for the new, the young generation of the Taiwanese authors in the future. Okay. Do you mean that this is also different from the old trend of art house cinema? How are they different? Okay. Because you can see there's a work called 去年火車經過的時候. This film has gained the biggest prize from the Taipei Film Festival of last year. If I remember it right. Okay. So that director has been trained in French and his technique is quite artistic and quite personal, which is very, very different from the generation of director whole and Zhen You Jie and Ming Zhu Yu. So you can check it out and you can see that director, he combines a kind of the film camera and kind of the 3D technique and also the local stories altogether. So yeah, that's a really good instance for us to look at the other even younger group of the Taiwanese artistic filmmakers. Yeah. Great. Thank you. So our next question is from our audience, Thomas Kunlip. Thomas Kunlip. So he's asking if commercial Taiwan films do not get distributed too much in mainland China. Do filmmakers or producers try to appeal to other export markets in Asia? Or can Taiwan films survive by just appealing to Taiwan market? Thank you. Okay. Thank you, Tom, for your question. And yeah, now I think that question could relate to one of my points in the transnational filmmaking part. Because nowadays we can see there's a trend of the Taiwanese film production or television production groups or teams or crew members. They start to working with Netflix and also the HBO Asia. So they don't really want to limit it themselves within Taiwan or maybe China. Yeah. Maybe they don't just want to limit themselves. So they use the kind of the global streaming media quite well. They work with them. They are also the founding company and production company. And these kind of the global streaming platform and do the global distribution. Taiwanese films and also the television productions could export to other countries or even regions like in Malaysia, Singapore and even, I don't know, I've heard that some of the Taiwanese television productions can be seen in South America as well. So now I think Taiwanese films could shoot. We want to survive not only within by the local market, but also by the global film market, by the very good current methods, the global streaming platforms. Thank you. Thank you. This is just a follow up question. I'm wondering if you know what is the second largest market for Taiwan films after Taiwan itself? Do you have any? Okay. I think it's, I think it's Hong Kong, Malaysia and Singapore all together. Yeah. Some of the cases are China might be a good market, but just limited to a few cases like you are the apple of my eye and also the our times and maybe love. So very a few, but mostly I think the second largest market for Taiwanese film other than local market, I think it's Hong Kong. You can see lots of Taiwanese film in Hong Kong. They do have a good performance of box office results and also Singapore and Malaysia. Yeah. And I just saw there's a comments from one of our Kevon say in Thailand. Yeah, maybe Thailand can see Taiwan's TV production as well. Yeah. And in Malaysia, the cinema to swap with Bolivia. Okay. Thank you for the comments here. I think some of the audience in Malaysia because some of my students, they are from Malaysia. They told me that they do watch Taiwanese films and do watch Taiwanese television episodes in Malaysia because they speak Chinese and they know about the public culture of Taiwan. So I think it happened as well. Yeah. Oh, all right. Thank you. I'm wondering if Biyu or David has anything to add. No. I think if there's any more question, please raise your hand. You probably can make use of this gap that otherwise we will wrap it up. Oh, I think actually Max has a question, but because he's behind the scene now. So I'll ask on his behalf. Please do. Okay. So I'm leading on from your response to Tom. Garden of Evening Mist seems to have all the features of an Oscar contender. Quality script that fits with language variety, quality cinematography, quality music and great international film publicity. Yeah. So, so this question is, is this an indication of Tony's post new wave cinemas distinctive character? Yeah. Okay. So I think that's not a distinctive character, but a unique case. But I would like to say more about the latest work Garden of Evening Mist. And you're right. That film has very good universal film language with beautiful cinematography, music, and even lots of different like visual styles and costumes. And even I think the actor and actress play very well in that film. And I think that's a really good example for the Taiwan cinema now to broaden our, I don't know, the scope of the film. The film making, like in South Korea or other largest on on film production countries. So I think are the garden of the Evening Mist could be a, I don't know, a role model or something for contemporary Taiwanese filmmakers to learn. And maybe someday we do have a very good film like a like phone dream house work, latest work at the South Korea one who just won the best firm of the Oscar. Okay. With, yeah, you know, very universal language and could trans, cross the borders of the different countries or different cultures or something like that. So I think, thank you, Max. You just remind us or remind me that the garden of the Evening Mist would be a peculiar but I think with with a very good potential to let different Taiwanese filmmakers to continue on. Thank you, Max. Fantastic conclusion. Thank you. Oh, no, no, may I ask you to put your hands together switch on your. Yes. Thank you. Thank you very much. Thank you. I saw so many the professors on my, like my, my PhD examiner. Professor Chris Berry. Yes. Yeah. Yeah, because I was in Zhengda before and I, I'm counting, I've ordered in usual. Hi. Fantastic. So now I'm going to switch off the recording so you can finally talk. Okay.


