 series. It is a pleasure to welcome you here. It's brilliant that we hear the good news that there's no strike so you don't have to worry about rushing out and catching bus home a very long journey. Also there's no storm at the moment so it's pretty good for tonight's entertainment. We're very lucky. I'm Zhang Biyu, the deputy director of the Taiwan Center of Taiwan Studies. After the warm-up of last night, the documentary we're showing tonight is the Taiwan matchup. We have the film director Zhongquan here to take your question later. Thank you for coming all the way. Thank you. I will later let Zhongquan say a few words after my introduction. Zhongquan started his studies in documentary at the Beijing Film School in 2003. Before this time he worked in advertising and digital marketing in China and he won quite a lot of international awards for his designs and his advertising work. He's quite proud of it actually although you know he tried to be calm about it. Coming from this kind of background it's quite interesting. We can see his work actually shows this kind of quite professional light of his work. So you can see it's very different in contrast to what we saw previously in this series. Very different in styles and quite especially later on for example like this film he got quite a lot of funding because he's good work of course. So it's very sleek, very professional and very beautiful to look at. So you know it as well as and sorry as well as is insightful and interesting but also very beautiful. Right as we mentioned last night the common thread linking the three films directed by Zhongquan is sports. Tonight's film the Taiwan match-up woman is almost like a sequel of last night's film against the background of the 2008 presidential elections and also the Olympic Games. Zhongquan followed the Taiwan Wu supporting team that's called Taiwan Jiao You Dui and it's two major organizers to cheer along the Taiwanese athletes and the Chinese Taipei Zhonghua Taipei team both at home and abroad. The film focuses on the fans in the sporting events examines sporting nationalisms and finally questions the idea of nationalisms after filming a bloody protest in Taipei. This film has been awarded Agave I hope I pronounce it rightly. Agave Award for the best documentaries in 2010 Wu Ha Ka International Film Festival in Mexico. On behalf of the Center of Taiwan Studies we would like to use the opportunity to thank as usual all the support that we have received from Ministry of Culture and also the public television service and in particular the generous donation of Dr. Samuel Yin. Without this support we would not have been able to put out so many interesting and memorable events. So now before we start the film I think Zhongquan would like to welcome you with a few words. Hello everyone, I'm Zhongquan. I'm very happy to be able to put my own work here. He's very pleased to be here to share with you his work and that's it. Would you like to say something? Do you want to say something first? How many of you were here yesterday? Thank you. Thank you for turning up as well. Any questions? I expect more questions. My question is I'm curious about the audience response to this film and also the affair of three cities. What kind of response did you get? Was it popular with certain political groups? Because it's very very difficult in Taiwan to make a film on a political subject. It's very difficult to be seen as being neutral. You mean domestic audiences? Domestic Taiwanese audiences, yes. What was the reaction of the Taiwanese audience? When the film began to be released in Taiwan in 2009 it was very different between Taiwan and South America. Later on, the film was actually painted with a lot of colour. So in fact, in 2009 and 2010, the public television had never been broadcast again. In 2009 and 2010? Yes, I remember it was released in 2010. Later on, it was never released again. Later on, it was frozen. I think this version is different from the original version. This is my own version. Alright, okay. David asked about the audience reaction. This film started screening starting from 2009. I remember, even though I got quite a lot of international awards but at that time, the blue cam and the green cam had such heightened tension during that period. So actually, this particular film was actually sort of gaining some sort of colour. I presume it must be green. Did they think you were green? Maybe. Yes, he said he presumed that it must be some sort of colour associated with DPP or green cam. So after the early 2010 screening and was sort of put down the shelves and not being seen anymore. That's it. This film, different people will have different feelings. The blue cam might feel like I'm very green. The green cam might feel like I'm studying in China, reading books on the mainland. I might also feel like I'm filming on the mainland or something. So actually, the process of filming was quite hard. He said he felt that actually different audience, different people have different take on this. For example, people from the blue cam or maybe I suppose Chinese or double students would think that Zhong Chen is quite green. He has this kind of DPP association there. Before people from the green side would think he seemed to have quite a lot of Chinese colour because he studied there. So he said actually he's sort of caught in the middle. It's not very easy to please everyone. Actually please nobody. Any more questions? I would like to ask a question. I think, sorry, let me ask in Chinese first. The music you use is very interesting. The movie you used last night and today's movie are very different. Very fast. How did you design it? Are you special? Why did you design it? Sorry, let me explain. Sorry, I was asking about the music because both nights the usage of music is quite remarkable for me because