Yi miao zhong

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Movie
Original title 一 秒鐘 (Yi miao zhong)
Country of production China
original language Mandarin
Publishing year 2020
length 104 minutes
Rod
Director Zhang Yimou
script Zhang Yimou,
Zou Jingzhi
production Ping Dong ,
William Kong ,
Liwei Pang
music Loudboy
camera Zhao Xiaoding
cut Yuan you
occupation

Yi Miao Zhong (一秒鐘, international title: One Second , .: dt "One second") is a Chinese feature film by Zhang Yimou from the year 2020 . The tragic comedy , for which the director wrote the screenplay together with Zou Jingzhi , takes place at the time of the Chinese Cultural Revolution in the 1970s . The focus of the plot is an inmate (portrayed by Zhang Yi ) who fled a labor camp in order to see a certain film sequence in a newsreel under all circumstances .

The premiere of the film, which was advertised as a “ love letter ” from the director to the cinema, was originally supposed to take place in February 2019 in the competition at the 69th Berlinale . Officially due to "technical problems" in the post-production, Yi miao zhong was withdrawn at the last moment. It was the first time in the history of the festival that this happened to a competition film. As a result, speculations about possible censorship by the Chinese authorities and the call for artistic freedom became loud. In the same year, other Chinese films were withdrawn for the same reason, with Zhang remaining the most prominent director to whom the incident happened.

Zhang's directorial work was only released in Chinese cinemas over 21 months later, on November 27, 2020, in a slightly shortened version based on the duration. A few days earlier there had been another incident. Yi miao zhong was to be premiered as the opening film of the prestigious Golden Rooster and Hundred Flower Film Festival. One day before the scheduled date, the film was withdrawn again for “technical reasons”.

action

Northwest China, mid-1970s: inmate Zhang Jiusheng escaped from a labor camp. Although he runs the risk of receiving an even longer sentence, he is inspired by the desire to watch a particular propaganda newsreel from the Chinese government. In this he could catch a glimpse of his deceased daughter. At high temperatures, he accepts the grueling route through a lonely desert landscape before he is half-dying of thirst and is picked up by a truck driver.

The young Liu also crosses the desert. The orphan girl pursues her own desperate motives resulting from personal loss and the hope of redemption. To do this, Liu is looking for a certain amount of film waste material that she uses to decorate a lampshade. When Zhang Jiusheng succeeds in attending a film screening in a village through the self-confident projectionist “Movie Fan”, the film role that is important to him is stolen by Liu. The silver film can, which contains the exact second of the film that the refugee is looking forward to, then moves from hand to hand. Later the footage is almost destroyed. Together with other villagers, Zhang Jiusheng and “Movie Fan” manage to save the material. At the end of the movie, Zhang Jiusheng is allowed to take a look at his deceased daughter for a second.

History of origin

Project development

Zhang Yimou (2015)

According to his own statements, Zhang Yimou had long toyed with the idea of ​​using the technology and handling of photochemical films in one of his works. The Chinese director and screenwriter had started his career as a cameraman and regretted that the physical film format had been supplanted by digital production methods.

“After the end of the celluloid era, we all entered this new digital era. Memories of physical films are hidden in the fog of time. I'm afraid a lot of young directors have barely used or even seen a physical film [...] I think fewer directors these days know these methods more than I do. With the lack of equipment limited by what was then a neglected environment, we had to invent our own ways of dealing with films. "

- Zhang Yimou at the world premiere of his film in Beijing

Script and preproduction

Out of nostalgia , Zhang wanted to revive the old technology in a “down-to-earth and simple story” and in 2018 hired Zou Jingzhi to write the script. The award-winning author had previously worked on scripts for epic blockbusters such as Wong Kar-Wai's The Grandmaster (2013). The script was completed in a short time and with Zhang Yi and Fan Wei , experienced actors were hired to play the leading male roles of the escaped prisoner and projectionist. The casting process for the female lead, the girl Liu, turned out to be more difficult. About 3,000 candidates auditioned for the part, among which Zhang Liu discovered Haocun . Although the student had no acting experience, he hired her. Zhang was particularly impressed by her big eyes and inner strength, which he thought matched the role of a wild but pure-hearted country girl.