So we're talking about preparing for a post-oil economy. Now experts are saying by 2030, which is exactly nine years from now, Nigeria will enter a post-oil age. For decades we have actually failed to translate the wealth in the oil economy into the development of the common man. So you can imagine that this is scary when you think about Nigeria without oil, and we're still pretty much largely a mono-economy. So what does this mean when we talk about an oil economy going away? It means job losses. It means increased poverty. But guys, I really want us to think of something else, apart from just feeling afraid that with all the oil wealth, unemployment is still at 5% and it's really, really high. And that's contestable. It could even be way higher than that. So post-oil economy, it's something we need to talk about. But here is the interesting part, guys. There is a good news, even in the seemingly bad news. We have to realize the opportunity a post-oil economy affords us. There is an opportunity to truly diversify our economy as 2030 approaches. So our biggest threat is not that oil will run out or that the world will stop buying oil, but rather our inability to capitalize on this fast-rushing wave of innovation to rewrite the destiny of the nation come 2030. So at this crucial junction, I think for me one of the important things we must understand that innovation is going to be the determinant factor here if we're going to survive in the future. It's expected that the post-industrial economy would be a creative economy. And in every family there's a creative person. I mean, when the age of the creative economy, but think about it for a second, the structures that can drive the creative economy is not even there. Many creative people cannot find an enabling environment to produce either songs or their movie. Everyone is running around. The fashion ones cannot actually scale because the economy and the structure to help them scale is not even there. So the creative economy makes up about 2.23 million dollars in revenues and about 30 million plus jobs globally. So it is the fastest growing segment in the world. Creative industries are recognized as a source of innovation, economy growth, personal well-being, community cohesion. Like think about it, the creative economy is the future. If we want to attack unemployment, we cannot not talk about the creative economy. So economic success on a level requires that we have to harness our creative economy. We have to put it together, the structures, the policies that can drive them. Protect our IPs, put piracy laws in place so people can thrive. According to the National Bureau of Statistics, I think this report was in 2016, they said that GDP as of 2015, about 94.14 trillion, came from the creative sector. My further analysis of this data from the report indicates that the sector could, even with the state of it, which is not structured, informal, can contribute a way more than we can actually see. In the US, it's about 5.3 percent coming from their creative sector. So with music going global, and all the streaming platforms, with movies going global, with fashion going global, we cannot begin to undermine the potential in that segment. So my advocacy today is to really ask the question, what are we doing with the music? What are we doing from arts to entertainment to recreation? The stories that we have, most of us grew up reading literature. Those things can actually rival international movies. They can become series, they can become feature films globally, and they can make money because they're spotable. So guys, I'm talking about this huge potential within the creative sector that we're not tapping as a country. We complain about unemployment being high, and of course it's going to remain high for a long time, because unemployment, they don't go away. There's something called cyclical unemployment, which is that at the end of the day, with innovation, some jobs will be dissolved, jobs will go, innovation will swallow up jobs. But how do we position our educational sector so we can create? I'm talking about how we can strip down our economic model, our educational model, and actually allow innovation to drive. Some courses have no business been studied in the world today. If blockchain is the backbone of the industrial age, the fourth industrial revolution, why is blockchain not part of our curriculum? But our government is placing a ban on cryptocurrency on anything that looks like blockchain. They're regulating the fintech space, but this is where they're supposed to be putting the best food forward to ensure that we have enough jobs for our young people.  Oil is not going to be around that much, and it's good news for me because people will go to power because they want to be able to get easy access to contracts, can no longer go. Now, despite our informal sector, the creative economy still has a lot of potential. This inactive state is due to structural gaps, and we can fix that. Policies, theories, we can do that. Conferences, programs that can help drive that space. Guys, I think we need a new generation of revolutionary thinkers, artists, producers, writers. We can create this compelling story of a new Nigeria. We are not just here. Nigeria is the dream. We are the Nigerians. If this country will arise, if there will be jobs, we have to do it ourselves. I mean, people can go to Canada, but not all of us can go to Canada. There is more potential here. The resources are here. How do we harness that? We have resources, but are we resourceful? If you're creative, I'll say, welcome to the world. Your time has come. I think that I would like to take you right on in that. You see, I'm very, very interested in advocacy, I must say. But the challenge that I have with this kind of narrative, which is going across in different places, is that when we galvanize all the emotions, what are the solutions? What is the way for it? What is it that is being done? So you have whipped up quite a lot of sentiment in people. The creative sector is there, and you've listed the big box that is right in that system. But what is going to be done? Who is going to wake up and say, let's start guiding ourselves? We have over 200 million people. And over 50% of those are young people. So can somebody tell me why the creative sector is not doing better than it's doing? Are we still waiting for government? I have a real challenge with the fact that government needs to do something. I'm not saying that the government or policies are not faulty, or that there are issues. But have you ever thought of that? Who said that?  