Zhang Zhen and Jiang Jiehong talk to Yang Yuanyuan sorted out
【Editor's Note】 This article is a compilation of the text of the seventh issue of the "World Two Meters Away: Ccva COVID-19 Special Seminar Series". In this webinar, Jiehong Jiang, Professor of the School of Arts at Birmingham City University and Director of the China Visual Arts Center (CCVA), and Zhang Zhen, Associate Professor of the School of Film at the New York University School of the Arts and Director of the Asian Film and Media Institute, discussed video recordings of the epidemic and cinemas as public spaces. The following is the full text of the dialogue.
Jiang Jiehong: Hello everyone, this time is the seventh phase of the seminar "The World Two Meters Away" during the CCVA epidemic. We invited Ms. Zhen Zhang, an associate professor from New York University. The core issue we're going to discuss today is with the ongoing pandemic, particularly in the US and UK. I also hope to do some discussion from the perspective of film and from the perspective of image recording. First of all, welcome to you, Zhang Zhen. Before we begin, I would like to ask you about your situation there, because the UK is now getting better, although there are still daily diagnoses, but the government has decided to gradually open some commercial venues, including restaurants and bars, what is the situation in the United States?
Zhang Zhen: The United States is big, more complicated, and the epidemic situation is also more serious. Since the end of February and the beginning of March, New York and New York State, where we are located, have been the hardest hit areas and the hardest hit in the country. But in the past month, under the more effective leadership of the governor, and the cooperation of the public and all walks of life, the epidemic in New York and New York State has been basically controlled. So now New York can basically start to enter the third and fourth phases of the so-called opening, that is, you can go to the street restaurant to eat, you can go into the store to buy things, but you are required to wear a mask, there is hand sanitizer everywhere, and slowly return to a quasi-normal state of life.
But what is more worrying is the rest of the United States , which was originally a relatively mild epidemic area , and the southern west is now a hard-hit area, with the number of infections exploding every day. Each state of the U.S. federal government has its own specific autonomy and legal provisions, but it is still a large country, and the interstate borders cannot be completely severed. For example, how to maintain a relatively good state in New York State while continuing to control the epidemic in the country is still a big challenge. It may be difficult to go back to school in the fall.
Jiang Jiehong: Similarly, we have been attending classes at home for several months, and we don't know if we can start school as scheduled in September. I went to a school yesterday and there were only four people in the whole academy, two security guards, a cleaner, and a librarian, empty. The sun in the office was chaotic and no one cared.
We have seen that when the global epidemic is particularly serious, it has also caused some cultural conflicts. Especially in overseas Chinese and some Chinese students in universities, there will be some relevant personal experience. Many of these experiences are unpleasant, such as the wearing of masks by Asian international students in the early days of the epidemic, the body language of passers-by, or some cultural disagreements that always flow from the eyes. Of course, there are more and more people wearing masks now, and such dissent and conflicts will naturally be resolved. I don't know if there is a similar situation in the United States, what is your observation?
Zhang Zhen: The United States is a multi-ethnic immigrant society, and the topic of this great integration of nationalities has been in the heat of discussion for more than a hundred years in modern times. After the emergence of the epidemic, because Wuhan, China, was the first city to suffer from the epidemic, irresponsible people like President Trump made all kinds of accusations and throwing pots, which also caused some outbreaks of discrimination that existed. Not only the Chinese, but also many Asians are innocently mistaken for the source of the disaster, including some Filipinos who grew up in the United States. In some public places, subways, restaurants or streets, I have been cold-eyed for no reason, and I myself have experienced this strange look in the supermarket. More seriously, there are also physical shocks, even beatings, etc., which is infuriating. In the aftermath of the Floyd affair, such a reaction (against Discrimination against Asians) merged with the anti-racism campaign of the past month or two. Many Asian-Chinese who were not so concerned about the "legacy" of slavery in the United States, the African-American race, and even some prejudices themselves, deeply felt this situation of being looked at differently during the epidemic, and will also participate in such a new civil rights movement ( affirmative action). But there are also the opposite, especially those who are more pampered, identify with white supremacy and Trump, and some Chinese groups have also blindly gone to the other end. In the social network media, these have become a hot topic in the United States at present.