Filming

The shooting of Yi miao zhong took place within 46 days in the Gobi desert . The old oasis town of Dunhuang on the Silk Road in the northwest of the western Chinese province of Gansu was used as the shooting location . This is known for its impressive desert landscape. Zhang worked on making the film for almost ten years. The project has also been advertised repeatedly as a “love letter” from the director to the cinema. At the later premiere of the film in Beijing, Zhang described his film as a project from the heart, a memory of youth and the fulfillment of a personal wish. He had feared that as he got older, he would no longer be able to cope with filming in the desert. He also criticized the current trend among investors to rely on commercial blockbusters , which made it difficult for him to finance his film.

“Even a famed director like me can probably only do a few films like this because if a film can't make money, no one will want to keep investing in it. Filmmakers like us always hope to have the opportunity to commemorate the era of cinema and recapitulate the experiences in our own way. It's not easy, but my wish has been fulfilled. "

- Zhang Yimou at the world premiere of his film in Beijing

Invitation to the Berlinale

Yi miao zhong was invited to the competition at the 69th Berlinale in 2019 . There Zhang's directorial work was programmed as a world premiere and should be shown as the last of the 17 contributions in the competition for the Golden Bear . For Zhang it was the fifth competition invitation to Berlin, after he had already won the main prize there in 1988 for his first invitation to Red Cornfield . This also made the Berlinale the first major international film festival to honor the performance of Chinese cinema.

With the beginning of the Cultural Revolution in 1966, Zhang himself, like millions of other young Chinese, was sent to the countryside for re-education. His father had served as an officer in the nationalist Kuomintang Army during the Chinese Civil War and was ostracized after the Communists took power in 1949. The later film director Zhang reflected this experience in many of his works. Therefore, Yi miao zhong was announced accordingly by the Berlinale and anticipated as his most personal film in a long time:

“He [Zhang] is familiar with the life and traditions in the remote areas, as is the enthusiasm for cinema there as a change from everyday life. In Yi miao zhong , the filmmaker bows down to his medium and celebrates cinema as a communal experience beyond the film itself. "

- Berlinale Journal (2019)

According to a report by the Hollywood Reporter , the film was shown in non-public screenings among selected industry representatives in Beijing before the Berlinale . Two CEOs invited from major Beijing film studios named Yi miao zhong Zhang's best film in years and were optimistic that it could be awarded the Golden Bear a second time. The year 2019, in which the People's Republic of China organized official celebrations for the 70th anniversary of its existence and which also marked the 30th anniversary of the Tian'anmen massacre , made it a particularly politically sensitive year.

Withdrawal from the Berlinale competition

Nadav Lapid with the Golden Bear for Synonymes after the 2019 Berlinale awards ceremony

On February 11, 2019, four days before the planned premiere at the Berlinale, the festival management announced that Yi miao zhong could not be shown in the competition on February 15 due to "technical problems in post-production ". The entry for Zhang's directorial work has been deleted from the Berlinale website. As a result, only 16 films competed for the Golden Bear, which the drama Synonymes by Israeli director Nadav Lapid was to win. Instead of Yi miao zhong , the program slots that became available were filled with Zhang's wuxia film Hero , published in 2002 . It was the first time in the history of the festival that a competition film was withdrawn during the Berlinale.

Yi miao zhong was the second Chinese contribution to be withdrawn from the 2019 Berlinale program. A few days before the start of the festival, the performance of Shao nian de ni (Better Days) by Derek Kwok-cheung Tsang in the Generation 14plus section had already been canceled by the festival management. The story of a bullied schoolgirl (portrayed by Zhou Dongyu ) who defends herself with the help of a petty criminal was previously announced in the Berlinale Journal as "relentless social criticism with a fairytale love story". The Chinese film The Shadow Play by Lou Ye was shown in the Panorama sub-section . The director, who spoke out in favor of artistic freedom, reported that with this project he had survived the most difficult censorship process of his career to date. The Shadow Play is a film noir about "corruption and building scandals [...] and [...] people who ruthlessly want to enrich themselves" and took two years to get released.

Performance history and reception

Reactions at the Berlinale

Juliette Binoche during the Berlinale 2019

After Yi miao zhong withdrew from the 2019 Berlinale competition, speculations about possible censorship by the Chinese authorities and the call for artistic freedom became loud. At the final award ceremony, the French jury president Juliette Binoche regretted that the film could not be shown on behalf of the other jury members . However, there was no direct criticism of the Chinese government. The production and distribution companies Huanxi Media and Edko Films involved in the film also made no comments.