I don't think we're determined enough for what you're advocating. When I was younger, my mum could not even allow me to write or become a writer, because how are you going to pay the bills? If you're a musician, how are you going to survive? No, that is changing. We're seeing... There's a total paradigm shift. And you know what you said? The government is not catching up with it. It really hits home. I remember as, I think I was in GS3, the first time I picked up a jam brochure or my eldest brother was writing jam. And so I flipped through. Of course then it was this bulky book that hundreds of pages, and then I'll never forget, I got to the University of Calabar and I saw theatre arts. And that cost jumped out of the page, literally, and hit me in my soul, and I blotted out, I'm going to study theatre arts. You switched? The moment I made that statement, my mum was sitting in the living room and she said, God rest our soul. And she said, no, she just said, let your father hear you. Oh my goodness. And that killed, you know. And then I had to struggle through the sciences because they wanted me to study medicine. And you know the fun, and it's very funny, while in Pyramid School I was in a drama and I played the role of the doctor and everybody told me, my God, you did it so well.  Meanwhile, they ought to have told me you're going to be a good actor. So I mean, back to what you're saying, the beautiful thing about the creative industry, you really, you need very little external motivation or push to rise up where you are with what you have and begin to run. There is also need for policy push. Oh, definitely. You see, in Nigeria, your business, your idea is likely to die, not by competition or lack of funds or profit, but by government regulation and policies. So you are likely to be regulated out of business before any factors coming from within or from your competitors. So there used to be a very big industry in this country, the VAS sector, that is the value-added services in the telephony. It's called talking about callback tones, bulk SMS. Those have been regulated out of business. NCC killed it, yeah. What did it say? NCC killed it. I know. But I just wanted you to echo it. These are the things that we add to the creative industry. So we need to go back to the basis. You see, when you take all of this to the national assembly, to the status of assembly, I'm telling you 80% of the time, they will never understand you. We go back to the term printing, your votes, the people that represent you, the policymaker, the people that are going to drive the policy that will affect this creative sector. So I tell you more sincerely that politics determines everything. And I will always say, politics is too important to be left to the politicians. Correct. It's going to affect everyone else. I didn't say one. I agree. No, because you say something different. No, I agree with what you gentlemen have said. But one thing I have come to understand is that there's got to be a high level of, like I was discussing before we went on the show, there has got to be a way where we make psychology and strategy. There was a particular movie that I worked about, a lady, a lobbyist in the United States, and he has forever changed my mind. It was titled Miss Sloan. I don't know how one woman single-handedly was able to penetrate into the American legal system and be able to influence politics. So I think the one thing that we don't push or fight for or talk about in Nigeria is how we can actually get and penetrate politicians. I'm not saying that we're going to, there's something called lobbying. But it's possible we want to physically be the person who is the frontliner or say how do you actually change policy? Until we move our politics in Nigeria from the patriarchal or God-worshipper system to the point where politicians are answerable to the electorate. Like the recent hoopla that happened on June 12th of the democracy day and people went on the streets, you know, ranting that the president has to go and all that. I just looked at it and I said, okay, this is still, we're still having PTSD from the military era. You don't unseat a sitting president through, you know, going protesting and all that. He has the mandate. He has the mandate. He has the votes, the constitution backs him. The only thing that can remove a sitting democratically elected president is death or impeachment. So rather than go on the streets and shout and make a whole lot of noise, begin to lobby your representatives at the state and at the national level. Just give me a minute. By the time you do that and then begin to threaten that person, if you want impeachment, for example, let your channel it through them, let them bring it up to the house so that it's up for debate.   But like I keep saying, until we move the way a political system is from the place of Rancabedi to a place of I'm sending you there, these are my expectations based on the law. We'll keep running around in circles and nothing will get on. You have a good point. And I think everything rise and falls from the knowledge of the people in every society. And like I said, protest is therapeutic, but it doesn't translate always. So it's just a tactic. We need a strategy. Fantastic. Guys, we're going to go on a quick break and after that, Kemak will come back to give us a life lesson. You want to hang around?