Of course, these are not directly related to movies, but looking back at the history of American films or images, for more than a hundred years, many of them have been related to ethnic identity and so on. So I think it's actually a good thing that such a topic can be opened up and brought to the agenda. It's certainly irritating, and there's either an awakening or a pain, because it challenges your boundaries, your bottom line, your morality, your store of knowledge of political history and your sense of compassion and justice. If we can face it, especially in the midst of the epidemic, how to find a new so-called human community, I think this is still very important.
Jiang Jiehong: Yes, how the epidemic happened, scientists and politicians have their own opinions. For those of us who work in the arts, the pandemic has given us an awakening – to see the different ways in which different cultures see things. We have all been living in the West for more than twenty years, researching and teaching, thinking that English is like a key that can open the Western world, but sometimes we find that the door can be locked. When the epidemic suddenly came, we had a new understanding of our identity – the pluralistic situations that we thought had been smoothed by various interest exchanges, cultural exchanges, and faith communication could suddenly become so jerky. The cognition that we were familiar with was strange after such an external force intervened, so that we had to stop and look back at how we thought and how others thought. Through such an opportunity, we can look at ourselves and each other differently. So, from the perspective of film research, what has the epidemic brought to us? Or what is the role of video recording in the face of such a disaster?
Zhang Zhen: I think before the epidemic, because of mobile phones and other portable video recorders, DV, etc., in this era of self-media, national recording has become a common thing. So continuing to keep records during the pandemic, consciously or unconsciously, is an obvious thing. But now the epidemic is still in progress, not over, in addition to the relatively short videos that can be seen on the Internet, some video diaries, some simple non-professional records on the scene, the formal sense of the film - there is editing, there is sound processing, there is a professional video work that completes color grading and enters the public platform, or it needs a process. I think a lot of works are still in technical production, and if a script about the epidemic is produced and put into production, it is estimated that there will still be one to two years. It will be difficult to shoot a documentary on location, but if you have entered the scene, or the scene may be around you, in your community, or even in your family, the process of making the film will be shortened. In China, there are already some such documentaries screened, not in the cinema, but active in some streaming media (streaming media) platforms, in fact, in the public opinion, these platforms have instead got a good opportunity in the industry, because they can continue to operate long distances, as long as there is content they can survive.
Jiang Jiehong: You just talked about the aspect of film production, in fact, there are two aspects, one is the image production of professional producers, talking about movies, there are also documentaries, which may require a relatively complete production process to specialize it. On the other hand, it's also very interesting - amateur film. Because now everyone has a mobile phone, the mobile phone is more and more powerful, not only can be photographed anytime and anywhere, static or dynamic, but also edited and published. And we, in this epidemic everywhere, everyone is on the first scene. I believe that too many people have shot too many clips, and these clips have been disseminated and repeated on different interfaces, on different platforms. What kind of process is this? We have a set of convenient tools to produce, disseminate and consume images completely spontaneously. The real reality is only once, but the images captured by various digital tools and platforms make this one-time reality multiply by two times by three, and the second and third times unfold. To use an analogy, it's a bit like we're confronted with a vase of quite form, precious, fragile, wrapped up a little bit with all kinds of tapes — this vase is reality, and tape is imagery. The realistic image, then, is like transparent tape; the narrative, lyrical, and expressive image is like a tape with colors, associated marks, and associated patterns with associated colors, associated marks, and associated patterns with the vase itself, wrapping the disposable reality layer by layer. Although these tapes are always glued to the vase, just as the image always has to stick to the reality of the flower - it seems to be constantly restored, constantly repeated, constantly determined, constantly detained this reality. In reality, however, we see this vase bloated, or rather, such a process presents us with multiple, excessive, and even blinded realities.
Zhang Zhen: You use the metaphor of wrapping reality, I think it is also very vivid, the first thing I think of from the film ontology theory - the classic film theory. The functional extension of what the French andré Bazin called the photographic image is a kind of mummification, like wrapping up the body of a pharaoh, allowing him to be embalm (embalming), to make him immortal, to be passed on to future generations. This reality seems to be a reality that has just died, a corpse wrapped up layer by layer, and then rediscovered thousands of years later, and can still be intact. But the digital age has redefined such a concept, or even completely subverted, the original work is an individual artist, a photographer, or a film maker (filmmaker) to complete, is a process of practice and operation by a small number of people. These people seem to be chosen as a priests of art to understand and communicate for others. But now everyone can have such a tool, to make such a package, to bury reality or to preserve it for posterity.