it's sort of quite deep meaning about what's being shown. For example, I noticed yesterday between Taipei and Beijing got really different music in New York so I sort of pick up the rhythm of the cities. So, yes. Yesterday I used a lot of Indian western music. The reason is because some Indian music is more like religious music. Religious music is also a religious belief in your understanding. At that time I didn't really want that music to be too Chinese or too western. So, I decided to choose an Indian music. Indian music has a bit of a religious feeling. It's also a bit of a mysterious feeling. Today I have made some plans for a better production. The public TV has helped me. So, the production will be more delicate. Yesterday, if you were here, you would notice that he used quite a lot of Indian music, Sita music. The reason why was he wanted to not pick up particular associations. Culturally, it's very Taiwanese or very Chinese. So, using a seemingly quite exotic but not you don't have a direct association with China or Taiwan but bringing a certain kind of mythical feeling about it. But at the same time, he also said that he thinks that Indian music sometimes bring up this kind of a deep religious sense of self and also have this kind of association with belief. So, he felt that identity is a kind of belief. So, using that, he's trying to do this indirect way of implying certain kind of strong sense of something. And so, it is not too Chinese nor too western. And today's music, he said it's because it was funded by a public television service. So, as you can see, it's very sophisticated and quite a lot of money being put into this production. I would expect some students ask some questions. Oh, yes, please. My name's Dean. Am I right in saying you were making that for about five or six years? And who proposed the idea and what inspired you? There's a big difference in the subject from the creativity world to what you're doing here. It's lovely that you can do that crossover. Sorry, what do you mean by from creativity to the work? Because he makes lots of advertising. Oh, okay. And I really admired your work. It was really beautiful, really well put together. Yes, so the question is what? Who proposed the idea? Where did inspiration come from? And why? Yeah, thank you. Thank you, Dean. You look like you spent five or six years making these films. So where did your idea come from? So, especially from the background of your advertising, from the creative people, how did you turn your creativity, creativity into something more thoughtful? I think it's because I was younger at that time. And I went to Beijing to study very early. It's not like I usually just went to work. And then maybe the culture of the mainland itself would still be a little distant. I even went to school, to study, and even to talk about love in Beijing. So I was deeply involved in that place of life. And now I'm also in Beijing. So Beijing is like another home for me. I have a deep sense of affection for Beijing. So in fact, my creative source is all from my deep life there. But, for example, I am a child growing up in Taiwan. Every time I enter the mainland, I will see two officials, one of them is the Chinese name Tong Dao, and the other one is the foreign name Tong Dao. So every time I go to Beijing or the mainland, I have to go through Tong Dao. As a Taiwanese, every time I go through Tong Dao, I will have a problem. So these little feelings are all from my creative source. When he went to Beijing to study, actually he was very young. Wow, he's still young. And he said not only he worked there, he studied there. He had girlfriends there. And for him, it is not like a Taiwanese businessman, really. He lived there for a very long time, and he has sort of immersed himself in that sort of environment. So it is part of him as well. And for him, Beijing is like another home for him. And there's a very deep affection about this city. And although he said, I'm a Taiwanese child, grew up in Taiwan. I love this place. But whenever you try to switch your identity between two, and he said whenever he left Taiwan and entered the Chinese soil, when you are in customs, you look at two entries, two different identities. One is Chinese citizens. One is foreign citizens. And which side you chose? Today when we talked before this meeting, actually he told me the first time he actually went to the foreigners entry and actually being towed off because he's holding Taibao Zheng, the Taiwanese Patriot Certificate of Permit. So for him, every day he encountered this kind of dilemma, this kind of identity confusion. So for him, this embodied everything he talked about or think about whenever he encountered the issue of identity is which one to choose. And switching from Taiwanese child to the Chinese citizen, it's quite a confusing experience. And for him, that's where the inspiration comes from. What do you mean? You mean now he has a particular identity, so there's a turning point? How did he build up the idea? You mean creatively or just... Okay, I see what you mean. You have this kind of idea or confusion, this kind of confusion. How did you come up with this work? I remember you, sorry, I saw your interview last time where you said the story came out. Okay, can we in fact... Say a little bit more. My record for this is the first step in my life. You guys saw the Taibao Zheng competition yesterday. I was hoping to find a new perspective and he talked about the relationship between the two cases. Because in the past, the record for Taiwan talked about the relationship between the two sides of the mainland. Most of them were about the Chinese bride or the Taiwanese merchant or some Taiwanese soldiers who went back to the mainland to visit the Qing Dynasty. I think these topics are very touching and wonderful. He is older than me