Okay, let's open up our tool organizer inside. We have our very easy to follow instruction booklet. The thing is simple. Any DIYer can do it. We have some hardware that comes with it with a little wrench. We have our side pieces. One's for screwdrivers and whatnot. The other one's for pliers, hammers, etc. Then we have our top piece and we have our hanger to put different things in. Now we're going to go hang it on the wall in the grudge. Okay, so we're going to hang our basket. I know about how high I want it and where it's going to be. I can't give you those measurements because your results are going to vary. Now we're going to draw our holes. Make sure that there's nothing behind this wall like a water line or electrical wires. Now we're going to tap our anchors in that are supplied with the slotted holes. You can start your screws now. Put this on then tighten them down. Again, the slotted holes make it nice and easy for installation. Now we can finish tightening the screws. I'm just using a long Phillips screwdriver. Now we're going to hang our side pieces on. This one's for the screwdrivers. It doesn't matter what side you put them on. I'm going to put it on this side because this side I'm going to utilize one of these holes to run my cords. It comes with the supplied bolts and the acorn nuts. Simply put it in the hole, put it in finger tight and you can take your little supplied wrench, hold the nut and tighten. I'm going to do the same thing with this one on the other side. Now you can organize the way you want to organize. There's plenty more room to put stuff. Very strong, easy to put up and that's rest resistant. Very handy. These you can turn either way as you can tell. As you can see I just put mine like that because I like the looks of it. Very nice unit.


I'm Dr. Gerald Stucka, I'm the Extension Veterinarian and Livestock Stewardship Specialist here at NDSU. So we've had several stressful events, snow events, rainy events, and continued on for some time. And as we've talked about many occasions, how important it is for that calf to be born quickly, get up quickly, and nurse quickly, and absorb those life-saving antibodies, we call them immunoglobulins, into their system. So anything that interrupts that process like the weather we've been through, or the mother not being able to take care of that calf quick enough, or not even lick it quick enough so that it becomes chilled instead of warmed up, limits the amount of nutrients going to that calf, but also limits the amount of immunity going to that calf. And now I have a group of calves that are more susceptible to some of these pathosins that exist out in the environment. And so a couple of things to think about, and some of this is age-related. If I have a calf that's three days old and standing kind of all hunched up and cold, that tells you that calf is not getting enough food, it's not getting enough nutrition, not getting enough fat from the milk, maybe didn't nurse at all. So you've got two problems. One, you've got to take care of the calf. Number two, you may have to check the cow to see if she's got mastitis. Is there an issue with her not being able to nurse that calf? There's two issues there. The immediate one is to could take care of the calf. You have to take the calf into a warm environment. You got to warm it up. And I'm hoping most of this poor temperature issue is over, but this is kind of the basis for everything. You've taken the calf in, you warmed it up, you gave it a colostrum of some type, whether it's frozen, whether it's fresh, whether it was the prepared powder that you can mix together and get them back on its feet. Then you can return it to the cow. And that's fine if she's willing to take it. And if it's only there, so they should really take that calf. If it's been longer than that, it gets to be a little bit of a problem. And you may need to corral that cow and calf together. And if you do so in a tight space and work and be patient, they'll usually take that calf back. But still, with that scenario, we've got a calf that's a little bit greater risk of developing things later on. Maybe within the first week of life, you're starting to see some calf diarrhea. It could be bacterial, it could be viral, could even be protozoa, and the one that we talk about often is cryptosporidia. So those need to be attended to, visit with your veterinarian about how to deal with them. Sometimes it's just dehydration. And you can use some of these oral fluids to combat dehydration and the calf will get over it. If it becomes systemically ill, it's usually a bacterial infection. And you may need to consult with your veterinarian, do I actually have to give this calf antibiotics or not? And that's a critical decision to make and one that you probably shouldn't make by yourself, but ask your veterinarian, what do I do in this scenario? If the calf is older, let's say it's three weeks of age, a couple of things show up then, respiratory disease or what we call pneumonia, and it relates back to with a calf being stressed at birth, he's more susceptible. So now you've got a lot of times a bacterial infection that, again, antibiotics are probably going to be necessary to combat what's going on in that animal. Again, please visit with your veterinarian.  Ask your veterinarian, him or her how to handle this and what antibiotic is the best choice to make. The other one that can come along at three to four weeks of age is coxidiosis and that's blood in the manure. And if they're out on a big area, I don't worry about it too much. You need to treat individual calves. If you're in a confined space, it becomes worse because it's going to get all of them. So sometimes, and the weather has turned a little bit, so sometimes kicking those cows out into a big space is the best preventive therapy that you can provide.