For example, a documentary directed by Fan Jian, filmed at the height of the epidemic in Wuhan called "Forgotten Spring" and "The Lost Spring" in English, was also recently publicly screened on iQiyi and Tencent. The filming team went to Wuhan from the outside, going deep into the folk, streets and homes, and even some scenes of the hospital to shoot the reality of the front line at close range. But just like you said that the scene of the epidemic is everywhere, at this moment, where we sit can not see or touch, we are also shrouded by the epidemic, which is already a global norm. Of course, the environment we're in may not be the front line of the outbreak — because we're not sick and we don't have a doctor present. There is a film and television agency in Shanghai called "Elephant", and one of their most recent projects is to make the whole people become authors, in order to be able to capture the scene of the first line of Wuhan, a more realistic reality. They issued a call on the platform, calling on everyone to pick up the camera mobile phone, video recorder, on February 9, everyone to shoot a piece of the epidemic situation around themselves, and then there is a clip, no clip, send a small piece of material to the platform. The material collected by the whole people became a film created by them collectively called "One Day in the Rest of My Life". If a lot of people are allowed to participate in the wrapping reality, there will be a lot of repetition, and in the editing process, many repetitions may be discarded, and the final state of formation, or a master mind (the main idea) or a main producer (main producer). There is a very interesting and strange phenomenon in this: how to connect amateur films and professional films, as well as folk images, spontaneous image production, as if the production of works of art creates an experimental channel, in a certain sense is also a compromise, or mediate these different creative states, their discourse environment and their acceptance mechanism of this tension.
Jiang Jiehong: China has a special Chinese context, and what we just talked about is a kind of speech (dialogue) or a correspondence between professional (professional) and amateur (non-professional). There is another way of dividing, namely official narratives and folk records. I think both are important, and the official narrative has some very distinct features, such as the official interpretation of the epidemic and the positive coverage of the fight against the epidemic, to encourage people to be able to actively respond to such a challenge. Folk can go deeper into telling stories about ordinary people's own home communities, as well as stories in hospitals that they have personally experienced, just like the example you just gave - "Forgotten Spring". This kind of echo and complementarity between the two can restore a real China, and it is also a place that makes Chinese art, film, and visual culture particularly interesting.
Zhang Zhen: Yes, when it comes to folk and independent films, of course, it is inseparable from the so-called official. The example just now, "One Day in the Rest of My Life", I think is also a more vivid example to illustrate the tension between the official and the unofficial, and even its kind of connectivity, there will be a kind of mutual cooperation, and even a dialogue and so on, so it is not a black-and-white relationship. Regarding the official narrative of the epidemic, we know that we have begun a lot of filming of tv series and documentaries about the epidemic, so it will soon become a film and television product that can be consumed, which may be a more positive orientation. Of course there may be elements of folktales, as well as grief and tears, but in the end it must be an encouragement to move forward, hoping to "overcome the darkness with light." After the national silence on April 4, a "new chapter" has begun, followed by an all-out effort to restore the economy, business to operate normally, and then to readjust itself. Some of the introductions and discussions on social platforms that I have seen, it is estimated that it may be even faster after a year or two, and there will be an anti-epidemic theme in the New Year blockbuster and so on. So I think that at such a moment, the folk entry thinking and feedback is a kind of correspondence and supplement to the main theme discourse, which is more valuable and rare, because the research we do is to understand how artists write history through their creation and thinking, we write history through our research and writing, to face history, and refuse to forget. That is to say, don't forget the pain of the scar, the scar still needs to be faced, not to say that applying a foundation can not be seen. I think this may be a very important humanistic mission in the creation of art and literature - to be a witness.
Jiang Jiehong: When you talk about humanistic creation, we know that some writers will record the development of some epidemics and the daily life that is pervasive by the epidemic in the form of diaries. Such a form of recording is classical, like a mailed letter, calm, sensual, stroke by stroke, transcending the "reality" of reality. As mentioned earlier, everyone can shoot something, which may be more convenient than writing with a pen, and can it also be called an image diary - fast, instant, every second counts, and a "real" illusion can be obtained at any time. In video production, whether it is a diary sketch, a documentary feature, a TV series, whether spontaneous or official, when facing these video products, as an audience, we often put ourselves in a very awkward situation - looking forward to seeing the "real". However, whether it is a deliberately realistic documentary or an artistic interpretation of the New Year film, all the video recording, the shooting of the image, the narrative of the image, are not objective, there will be subjective choices, shooting angles, and the choice and editing of the lens. So what are they? I think if "real" is an island, then these images are probably the bridge to the island, it has an inevitable connection with "reality", but it must not be the reality itself, so when we look at these images, to interpret these images, to feel these images, we are actually crossing this bridge, infinitely approaching the "real", and this "real", in the context of the current epidemic, is exactly what we have just experienced.