“Zhang was an important voice in international cinema. We need artists to help us understand the story [...] We hope that this film will soon be shown all over the world. "

- Juliette Binoche

Verena Lueken ( Frankfurter Allgemeine Zeitung ) suspected that Yi miao zhong's film story had “an autobiographical core [...] and thus possibly a special narrative intensity” and speculated about political reasons for the film's withdrawal. It is possible that there was uncertainty among authorities and production companies about new censorship regulations that the Chinese government could use as a means of political pressure. In a “program without outstanding highlights”, Zhang's graduation film, in which he probably would have returned to his roots after “computer-animated spectacles and the opening ceremony of the Beijing Olympic Games for a completely different reason”, could have “been great”. “Zhang Yimou brought entirely new images to the canvas. Through him you could discover a cinema that was of sensual beauty, celebrated this beauty - and at the same time contained political explosives ”, says Lueken.

According to Frédéric Lemaître ( Le Monde ) , the withdrawal of the film in China caused an "immense disappointment" among the audience. On the Chinese microblogging service Sina Weibo , 160 million Internet users searched for the reason for the program change. Lemaître saw the expulsion of Yi miao zhong and Shao nian de ni (Better Days) as confirmation of the strengthening of censorship and Beijing's desire to take over the film industry. Lemaître also referred to the discontinuation of popular historical television series on regional channels after Chinese state media denounced their "negative impact on society". This also included Yu Zheng's series The History of the Yanxi Palace , which was streamed more than seven billion times in the summer of 2018.

Xifan Yang and Katja Nicodemus ( Die Zeit ) regretted that the screening of Yi miao zhong had “ come full circle” for the director. Zhang founded “a new Chinese cinema, the so-called fifth generation ” with Red Cornfield . His films were celebrated abroad, but repeatedly banned in China. For him, about ten years ago, the staging of "primarily politically unsuspicious martial arts and historical films" and the opening and closing ceremonies at the Olympic Games indicated that he would be rehabilitated. With regard to the successful censorship process at Lou Yes The Shadow Play , both did not rule out "that the circle for Zhang Yimou will come full circle". They quoted a Chinese Sina Weibo user: "] A technical problem [solves all problems".

The New York Times quoted one of China's leading independent film producers, Zhang Xianmin, as saying , "Supervision has become stricter [...] The space for independent films is shrinking."

Possible explanations

Variety described the phrase "technical reasons" as both a " euphemism and a reality for Chinese filmmakers". Neither of these could claim to have completed a film until the regulator approved every detail. “No Chinese director or producer, however skilled, respected, or wealthy he may be, has the final say on his film. That is up to the Chinese government, ”said the American industry service. Variety speculated that the script had been approved by the Chinese regulatory authorities, but that Yi miao zhong could have been doomed by the highly sensitive topic of the Cultural Revolution. In 2017, as part of the law to promote the Chinese film industry, an additional explicit “exit permit” came into force to submit a film to a foreign festival. This regulation was only strictly applied in 2019. Previously, only the presence of the so-called dragon seal was sufficient. It is shown as a title card in front of each film and confirms that all local and national censorship processes have been completed. The new “exit permit” ensures that the length of the film and dialogues are no longer changed and that additional producers or investors are left out. In the case of the Chinese Berlinale competition entries Until then, my son from Wang Xiaoshuai and Öndög from Wang Quan'an , which werealso invited in 2019, these permits had been received,but this remained unclearfor Yi miao zhong and Better Days . As early as 1994, Zhang's film was Life! , who wonseveral awardsat the 47th Cannes Film Festival , was banned from showing in China. Furthermore, in 2018 responsibility for the entertainment industry was transferred from the State Council to the Communist Party's propaganda department, which led to a tightening of ideological controls.

Prevented start at the Cannes Film Festival

Media speculated about a possible premiere of Yi Miao Zhong the following 72. Cannes Film Festival in May 2019. Zhang's film was not included in the program, although the directorial debut Summer of Changsha the actor to Feng a thriller in low series Un Certain Regard was shown who did not have Chinese censorship permits. Due to “technical reasons”, neither the director nor the participants of the Summer of Changsha film team were present in Cannes.