The Irene Dunn Fred McMurray show Starring Irene Dunn as Susan And Fred McMurray as George Together in the gay new exciting comedy adventure bright star The Irene Dunn Fred McMurray show with Irene Dunn as Susan Armstrong owner and editor of the Hillsdale Morning Star and Fred McMurray as George Harvey her ace reporter You know no matter what takes place in a newspaper office It all has to do with the news and what is taking place this morning is no exception to that rule even though you might think so Try to get it through your head Sammy, and I might add try to get it through your nose, too now once more Bonjour Bonjour, how's that miss Armstrong? That's horrible enough to strain our peaceful relations with friends How can I say it right when I don't even know what it means? It means good day. I'll try it again. Bonjour. Look, Sammy Before we give it up as a bad job Let's let's try the most necessary one of all the French for mister, monsieur May sure and this year may sure How many can play at a time miss Armstrong's time to learn me French you might try teaching him English first Isn't it might help he knows better than to say learn to teach I guess he just stopping I guess can I go now miss? I'm strong may you go now. That's what I'm asking you. Yes, Sammy May sure bones your may sure bones your What's with this gay peri routine? Have you read the late edition of our paper? I write it don't get time to read it something. I missed and I told Dubriak will be in Hillsdale this morning Well, should I be glad well? It depends on what makes you happy? I'd say little things yachts polo country estates Hey, the guy sounds like a Frenchman League of Nations or something only one of the top five Couturiers of Paris. Oh that has something to do with women's dresses, doesn't it? He designs women's gowns my slip Sorry, it was showing a George. He's stopping at the general Grand Hotel now. You better hurry right down What for he's good news very good news to every woman in Hillsdale and bad news to every man Why don't you cover him if you think he's such hot news may I remind you of that? I am the editor not at all boss not at all. I've got it carved right here on my chest Mr. Dubriak we miss you. I'm George Harvey of the morning star the morning star. Yes a newspaper. I'm a reporter Coming please won't you thanks Please sit down mr. Rodney. Oh, thank you You wish to interview me no boss's orders.  She happens to own the paper anything wrong with that. You know Sometimes that can be very romantic sometimes Me I work for many many women. It's not good for you. You're a long way from France Why did you come to Hillsdale to find a typically perfect American woman in Hillsdale in New York?  What do you want with the perfect American woman to create beautiful designs for? We have lose so much business to your American designers that I am here to study their trends and perhaps do even better Nice work. I'll say that and now no no no you can tell me where is this most perfect woman in Hillsdale? We have a saying in America. It pays to advertise we we but every woman would think that she was the one is But that figures make it a contest then and you'll be the judge Contest excellent the very thing now. How do I make this a contest?  You'd have to see the boss and your boss. She's a woman according to my latest survey. Yes Thank you. I'm beginning to like this. Oh, I'd be well you vote your way and I'll vote mine Sure, that's French. That's what you think Well George how'd you get along? Well come see comes out. That's a French for so-so. Oh, you don't sound very enthusiastic I'm not routine assignment dull subject. No news value one of the greatest designers in France Well, what was I supposed to do kiss him on both cheeks? Oh, that's one of the French customs. Okay, so I didn't get through the customs Now kidding. What was he like George? Well, he was like a guy that designs gowns tall short thin ball moustache He's looking for the perfect American woman in Hillsdale to make some glad rags for why George you ended that sentence with a Proposition. Oh, that's because I'm speaking to a lady here in my notes Susan that might be better if you wrote up the story. That was your assignment. Mr. Harvey, and you'll write it Do be right to see miss. I'm strong. Oh Well, tell him to come right in Sammy. I'll see you soon.  