and is more interested in my parents' generation. I think in my generation, I understand that there is no need to tell me more about this. Do you have any stories or perspectives that are related to my generation or what they are doing now? So at that time, I wanted to use the movement to cut through. At that time, I observed that when the Taiwanese were watching the game, there was a bond between the two sides of the mainland. No matter what game you play, you can't lose to China. From this point of view, I feel very interesting. So I started to cut through from the movement point of view. Right. Thank you. This particular film, I mean tonight, is the sequel of the previous night, of course. And the reason why he chose this particular angle was because he felt there have been so many different either documentaries or different kinds of art forms exploring the issues of Chinese bride marrying a Taiwanese man or a Taiwanese businessman in mainland China or stories about the old Chinese veteran who settled in Taiwan and went home to visit their families. There were quite a lot of these kind of stories and quite a lot of films about this. But the problem is he felt it sort of belonged to his parents' generation. It's something belonged to the past. For him, as a younger generation filmmaker, he felt he wanted to find something belonged to him, a new angle to look at across straight relations. And so when he looked around his environment, he really felt it's such a good angle to bring the audience with him to look face-to-face to this kind of very contentious issue with a touch of lie-heartedness, could be or quite heavy-heartedness. But then he said he felt he found whenever he saw in sporting events, Taiwanese usually have a particular kind of anti-Sino, anti-Chinese complex. And this, we have to win. We have to beat them. If you find someone else, or you compete with some other countries, that won't show that much. Do you want to carry on? Oh, and also I remember Zhongquan was talking about something in other media. He did say he doesn't set out to talk about particular thing. The story grew with the process of filming. Before filming, I didn't know that this slow-motion would be part of politics. I thought it was very simple. I had to go to Beijing to film these加油. I didn't expect it to turn into a very positive video when it was part of the film. I didn't expect it to turn into a very positive video when it was part of the film. Okay. For example, the story grew by itself. When he started filming, he didn't know the slow-motion, Yang Huiru, took part in political events and actually quite active before he started the project. He originally just wanted to follow them and have a very simple task of following the sporting event and see how Taiwanese cheer for themselves. But then gradually, two eccentric characters just have their own story to tell. Yes. Anyone? I don't know. Hi, Xu. I think Chinese students should ask some questions, please. Sorry, before that. I thought there were very interesting contrasts in the two films today and yesterday. Yesterday was the way that, comparing the Chinese fans and the Taiwanese fans, reacted to defeat. But one of what was quite interesting about today's film was that you appear quite a lot in the film, with the Q&A session, maybe it looks like in the US, and also you appear right at the end. So here, it looks actually like there's a lot of similarity this time between China and Taiwan. So we've got the police brutality in the Chinese setting in 2004 and then in Taiwan in 2008. So I wanted one, why you decided to appear yourself and to end in that way. Okay. Okay. Today and yesterday's film are very different. Yesterday we were talking about the contrast between China and Taiwan and the failure of the film. Right? So today, I want to know why you put yourself in the film. The Q&A that just started was held in the US. And it's very interesting that there's a conflict. Secondly, there were many times when you appeared in the film. Suddenly, you felt because you usually try to focus on the film and not appear. And then you put the root of the film at the end. So he asked why you made such arrangements and why did you deal with it? I finished filming because this film made me experience so many things. I was only 27 years old this year. Most of the time including some events I filmed myself in New York and Beijing. I was followed in the process of being followed. You want to live in a 20-year-old young man to experience such things. Not everyone would experience it. At that time, I was under a lot of pressure. And I also felt that I was following the process of being followed in Beijing. The public television called me and told me to stop filming and go back to Taiwan. It's okay. I didn't film in Beijing and I would regret it for the rest of my life. So I thought I must invite him to film in Beijing. I was lucky to film in Beijing. So I went back to Taiwan. At that time, I met an event that happened in Taiwan. I had a very good experience of being followed because it was easy for others to misunderstand your intention. But it's very simple. I just hope I can leave Taiwan and go to the mainland. This process may be a way for me to stick to different ways of doing these things. So I just stick to it and finish it. I was very lucky. I went through so many things safely. So I didn't come by myself. I really think that I was a Taiwanese. In the past, I didn't know much about democracy. But when I went to the mainland to study, all the education including my studies and images helped me to film in Taipei or us. Almost all the teachers in the mainland helped me a lot. There were very few Taiwanese and I almost didn't interfere with any of my work. It seemed like I didn't interfere with anything. It's a long one. So bear with me if I miss anything. Please