Zhang Zhen: I like the metaphor you made, because I used to write poetry and often think figuratively. If reality were an island, I would use the image of an "iceberg," which could be floating. Beneath it, the invisible volume, the ebb and flow of the tide, are changing. In fact, it is always changing, and in our observation, in the process of our leading to it, it itself is changing, not a motionless coordinate. Geologically, our plate continents are also floating, always changing. When I think about it, whether the audience is watching on the mobile phone or on the big screen, what makes them vibrate and empathize? The judgment of a work, not only the official review judgment, but also the audience's acceptance and judgment of it, what makes the audience feel more real and more touching? It varies from person to person, but when the audience interacts with a certain theme of the work, the resonance between the subject and the object is actually to let us understand what kind of work is meaningful to you. A specific example I just gave, Fan Jian's works, there are a few paragraphs that I have seen and are quite touched, they are ordinary people's homes, but the director regards them as a major role. Connecting these points is a grassroots cadre in a neighborhood community, supposedly a party member, a lady, on the front line. There is still a balanced angle, which can be relatively recognized by the mainstream discourse, because this lady is a grassroots cadre, she has contributed a lot to the epidemic, her children's homework has been ignored, sacrificing a lot of mother's time, volunteering to help other families, which is a very humane, but at the same time a more positive narrative. From director Fan Jian, I learned that in fact, there are many people who are filming films about the epidemic. That's what you call an island or I say an iceberg, when there are different ways to present, like multiple prisms in all its aspects.
Jiang Jiehong: I also watched Fan Jian's film, and he told three stories. The language of the shot is very mature, and I am particularly impressed by a shot near the end of the film - drying a mask in a cloudy sun, the mask fluttering in the air, like a flag, I don't know whether to win or surrender. So, the three cases chosen from different angles are also particularly interesting, and you use the metaphor of multiple prisms. In China and in the world, the epidemic has spread everywhere. The so-called "real" we are dealing with is far from tetrahedron, hexahedron, or any polyhedra with a fixed number of surfaces that can be dissected one by one. It may be a Taihu stone, with various faces, and it is all irregular, and it is impossible to summarize and describe the epidemic situation with specific examples, and there are overlaps and connections between faces. In this way, what is the choice of these cases in the film or the narrative angle of these images, including the research (research) done in the early stage, and the criterion in the selection process? Both provide a methodological stance on the whole creation.
Zhang Zhen: Your interpretation is very interesting, and I think the metaphor of Taihu Stone is also worth pondering. Fan Jian is a very powerful director. His previous story about the orphanage after the Sichuan earthquake, the death of the only child of his parents, is also a few cases in many families, in the field of independent film documentaries, it is a relatively high degree of completion. I think I can go on to another example of the opposite - an experimental short film by Cong Feng, which is only 15 minutes, "About the Passage of Some People in a Short Period of Time", a more difficult topic, I read it several times before remembering the name. This is a more conceptual work, which may have more in common with some of the works of contemporary art you study. Cong Feng was also a veteran of many films before, but his films are basically in what we call the civil or underground state, rather than being made for TV stations or public platforms like Tencent. Therefore, its intention to produce, the audience's acceptance and dissemination, is still in a relatively independent space. This short film is a crystallization of some of his ideas during the pandemic, very personal, not deliberately trying to make a record, an epic of an era, or a work that can resonate with millions of people, tens of millions of people. Also in the face of the epidemic, in this film, there is no front-line scene image at all, neither fieldwork and field shooting, nor an amateur video record, but the use and interception of some existing materials and videos. (Among them) During the national silence on April 4, a young woman in Wuhan was closed in the house for several months, and after seeing the sky for the first time, she rushed out of the door of the community with her mobile phone while taking a picture, and came to the street, as if it was called Jiefang Road (a particularly meaningful name), and then wept and gasped all the way, which may be one of the most remarkable long shots from Wuhan. Cong Feng was also very shaken to see it, so he used the audio part into his work, which in a sense is a "sound art" work.
