我做到了

Hi everyone, We are moving the show to SupChina.com next year, but don't worry It will stay free and we have a small surprise to announce you.

This episode is the B-side of a two part-series about how internet changed the way to consume and create content. Last time the panel were people making a living by creating only on the Internet, but today we meet the other side of the fence, the more “capitalistic one”, the one who are working on advertisements. 我们制作了一部系列节目，分上下两集讨论关于互联网是如何改变了消费和内容创作的，本期节目为这个系列的下集。 上期节目我们采访了通过互联网创作谋生的人，而今天我们调转角度，来和这些更“资本主义”的人聊聊。他们是广告从业者。 With : - Kenneth Cheung : Data & Branding consultant ／ 数据和品牌顾问 - Tera Fang : Fashion influencer / 时尚博主 - Eloi Gerard : CEO & founder of CrowsNext XR CrowsNext XR 创始人及CEO

China has only 55% of Internet penetration, but almost every of it user are using a smartphone, therefore lot of content (video, news, silly application to make you look beautiful) are created every day. And just as of this month of recording (October 2018) Bytedance, the Chinese company owning news aggregator Toutiao and short video app Douyin/Tik-tok, is now THE most valuable startup in the world, more than Uber or Baidu. ​虽然中国只有55％的互联网普及率，但几乎每个网民都使用智能手机，因此每天都产生大量内容（视频，新闻，很傻但让你看起来很漂亮手机APP)。截至本期节目录制时(2018年10月)，“字节跳动”这家中国公司公司——旗下有新闻聚合器APP“今日头条”和短视频应用“抖音”/“Tik-tok”(抖音视频国际版)——现在已经是世界上最有价值的创业公司，超过了优步或者百度。 So, as I work on television project I wanted to talk to those who just create article, funny video and news on the Chinese Internet. How do you make a living by creating online content? How do they find followers? And how big is the competition? 鉴于我正从事电视行业，我很想与那些在中国互联网上写文章、创作有趣的视频和新闻的人聊一聊。他们是如何通过创作线上内容谋生的？是如何吸引受众的？这个行业的竞争有多大？ With : - Erman - Weibo & Wechat influencer / 微博和微信红人 - Ben Jonhson - Douyin celebrity at the “和歪果仁说英语” channel ／‘和歪果仁说英语’抖音红人 - Tang Yiqing ／唐宜青 - Founder & CEO of Juzi Entertainment / 社交软件‘橘子娱乐’创始人兼CEO This episode will be a two part series on how Internet is changing content creation in China, next month we will look at how your advertisements are light years away from what was done just 5 years. 针对“互联网是如何改变中国内容创作的”，我们制作了上下两集节目，本期是“上集”。下个月将播出“下集”：现在的广告与5年前有什么不同。

In this episode we are going to talk about LGBT and feminism in China’s mainstream media. For a quick historical reminder, China has stories of emperors and generals being openly gay and it was only in the 17th century that homosexually became illegal. Three hundred years later in 1997 it became legal again and in 2001 homosexuality was not considered as a mental illness anymore. Gay marriage is not accepted in China, nor it is in Japan, South Korea or Vietnam while India just made it legal. Just a few Japanese cities allow same-sex couple while Taiwan should allow on it’s territory in 2019. As for the place of women in society; for thousands of years they were not equal to men, then after the creation of the People’s Republic of China the country was celebrating the “iron girl” and cheering slogan like “women own half the sky”. But as the country reopened in the 80’sit seems the push is now more for girls to focus on having babies and not being too independent. The general population regarding same-sex relationship changed its view, from 2000 to 2015 the number of people against same-sex was 52%, it dropped at 30%. So now, how does this subject fit into this show, which is China’s cultural industry? In 1993 the movie “Farewell My Concubine” (霸王别姬) by Chen Kaige which won the Palme D’or at cannes countains homosexuality theme. That is actually the only Chinese film that won such price. There were also a few movies with LGBT theme like “East Palace, West Palace” (东宫西宫 -1997), “Men and Women” (男男女女 - 1999) or “Spring Fever” (春风沉醉的夜晚 - 2009). There was also in 2015 the webserie “Hooked” (上瘾) which was ranking number 2 on Iqiyi, the China’s Netflix, that got cancelled. And on December 31, 2015, the “China Television Drama Production Industry Association” posted new guidelines stating: "No television drama shall show abnormal sexual relationships and behaviors, such as incest, same-sex relationships, sexual perversion, sexual assault, sexual abuse, sexual violence” So now, the question is what kind of artistic creations are left for people who want to talk about Non-Traditional love? With - Qin Sachi – manager of the trans program at the Beijing LGBT center. 北京同志中心跨性别项目负责人 - Wei Xiaogang - Executive director & producer at the NGO Beijing Gender 公益组织Beijing Gender执行理事及制片人 - Evangeline Z – Feminist activist and comedian 女权主义活动家、戏剧演员