remind me. In response to David's question, actually I think Junquan explaining he went through during that period of filming. He said at that time he was only 27. Imagine at the age of 27 you are under great pressure to give up. Not only that, I think he did say he had gone through quite a lot of different experiences. He didn't really tell me what or tell us what but I suppose there's quite a lot of political pressure and he said look at the film. We have seen quite a lot of protests. I went to Beijing. I went to New York. I was being followed by the securities in Beijing constantly. I didn't feel very safe and at some point the pressure was so great. He was considering giving up and also he was wondering it. He was saying just for some artwork is it worth it? And also because it was funded by public television service they called him from Taipei and said if you felt it's very difficult, it doesn't matter. You don't have to finish it and just come home and you don't have to because just before the Olympic so they told him you don't even need to film now don't worry just come back then he had a thought he said if I don't insist carry on and I will regret all my life so he carry on and he said he felt very lucky. He managed to really got all the material and film all the events and the things he wanted to see but the problem is once he got back to Taipei he faced the protests in Taipei streets and that was a protest against the Chen Mingling's visit for the first time in Taipei and he said of course he understand especially after this film he felt that he understand the topics on cross-strait relations is probably not very well chosen because they never please anyone. The only thing he got was being pigeonholed people would think that he probably more pro PRC or maybe pro DPP who knows but the thing is he felt at the beginning the initial motive was very simple. He felt because he lived and study and befriend both sides and he got more resources and understandings than anyone else or most people and he felt it almost like fate. He should make this film and good we are very lucky because he decided to insist to carry on and eventually finish this and he said answering Davie's question, it's not because he is self indulgent and put loads of him in the film it's just because he felt I can't remember it's not self love and then actually I was actually compared to my 2004 in Taipei Beijing's public health stadium and I never thought that I was born in a very free democracy there shouldn't be such a violent Taiwan after 4 years, I saw the same conflict between the police and the people I was actually very sad I still remember that day when I was in Taipei wearing a T-shirt and shorts and then after filming I couldn't even hear it for 2-3 days because it was the sound of a thunder very loud and then when I got home I just took a shower thinking that my whole body was sweating and I was really sad because at that time I had just gone to Beijing hospital to go back to Taiwan for a few months actually I felt and then I remember that when I was taking a shower I found that my feet had blood and then I thought when I was filming I might have hit a rock or so many police and then they might have hit me and then I found that I didn't have a wound at that moment my tears were flowing down I was very sad why I just wanted to shoot some stories from different angles actually the purpose was to make Taiwan and Taiwan different audiences see some stories from different angles why I wanted to make myself even one day maybe I was even I could never enter China how many of my memories and my friends and classmates were there but I was still very insistent to tell myself no matter what the reason why he put himself there was to contrast the first film the protest and that after-match the confrontation between the police and the audience in 2004 but of course it's a very different scenario and he felt quite confused he said he remember that day why this is a place I grew up and I was made to believe this sort of thing would never happen to me or my fellow countrymen and he remember that he was very upset he couldn't hear very well after that because all the horns because very loud horns being blown all day long and he said because of the convenience of filming the scene he was wearing a t-shirt and a short and when he went back home he felt really probably quite lousy so and he went into the shower and quite upset then he started to take the shower and he saw he got blood on his feet ankle and knees and he was saying oh I think it's because I scraped myself somewhere I was kneeling down or something but then when he washed it down he realized there's no wounds on his feet and he realized the blood belonged to someone else and he said he couldn't help himself crying from that point and I think then he did say the reason why he did this making these films was to try to pursue an angle it's very different from the conventional angle about two sides joining together or cross-strait marriage his aim was trying to bring different audiences together and trying to let each other see different viewpoints and he said he didn't want to one day being blamed for sorry he didn't want to have this possibility of one day that he won't be able to get into China because there he has many friends good memories and good friend and good teachers and he did mention before this he was saying he didn't feel when he was studying in Beijing people treated him differently they are not as democratic as we Taiwanese believed and all these friends, teachers in Beijing film schools they helped him and inspire him to making films not this one but also the next and make him who he is today and actually in comparison not so many Taiwanese students helped him as his classmate so it's sometimes maybe in academia still quite free in school