Jiang Jiehong: I do my own curation, if I come across such a plan, I will definitely say why don't we make a device and put on an old-fashioned radio, which is my first reaction after watching this work. Playing on the radio the voices that appear in the videos, dialogue clips taken from films released in China in the 1970s, including Walter Defending Sarajevo, The Bridge, and The Little Street, and of course, a central voice, what you call the cries of women on the streets of Wuhan. The video image of the work is very neutral, a cloudy sky, followed by the image of the clouds opening the sunrise, a scorching sun where the flickering, the picture and the audio parallel, or to provide a "scene" for the audio. This creative idea may carry the author's own life experience, but it can also bring us some new thinking, between memory and the present, reality and imagination. And such video sketches are suitable for presentation and dissemination on social media platforms, as an artistic strategy, from which we can naturally lead the topic to a concept that we have often heard in recent years - post-cinema (post-cinema).
I remember the open-air movie when I was a child, pulling up a big cloth, climbing on top of the truck and shivering, but also to watch "Shining Red Star", always want to jump off the truck and go around the back of the big cloth to see the end, the curiosity of children. As for the cinema, it is well distributed in Shanghai, large and small, sometimes like a place to talk about love, a most private public space. In recent years, in the cinema, the audio-visual equipment has been continuously upgraded, making people immersive, overwhelming screens and sound effects, eager to eat the officials one by one. Now that the epidemic is coming, to maintain social distancing, the cinemas are closed, but it seems that there is another opportunity to watch movies in the open air, for example, drive-in cinema (car theater), and often a ticket is difficult to find, it seems that everyone's enthusiasm for the cinema experience is not diminished. In addition, during the period when the cinema was closed, the film and television platform that had been growing up became an indispensable part of daily life. In such a situation, the "post-cinema" era we usually mention seems to have opened in full swing in advance.
Zhang Zhen: In fact, the concept of "post-cinema" and "post-cinema" is linked. Such "post-cinema" and "post-cinema" have begun in a sense in the centuries. We are still after the Cold War Iron Curtain, we have not had time to watch a lot of movies and television, in many Western countries there is a television impact, in a sense has been the beginning of "post-theater". The family's living room extends into a place to receive images, and of course forms like the car theater. But after the Internet era entered in the 1980s and 1990s, and the era of digital amateur image production and consumption, "post-cinema" was in a sense put on a more urgent agenda. For movie fans, for that kind of cinema experience, for the enthusiasm for big screen screening, whether indoor or outdoor, the emphasis is on an intimate aggregation of a public place. It's a social act and a building of a public space. Therefore, the entertainment consumption of images not only provides the spiritual pleasure of modern people, but also a kind of establishment of identity and mutual recognition. You sit with people, and you must have come together because you also liked a movie. It's more about modern citizenship, the possibility of identity building, and he will find a confidant, a sympathizer. So such a place has actually continued to exist, although there are videos behind the TV, and the various forms of the small screen have been impacting the history and experience of the big screen.
After Kodak Chromium film was basically eliminated, a huge rupture occurred. Many traditional photoographic studios were closing their doors, and cinemas were soon going to digitalize. Just like in the 1920s and 1930s, after sound films were invented and entered mainstream theaters, the early silent films were also fully faced with technological revolutions and transformations, thus bringing a new enjoyment to the audience. Therefore, the film has been nirvana in different technological updates and expansion spaces, and the "post-cinema" is the same, which can have sound, fragrance, and even spray water, etc., a full range of sensory experience. The outbreak of the epidemic has made us pause for everything, but it does not mean that the era of big theaters is over, because everyone still hopes that the epidemic will pass one day, we will still return to the public space, back to the store, back to the restaurant, of course, to return to a relatively closed cinema space, which is relatively dangerous for the epidemic, and there may be a certain lag.