I might need an interpreter He talks with his eyes, too Have I the pleasure? Mr. Dubrak, oh, but I'm on shanty. I'm George Harvey. Remember me and maybe maybe but of course the report Well, now that we all know each other suppose we form a happy little group, huh? In just what way may we serve you, miss you? You have not told her about the contest. Well, I haven't had a chance. What contest do it? I told him the Morning Star would run a contest to pick the perfect American woman in Hillsdale. Oh That's a wonderful idea. Well, of course, we will Every woman in town will be interested in that and and every woman will be Anything wrong with you madam you will stand up, please Thank you. Pardon you will stand up as a special favor. So you will play You will turn around, please Check In the name of la belle France this I would not have believed no there will be no contest No already. I have found the most perfect woman in America.  Oh, no This is really so sweet of you, miss you, but don't you think madam madam your figure divine your beauty Heavenly the shoulder so cheeky the way so petit do what is there is that did you check her back tea tea This I do not understand. Mr. Harvey likes to make jokes in a dull sort of way. Oh, yes.  Well, of course, I will call you Susan if you will call me Anatole Susan June and out. Oh, you must be with me every day every evening. I must see you all the time in this week that comes Oh, really? Well, I must see you working running swimming. I must see you coming down a great staircase I must see you dancing dining in every activity of the woman throughout the day and evening I must be with you, but for you I will design the complete wardrobe I shall create on some that no one will ever surpass and the most beautiful jewel of all will be the evening gown Which ever a woman in this world will end the unworn? Oh, Anatole. Oh, come on and come we begin at once with lunch and already The artist is singing with him. Oh, but wait a minute the paper. I have you ever a thing aside You must think of nothing but beauty beauty beauty your servants can do your work. Oh, oh, yes Well, I guess so George your servant madam. Can you run things all the way out of town if need be and I'm getting some good ideas What about the ad layouts? I took them the line of time anybody check the features from the wire services Yeah, I did I figured you'd forget then run along and don't bother me I've got this whole paper on my shoulders. He sure is smooth, ain't he? Where'd he take her out to lunch? Well, she ought to be back soon in Paris. They lunch right up until it's time for dinner When do they work? They don't their servants do How's every little thing at the morning start just took in an ad for a powers model. Would you be interested? Oh, now don't be bitter George. Can I help it if I happen to be the figure divine the beauty heavenly the waste petite The whole idea nuts What was that Sammy on his way out? Well, I think he's got a good idea. Now you stay right here I've got to meet Anna tall at the house at four and you have to be here Okay, so I'm going out to get something to settle my stomach Patience, where is your French cookbook? Never had a French cookbook cook everything right out of my own head You know that but this has to be very special something different in the way of a salad and may they have capon under glass and some fish with a thrilling sauce and A crepes who's it's of course for dessert sounds like anatole coming with his napkin waving in the breeze Well, I want him to think he's back in Paris at least for one dinner I'll march around the roast beef and whistle the marcelades and how about some French pastry? You mean make it well, of course I'll give it a whirl but don't be surprised if it comes out apple pie and Say, what about George? What about him? He hasn't fed here in quite a while I didn't know we were on a definite schedule must to eat here every week. No, but for him You don't need a foreign cookbook. I always say you can make more runs in your own league. Oh, you do You're getting to be quite a philosopher patience Speaking of George, I'd better call him see how he's making out Not too good if you ask me Hello, Harvey. Oh, hello, I'm strong. How are things going George? Well, that's good just thought I'd call sure you do Coming in tomorrow. No, can't we're going for a long walk How about dinner tonight? Well, Anatole's coming here for dinner What's he gonna do design a special paper something you should see the preliminary sketches he's made Well, I can't wait. The man is simply a genius. He acts inspired Am I boring you mr. Harvey frankly? Yes, then good night. Good night Good night George. Now back to our stars Irene Dunn and Fred McMurray and the second act of our story George that's really Fred McMurray hasn't seen too much of Susan. That's Irene Dunn these past few days Well, how could he with Anatole designing like math? That's what worries George. Mm-hmm. This couturier may be a little too designing Miss Armstrong ever gonna come back. Well, they've worked their way from morning coats through tea ensembles casual suits and sportswear There's