more free anyone want to ask thank them from China and I just want to ask you the experience of making such kind of films has changed your thought about yourself or you thought about a cross-strait relations only before you made the film how do you think about yourself in China and Taiwan after you made the film are there some changes okay after shooting what changes did you think about yourself or your view on China or Taiwan if there are any changes if I say I go to Beijing if I go abroad then after I left Taiwan I think I think about Taiwan I think about Taiwan I think about Taiwan the feeling of the past few years but I just said I read film almost all of my classmates helped me then they also supported me told me to do what you think you want to pursue so this is an important motivation do you have any changes actually maybe there are some changes in the work but I also didn't come up but I think just like the in the film like in the film in the film Chinese is I hope I can find the answer so I knocked the door opened and I knocked the door from inside look at this poem it is very interesting it is about I was born in Huangdan actually Huangdan is Taiwan for me and I I hope I think I can find the answer but in the end I don't think I can find the answer or the way I knocked the door from inside this poem when I read the poem I immediately feel the whole feeling and coincidentally I made this film called the first and the last word is me and the door so it is a very good coincidence you mean the translation the first word but that is the door so it is my own feeling I hope I can do some things so with the development in the future maybe in 20 years I can come back to see can you put that poem on top difficult okay wow this is a difficult translation okay I will try my best he said if going to Beijing is like going abroad then people know when you are abroad your sense of identity are heightened and he felt exactly the same he felt more Taiwanese when you are not in Taiwan of course the thing is when he was in Beijing he felt whenever he was studying when he was making films he can sense the support and friendship from all these Chinese students his classmates they supported him and encouraged him to pursue whatever he wanted to so he said that is the the origin of his motivation that carry on doing it even when he is wanted or considering giving up and he was saying how can I say how can I describe my sense of identity before or after the film he said it is very difficult to describe I used that to show him to portray my sense of what, absurdity or insanity the thing is for Zhongquan he said within the door everyone wanted to see what is behind the door but actually he actually felt that insanity is this domain of insanity is Taiwan and he wanted to go out of it and he he realized before he made the film he probably is too naive at the beginning he wanted to find out what is right, what is wrong what people really like or not but he realized he is not sure actually making this film he is not sure and he wanted to ask you to think about it in 10 years or 20 years time come back to look at it maybe you will have a totally different take on it yeah oh sorry you should have mentioned that you have written your own version can you please explain why you still want to make another version of your own version and this film should be in Taiwan and the whole world have you participated in the film, not the film Chinese audience thank you next there are two versions two versions one is the TV version one is the version you see and what is the difference that is the first question and second question is do you ever enjoy Chinese film festival film in China and what is the audience response yes, especially Chinese the reason is because the TV is only one hour so at that time the show was cut 56 minutes you can see it is 78 minutes it is very tight but when the public TV is broadcast it is 56 minutes what was cut? many of them of course when DVD was released the original version was a bit different I think there are some more colourful American those things were taken Chinese film festival it is impossible I could not go to Chinese film festival it is impossible Song would not participate there are some places where they are small independent film festival but there are some film festival but they told me they would take the horse yes it is very troublesome I am willing but I just want to go out and play it is too troublesome because there are too many so the two versions are quite straightforward actually it is just because the public TV service has one hour slot but this film you are looking is 78 minutes so I did ask what was cut off and they were saying too many I cannot really remember so actually it is quite straightforward it is not political or anything however the DVDs got another version I think if you buy the proper DVD on the market it is a little bit different from this particular one as well as to the second question the Chinese Zhong Jun felt that it is not possible that he can take part in any formal or official film festivals however he was invited to some smaller independent film festivals but they did ask to block the flag the national flag so there are so many you remember so it is really not worth doing so eventually he said no thanks yeah right I think it is about time sorry thank you very much for coming we have to thank you for making this journey here and tomorrow Zhong Jun is going to show another his film it is very different but I think you will love it because it is quite long as well not as well longer and I hope that you enjoy tonight and can we give Zhong Jun another round of applause thank you very much for your translation thank you very much there are some sandwiches and sandwiches Pablo and please help yourself and enjoy more stimulating talks with Zhong Jun