We have developed a habit of cinema spaces throughout the twentieth century, the social act of "visiting" together. There is a saying that the cinema is a modern temple, and for an atheist, the movie may be a god for movie fans, and the cinema is a temple. Now, the era of "post-cinema" seems to have suddenly arrived physically, basically all the cinemas in various parts of the world have closed their doors, film festivals have moved to the cloud, and the opportunity to watch movies with friends who have common hobbies with you has been artificially constrained and interrupted. However, everyone feels that the physical memory is still there, and there will still be this yearning. That's why tickets for the car theater are sold out. In the process of watching the movie, what the image itself is not necessarily very important, but it is the behavior of movie going (watching the movie), which has grown in everyone's physical memory, and in the social memory, we will share such an experience together. I think this epidemic has brought us a hint: movies are not necessary in a certain sense, we can survive in the daily life without cinemas, just have to eat, drink and sleep, and the basic living conditions can be like caveman (primitive man). But you can also paint in the cave, just like we have a home theater in our house. And once you've walked out of the cave, you have to breathe fresh air, you have to be with the group, and you have the possibility of communication. I think the cinema is still not dying, many fans in China are already very enthusiastic looking forward to the official opening of the theater next week, the Shanghai International Film Festival is said to be officially open at the end of the month, maybe some of the programs can not be fully screened, because to control the flow of people. These social behaviors before and after watching movies are actually integrated with movie going, which is a very organic part of urban life, which is not only a pastime, but also a place for the construction and existence of a civil society in many senses. But because of this epidemic experience, everyone may learn to be prepared and can return to the cave at any time. Can we run an online cinema? You can, like me and now, use digital platforms to continue generating conversations and continue to build a virtual public space. But one day we'd like to be able to meet, shake your hand, and have time to share a cup of coffee.
Jiang Jiehong: Look at the screen behind you, you built a theater directly at home. In fact, from a functional point of view, a home theater can also be equipped with high-end equipment, comparable to professional cinemas, so as to achieve similar sensory enjoyment. And in the public cinema, the movie is there, like you just said, like a temple, like a work of art in an art museum, we go to worship as if we were going to worship. In the cinema, the film itself, as a subject, consistently dominates the audience, dominates every minute in the space, without humility, without compromise, without apology. In the private theater at home, where the host (the audience) dominates the image, you can tap pause, pour a cup of tea, make a phone call, and come back at any time. On the computer, on the phone, indoors and outdoors, on the go, on the train, in the cabin, everywhere is a private theater. So why did people still sell out the tickets for the old movie "Lion King" in 1994, which was played in the car theater? Like you just said, we need to satisfy a collective experience. It's a bit like the concept of "common text" in the process of reading a book – everyone has a similar list of books, and having read the same book, this book not only provides after-dinner talk, but also an intellectual communication platform. If we watch the same movie, we can communicate in the same context. When I first arrived in the UK in the early years, it was difficult to understand the British pub culture (pub culture), rain or shine, but also to drink a drink. In the midst of such an outbreak, when the government announced that restaurants were gradually opening on July 4, people lined up early in front of bars. In fact, running to the bar to drink a drink may taste exactly the same as drinking at home, but in the bar it will be crowded, that is, it will taste more delicious. In the past, we would also organize some wine clubs with friends, wine tasting, what origin, which winery, and the story of the wine inside and outside the wine, and now you can still drink. Therefore, whether it is a reading group, a cinema, an art museum, or a bar and liquor store, we are given far more than a public space that can accommodate people, but a same context, for the effective communication between us, mutual cognition.
Zhang Zhen: I agree very much, and I am also very eager to return to the cinema experience. Sometimes, we may miss a premiere, or a movie, but what we really miss is a public conversation, that is, a discussion that extends from the image, how we understand, explain, how to communicate and communicate, which may be more important than the film itself. So I am also looking forward to this day. At the same time, in turn, the epidemic has actually provided a lot of new space for independent films or small-scale films. Those who rarely have access to large brand theaters, now, they have space, because people are at home, everyone's attention is focused on small screens, on the cloud, on the family's private screen (private screen), but also can find a new possibility to participate in public discussion space. Therefore, "private" and "public" are actually very dialectical and complement each other.
Jiang Jiehong: Of course, we expect that the epidemic will end as soon as possible, and we can return to the original daily norms. But in such a temporary process of change, we still find a lot of physical and mental perceptions that we don't see when the epidemic is not coming. Okay, finally we thank Zhang Zhen for your participation today.
Zhang Zhen: Thank you. Good bye.
Editor-in-Charge: Fan Zhu
Proofreader: Luan Meng