Virtual Reality is the new medium that many technology guru think are going to put cinema away; but it still has problem to take care of, mainly because we still have “boxes on our head” when we watch content. If not everyone is watching VR product, film festival (Sundance, Venice, Cannes) have now a VR section and the growth, especially in China, is still going. To give some comparisons: In 2016 China VR market was: 500 million dollars (mainly in equipment) In 2016 China film market was: 6.9 billion dollars In 2020 China film market could be: 10 billion dollars In 2020 China VR market could be: 6.5 billion dollars (half made in VR equipment and the rest made in games, film, content for enterprise, theme park and so on.) But how is the market looking now and what are the main current difficulties? 许多科技大牛认为虚拟现实这种新媒体将取代电影；但是它本身还有很多问题待解决，其中最主要的是，我们观看VR内容的时候，头上还得戴着一个“盒子”，要不然大家都去看VR作品了。现在，电影节（圣丹斯，威尼斯，戛纳）已经有了VR单元，这个行业一直在壮大，特别是在中国。 下面给出一些比较数据： 2016年，中国VR市场规模是5亿美元（主要来自设备） 2016年，中国电影市场规模69亿美元。 2020年，中国电影市场规模将会达到100亿美元。 2020年，中国VR市场规模将会达到65亿美元。（一半来自VR设备，其余来自游戏，电影，商业应用，主题公园等等） With : - Eddie Lou - Founder Sandbox Immersive Festival and Sandman Studios / 青岛国际 VR 影像周创始人 & Sandman Studios 公司创始人 - Gianluigi Perrone - Founder Polyhedron VR Studio / Polyhedron VR Studio公司创始人 - Denise Wu - VeeR’s Head of marketing / VeeR 公司营销主管

Theater is one of the few art forms that still don’t fit to go in our pocket or living room. If China boasts about its long history of live performance art, the scene is now really different from the pre-reform era let alone the empire time. In this episode we are going to talk about the theaters (how are they run), the audience (how you find them) and the creators (how they make a living). 戏剧是为数不多的、仍然不适合在手机上或客厅里观看的艺术形式之一。如果说中国以其悠久的现场表演艺术历史为傲，那么如今的情形则与改革开放之前非常不同，更不同提帝国时代了。在这一集中，我们将探讨剧院 (如何运作), 观众 (从哪里来), 以及创作者 (如何谋生)。 With : Jesse Appel – Comedian & US-China comedy center’s director / 演员 中美戏剧中心总裁 Raimund Rosarius – Director / 导演 Xie Peifan – Director, actress, teacher / 导演 演员 老师

Nowadays, every time you go to a festival, a professionals market or a conference, lot of people say that we need to do more coproduction between China and the West for better culture understanding. But then, when you actually start working together things are usually not that easy. Needless to say that cultural differences and sometimes pride can jeopardize a project. Therefore what are the usual problems and solutions that arise from such situations?

Often when we talk about documentary, many would think about features films that are shown in festival and cinemas. But actually, the majority of documentary filmmakers make their living in television documentary. Does the billions eyeballs of China bring them fortune and fame? 当我们谈论纪录片的时候，很多人会想到在节日和电影院放映的故事片。但实际上，大多数纪录片制作人都是以电视纪录片为生的。中国的亿万眼球能给他们带来财富和名誉吗？ With : Arthur Jones : Producer & director – Lost Pensivos (interview from Shanghai) / 制片人 & 导演 -《罗家文化》（电话采访） Steven Seidenberg : Scriptwriter & consultant / 编剧 & 顾问 Zhang Nan / 张楠 : Director - Pango Pictures / 导演 -《盘古》

Video games in 2017 China surpassed the USA and has now the title “Games Industry Capital of the World”. So like in cinema, everyone wants to have share of this really big pie, and also like in fiction not everything is possible to produce or import.

Until the 90’s Hollywood movies were making the vast majority of their revenue in English speaking country, but nowadays it is only half of it. The main reason is the appearance of new markets, and the most important of all : China. So now, everyone wants to tap into the Chinese market, but to say the obvious, because of this country’s regulations and culture different, is it easy? And how to reach this goal? And in this first episode’s, our guests are right in the middle of this issue. 一直到90年代，好莱坞电影的绝大部分收入都来自英语国家，现在英语国家只占其收入的一半。 主要原因是新兴市场的出现，其中最重要的是中国。 现在每个人都渴望进入中国市场，但要说明一点，因为中国的法律法规及文化的差异，这是件很容易的事吗？ 如何才能顺利进入中国市场？ 在第一集中，我们的客人将就这个问题表达他们的想法。