nothing left but the evening guns now. I hope she should be back any day Women wear too many clothes if you ask me. Well, there are two schools of thought on that subject Sammy Morningstar Harvey speaking speaking Yes, well, he's famous Any suggestions you might start with me. What do you do? Huh? Women's gown? Well, this sounds very interesting. You know that might not be a bad idea main and what? People who know me call me George Not yet, but you will My pleasure Sammy. I'll be gone for a while. I'm going out and look over some gown Oh, that's just peachy mine picking up a bottle of nail polish for me Oh, Susan, I am desolate we have come to the blank wall Blank wall. What do you mean Anatole? Well, my designs are finished. My cloth is cut But my seamstresses have not arrived myself. I cannot so what are we to do? Oh, that's no problem Patience is very handy with the needle and I'm pretty good myself. We can do it. Can't we patience? Yeah, we can try lots of fancy doodads, especially on that formal But we'll be in their stitching. Well, I'll show you it is done now. I can as you say relax I'll get started back on the sun Susan tonight it is impossible for us to die together.  I dine with him only then I leave and come back to you We shall dance again on the terrace under the moon The general grand hotel row. It was beautiful Susan with you every where is beautiful Morning star Harvey. I've been out of the office Susan. I've got a paper to run, you know Oh May I have that again? What's the matter Anatole fall behind in his board? Tonight well, Susan I'd halfway made other plans sounds like a command performance Okay, boss. You know how I like my steak, don't you forgive me if I seem impolite But is that all there is you've had plenty George plenty or we've had his cold custom potato salad That's enough for anybody You said come over for dinner not a picnic patients and I ran a hurry to get to work if you must know So stop complaining and come on out on the Sunport. Just stack the dishes patience What do you mean you're anxious to get to work now take off your coat George? What are we gonna do a wrestle and slip this over your head? This is a dress.  Now be careful. Be careful It's just based Susan Armstrong. This is positively the last straw George stop acting childish. No, no Your hands. No, I wouldn't put up my hands. Even if you pulled a gun on me. What do you think I am? Trouble with the dummy patients I never said anything that nasty to you and you know it she met the tailors dummy and you know it I mean what I said and you know it I've done a lot of things for you in your paper things I never should have done but I draw the line here Why I'd never be able to look my friends in the face if I stood here with a dress on and and made like A pin cushion and that's fine Ouch you stuck me again watch those pins. No stand still George I just want to get the general effect on you. This has to be perfect for Brockman next week I know I'm stupid, but who's Brockman just the biggest dress manufacturer in the country. That's all He'd be at the general grant to look over Anatole's line. I'm modeling this particular gown Isn't it thrilling George? Yes, I'm just duckbunks all over No, no doubt now get it get it in the center of patience Anatole was very definite about that And it looks center to me unless George is warped to the starboard. What's she hanging on back there? That's a peplum Turn around you see yourself in the mirror You mean a guy gets paid for dreaming up stuff like this isn't it beautiful. I Think it's lousy back there. Maybe you know more about designing than Anatole Maybe you could suggest a better place Well, if you have to wear this golf bag or whatever it is, I it would look a lot better on the side I'm inclined to agree with you George. Well, no, no, no, no, we better not change it Not until Anatole gets here. We can check with him. Anatole. You mean he's coming here tonight. Well, I'd like to know why not Well, I thought we were going out tonight. I said nothing about going out I asked you here for dinner cold cuts and potatoes. How did you call that a dinner? I guess I should open a can of beans, too George Harvey your manners are abominable. Well, you can take this glorified house dress and He thought it up and you think it's great so let him be the dummy this hand I played the part long enough. This is the end. You know that the end. I knew it a long time ago I'm glad you're finding it out. He has the worst temper I've ever known. I'm sure glad I'm not like that Patience, what are you doing? There was some lint on your wings. I was just brushing it all I Hope you'd be here Betty. Did you ever show your stuff to Brockman the Brockman? That's the guy No, and I've never shown my creations to the shaw of Persia. He's difficult to reach to in a pig's eye You're going to show an evening down to Brockman next week. I am he's going to be at the General Grant Hotel now Well, where's a pencil and a drawing board? I've got some ideas and you can whip them in the shape and baby You'll be famous. You know, it's funny, but I've been working on the design of an evening gown Well, great. We'll have done them.  