Thierry Frémaux, Artistic Director of the Cannes Film Festival

According to the Hollywood Reporter , shortly before the start of the Berlinale, Zhang was informed that the film had not received an “exit permit” due to its sensitive topic. A high-ranking officer from the Communist Party's propaganda department saw the film and objected to it being shown abroad. The remaining period was too short for Zhang to revise Yi miao zhong before the premiere in Berlin and to receive approval for the competition in good time. A second version of the film, which he wanted to submit for the 72nd Festival in Cannes , did not receive approval from the censorship authorities in March 2019. Zhang counted the artistic director Thierry Frémaux among his longtime friends there and he had taken part in the competition for the Palme d'Or ( 1994 Jury Grand Prize for Life! ) Three times in the 1990s . After a possible premiere in Cannes did not materialize, Zhang started work on a third version of his film in early May 2019.

In June 2019, on the eve of the Shanghai International Film Festival , it happened again that a Chinese film could not be shown due to "technical problems". It was the patriotic war drama Bābǎi (The Eight Hundred) directed by Guan Hu about the Second Sino-Japanese War , which was intended as the opening film. Ultimately, the film was not due to be released in China until August 2020 and, following the COVID-19 pandemic, would become the most financially successful cinema production of the year worldwide. With Bong Joon-ho's award-winning South Korean social satire Parasite , a fifth film was withdrawn for "technical reasons" at the end of July 2020, this time as the closing film of the Chinese FIRST Film Festival in Xining .

Rerun and approval by censorship authorities

At the end of September 2019, Huanxi Media announced that Yi miao zhong could possibly be released in China next spring. During a visit to the Pingyao International Film Festival in October 2019, director Zhang was “still unsure” about when his film would be released. A paper by Yi Miao Zhong in the spring of 2020 did not take place. At the same time, the global outbreak of the respiratory disease COVID-19 ("Corona") began, which also led to restrictions in cinema operations. A report published in May 2020 by the American industry service Variety further fueled hopes that the film could hit Chinese cinemas in 2020.

View of the “resounding sand dunes” of Dunhuang , where filming took place

In September 2020, Chinese media reported that Yi miao zhong had successfully passed the censorship of the Chinese authorities. However, with a playing time of 104 minutes, one minute shorter than the version announced for the competition at the Berlinale 2019. Furthermore, the film crew had to return to Dunhuang in October 2019 for further filming. Variety speculated that the re-shoot was necessary to replace sequences that were criticized by the censors. Although the producers did not want to officially comment on the re-shooting, actor Zhang Yi , who played the main role of Zhang Jiusheng in the film, published a picture of the filming and commented “have returned to Dunhuang; expect [the movie] in the future ”. It is unclear how many sequences had to be exchanged.

Meanwhile, director Zhang had finished shooting two more films pending release - the drama Jian Ru Pan Shi (Under the Light) and the crime film Impasse . During this time he also appeared as Executive Producer on the episode film Wo He Wo De Jia Xiang (My People, My Hometown) , which premiered in cinemas on October 1, 2020 on the occasion of the celebrations for the Chinese National Day.

Another withdrawal and finally publication in China

Yi miao zhong was originally scheduled to premiere on November 25, 2020 as the opening film of the three-day Golden Rooster and Hundred Flower Film Festival in Xiamen , during which the Chinese national film award Golden Rooster and the audience award 100 Flower Award were awarded. This prestigious programming suggested that the Chinese government had reconciled with director Zhang. One day before the premiere, however, Yi miao zhong was withdrawn again for "technical reasons" and replaced by a 12-minute longer "Special Edition" of the science fiction film The Wandering Earth by Frant Gwo , which was released in 2019 and which was re-introduced one day later hit Chinese cinemas.

The scheduled release of Yi miao zhong in Chinese cinemas on November 27, 2020 was not affected by the incident at the Golden Rooster and Hundred Flower Film Festival. Meanwhile, Zhang's film had been ranked the second most anticipated film of the year by the popular China review aggregator Douban , behind the American animated film The Croods . On the first movie day were, according to the state news agency Xinhua for Yi Miao Zhong tickets worth over 21 million Yuán implemented (over 2.6 million euros). The film was initially successful at the Chinese box office, where it left The Croods (19.5 million yuan) behind and only from the box office earnings of the action film Chu bao (Caught in Time) by Ho-Leung Lau, which had been released a week earlier (21.98 million yuan) was exceeded. After a week, Yi miao zhong had grossed 3.96 million yuan, but had to give up the top position to the two films placed behind him and fell back to third place at the box office.