I sure sure sure Well, I'm just the guy to show you where to hang. But do we have time George? I'll work with you day and night We've got to have time You're mistrasque. Yes, I'm Susan Armstrong editor of the Morning Star They told me the office that I'd find mr. Harvey here, but I thought that mr. Harvey was the editor Now he was helping out while I was away. Oh R.C. I'm sorry. You just missed him. He was here a little while ago. Oh, that's all right I was just um a following up on them a story. He's working on here Then you know, isn't it wonderful of him? Yeah, it is to think I'll be able to show my creation to Brockman Your creation I'm dying to let another woman see it. Would you like to have a look? Yes, I would very much It's back here Well, you you have some beautiful things here. Oh, thank you, but here's my pride and joy. This is it. Oh That's lovely It's charming. Oh, I'm so happy and maybe you won't believe this but George contributed a lot to the design. Oh Please George You seem to be very fond of each other. We like each other. Yes But we hardly know each other actually sometimes. I don't think he knows I exist He seems to have done all this for some reason. I know nothing about Oh, really? Yes, I'm sure he's in love with someone else a woman can always tell That's so true, isn't it? But my dear, how are you going to show this down tomorrow night? It's strictly Anatole do Brax display That's what I kept telling George, but he insisted he'd find a way and he hasn't yet. No, and there's not much time Well, maybe we can figure something. I always say women are better at these things than men Great line you've shown so far Anatole. I like all I've seen. Oh, thank you, Mr. Barkman, but the best as always we save for the last it is my most perfect evening gown. It is a beautiful dream Well, uh, well, uh, you shall see it now watch the stage. Mr. Miss Armstrong will come for See what you mean? That's the best number yet. You're good at picking models, too But I do not understand that he's not my girl not yours and who's it? Well, I do not know but we shall find out miss Armstrong over here. See we'll play. I don't care who that is and at all I like it. Uh, so tomorrow is a beautiful creation, but I do not understand Yes Uh, miss Armstrong, Mr. Barkman, it's a pleasure How do you do but Susan this gun perhaps you will explain This gun was designed by one of our local girls and miss Betty Trask. Do you like it, Mr. Brockman? I think it's great, but my guns Susan I'll model that next if you want me to anatole But I think can be better than perfect. I've seen all I want to will you join us miss Armstrong I'd be delighted Sit down to react the show's over Sometimes I think I do not understand America Good story you wrote about last night's show George. Oh, thank you Susan Uh, are you ready to talk now talk about what why you modeled Betty's gun instead of anatoles. Well Anatole just didn't know what to do with that peplum and he got so stubborn. He just wouldn't change it At least you got a nice wardrobe out of it Susan. That's all I got You came out the winner. You always do. Well, what do you mean? You got a new friend Betty's really a nice girl george talented and beautiful She told me you work very well together. Yeah, and uh anatole's a nice guy But he's going back to france. I know and did I tell you he recognized Betty's talent and he wants her to design for him Great break for the kid. He's taking her back to france with him Oh, that's wonderful That's the best news. I've ever heard For several reasons Our two stars Irene Dunn and Fred McMurray will be back with this in just a moment Good morning, Susan. Good morning george on my way up from the composing room. One of the printers wanted to Oh, no, no, no Susan Your scarf you've got it a little too tight around your throat and it's too much to the left Oh, thank you george.  Yes, monsieur harvey anything else No, no now you're perfect. Am I really just one more little touch madame? Yes You need something on your arm. Did you have something special in mind? Yes, I did me Monsieur harvey. I bow to your excellent taste. Merci madame Oh Irene Dunn and Fred McMurray will be back next week in another exciting comedy adventure in the gay new series bright star This is harry von zell inviting you to join us there