Yi miao zhong received local critics but struggled to reach mainstream audiences in his home country and Chinese youth. Sun posted Yi Miao Zhong at the popular local review aggregators mediocre rating (Douban: 7.9 / 10 points, Maoyan: 8.7; the Chinese audience ratings are compared to US websites such as Rotten Tomatoes tend to be higher). Nevertheless, Zhang's film took second place in the Douban ranking of the top-rated Chinese films of the year, behind the Taiwanese family drama A Sun (8.5 / 10 points).

The English-language daily Shenzhen Daily , which is published in Shenzhen , summarized Yi miao zhong as a “piquant mixture of comedy and drama” and welcomed the fact that Zhang had presented a personal film that would “prove to be particularly appealing to enthusiastic filmmakers”. The director directed himself largely with a “nostalgic look” at his first encounter with film material. Yi miao zhong , edited “snappy” by editor Yuan Du , arouses “a no-frills, random feeling”, which might surprise those viewers who would have expected “a great statement” about the time of the Cultural Revolution. However, a “flare-up of frustration” is noticeable in the film, as well as in the “grandiose” and “full of anger” performances of the main actors. The dialogue is reduced to a minimum. The kind-hearted projectionist, who would like to support the prisoner in finding the film role but at the same time does not want to fall out of favor with the regional officials, is played "skillfully" by Fan Wei . His figure reflects "the complexity of man in the age of re-education".

Web links

Individual evidence

  1. ↑ a b 一 秒钟 (2020) . In: movie.mtime.com (accessed November 28, 2020).
  2. ↑ a b c d e f Patrick Brzeski: Cannes: What Will Become of Zhang Yimou's Censored Masterpiece 'One Second'? . In: thehollywoodreporter.com, May 10, 2019 (accessed November 29, 2020).
  3. ↑ a b c d Yi miao zhong (One Second) . In: Berlinale Journal 2019, p. 32.
  4. ↑ a b c One Second [TRAILER 02 - ENG SUB China 2020 - Zhang Yimou 一 秒钟] at youtube.com (accessed November 29, 2020).
  5. ↑ One Second [TRAILER 01 - ENG SUB China 2020 - Zhang Yimou 一 秒钟]. In: youtube.com (accessed November 29, 2020).
  6. ↑ a b c d Reel treat for audience . In: China Daily , December 3, 2020, p. 16.
  7. ↑ Patrick Brzeski: Berlin Film Festival: Zhang Yimou's 'One Second' Withdrawn From Competition . In: hollywoodreporter.com, February 11, 2019 (accessed November 29, 2020).
  8. ↑ a b Zhang Rui: Zhang Yimou's love letter to film . In: china.org.cn, November 29, 2020 (accessed January 3, 2021).
  9. ↑ Competition and Berlinale Special complete . In: berlinale.de, January 17, 2020 (accessed November 28, 2020).
  10. ↑ a b c Scott Roxborough: 5 Key Takeaways From the 2019 Berlin Film Festival . In: hollywoodreporter.com, February 17, 2020 (accessed November 29, 2020).
  11. ↑ Zhang Yimou . In: Internationales Biographisches Archiv 30/2020 of July 21, 2020 (accessed via Munzinger Online ).
  12. ^ Berlinale rejection . In: Frankfurter Allgemeine Zeitung, February 12, 2019, No. 36, p. 9.
  13. ↑ Patrick Frater: Pingyao Festival Switches Opening Film Three Days Before Premiere . In: variety.com, October 7, 2019 (accessed November 29, 2020).
  14. ↑ Program change competition 2019 . In: berlinale.de, February 11, 2019 (accessed November 28, 2020).
  15. ↑ Premiere of Zhang Yimou's competition film canceled . In: Der Tagesspiegel , February 12, 2019, No. 23737, p. 19.
  16. ↑ a b Xifan Yang; Katja Nicodemus: Is China Censoring the Berlinale ?; Zhang Yimou's "One Second" is not allowed to be shown in Berlin . In: Die Zeit, February 14, 2019, No. 8, p. 37.
  17. ↑ Generation 2019: program additions and program changes . In: berlinale.de, February 4, 2019 (accessed November 28, 2020).
  18. ^ Shao nian de ni (Better Days) . In: Berlinale Journal 2019, p. 78.
  19. ^ The Shadow Play . In: Berlinale Journal 2019, p. 55.
  20. ↑ 69th Berlin International Film Festival . In: berlinale.de (accessed on November 28, 2020).
  21. ↑ Verena Lueken : Look and argue . In: Frankfurter Allgemeine Zeitung, February 15, 2019, No. 8, p. 51.
  22. ↑ Frédéric Lemaître: "Une seconde", de Zhang Yimou, retiré de la Berlinale . In: Le Monde, February 17, 2019, p. 21.
  23. ↑ Frédéric Lemaître: "Une seconde", de Zhang Yimou, retiré de la Berlinale . In: Le Monde, February 17, 2019, p. 21.
  24. ↑ Amy Quin: Film Set in China's Cultural Revolution Is Pulled From Berlin Festival . In: nytimes.com, February 13, 2019 (accessed November 30, 2020).
  25. ↑ Patrick Frater: Banned in Berlin: Why China Said No Go to Zhang Yimou . In: variety.com, February 11, 2019 (accessed November 28, 2020).
  26. ^ Scott Roxborough: Cannes: The Buzz Films That Won't Be at the Festival . In: hollywoodreporter.com, April 18, 2019 (accessed November 29, 2020).
  27. ↑ Rebecca Davis: Cannes: China's 'Summer of Changsha' Debuts Without Censorship Approval . In: variety.com, May 23, 2019 (accessed November 29, 2020).
  28. ↑ Patrick Frater; Rebecca Davis Shanghai Film Festival Abruptly Pulls Opening Film 'The Eight Hundred' . In: variety.com, June 14, 2019 (accessed November 29, 2020).
  29. ↑ Scott Mendelson: Box Office: 'Tenet' Tops $ 250M As China's 'Eight Hundred' Becomes 2020's Top-Grossing Movie . In: forbes.com, September 20, 2020 (accessed November 29, 2020).
  30. ↑ Rebecca Davis: Bong Joon-ho's Palme d'Or Winner 'Parasite' Pulled From China Festival . In: variety.com, July 29, 2019 (accessed November 29, 2020).
  31. ↑ Patrick Brzeski: Chinese Streamer Huanxi Premium Acquires BBC Miniseries 'World on Fire' (Exclusive) . In: hollywoodreporter.com, September 27, 2019 (accessed November 29, 2020).
  32. ↑ a b c Rebecca Davis: Zhang Yimou's 'One Second' Finally Passes Chinese Censorship . In: variety.com, September 24, 2020 (accessed November 29, 2020).
  33. ↑ Rebecca Davis: Top China Exec Talks 2020 Theatrical Lineup, Including Two From Zhang Yimou . In: variety.com, May 18, 2020 (accessed November 29, 2020).
  34. ↑ a b Rebecca Davis; Patrick Frater: Zhang Yimou's 'One Second' Pulled From China's Golden Rooster Festival . In: variety.com, November 24, 2020 (accessed November 29, 2020).
  35. ↑ Rebecca Davis: Zhang Yimou's Censored 'One Second' to Debut at Government-Run Golden Rooster Festival . In: variety.com, November 10, 2020 (accessed November 29, 2020).
  36. ↑ Xu Fan: Back from the caves, and beyond . In: chinadaily.com, November 23, 2020 (accessed November 29, 2020).
  37. ^ Action crime film continues to lead China's daily box office . In: china.org.cn, November 28, 2020 (accessed November 29, 2020).
  38. ^ Crime film "Caught in Time" keeps leading China's daily box office . In: xinhuanet.com, December 4, 2020 (accessed January 3, 2021).
  39. ↑ a b Patrick Brzeski: China Box Office: 'Croods 2' Beats Zhang Yimou's Censored Drama 'One Second' . In: hollywoodreporter.com, November 30, 2020 (accessed January 3, 2021).
  40. ↑ Top of the Flops . In: Week in China, December 11, 2020 (accessed via the Nexis Uni press database).
  41. ↑ Xinhua: "1917" highest-rated foreign language film in China for 2020 . In: china.org.cn, December 19, 2020 (accessed January 3, 2021).
  42. ^ One Second . In: Shenzhen Daily, December 4, 2020 (accessed via the Nexis Uni press database).