{"id":45663,"date":"2021-12-24T02:17:07","date_gmt":"2021-12-23T18:17:07","guid":{"rendered":"https:\/\/www-test.firstfilm.org.cn\/?page_id=45663"},"modified":"2021-12-24T02:17:11","modified_gmt":"2021-12-23T18:17:11","slug":"activity","status":"publish","type":"page","link":"https:\/\/www-test.firstfilm.org.cn\/en\/surprise\/activity\/","title":{"rendered":"Activity"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":45962,"parent":31602,"menu_order":549,"comment_status":"closed","ping_status":"closed","template":"page-surprise-forum.php","meta":[],"acf":{"annual_activity_list":[{"activity":{"ID":41613,"post_author":"45","post_date":"2021-07-22 00:36:26","post_date_gmt":"2021-07-21 16:36:26","post_content":"\n

In 2005, Wu Wenguang launched the Village Documentary Project at the Caochangdi Workstation. In 2021, he made another call on the Memory Project.<\/p>\n\n\n\n

After a series of works such as BUMMING IN BEIJING: THE LAST DREAMERS, which left a mark in the history of Chinese documentary history, the identity of documentarian Wu Wenguang seems to divert slowly from solely \"director\", especially after 2010, his filmmaking practice turned to a kind of \"film writing\". He completed a host of works with this approach, such as TREATMENT, INVESTIGATING MY FATHER, AUTOBIOGRAPHY: PASS THROUGH, AUTOBIOGRAPHY II: STRUGGLES, AUTOBIOGRAPHY III: EVIDENCE, and followed a thread of embodied practice and day-to-day collective creation. Wu's image-making and actions became more closely integrated with the collective \"creative project\", an implicit and internalized approach on the one hand, and a distinct and incisive practice of concept on the other.<\/p>\n\n\n\n

Among Wu Wenguang's creative projects and workshops in recent years, \"film writing\" is one of the most important training methods that has been practiced in the long term. In this workshop, the scope of discussion is not limited to the precise definition of \"documentary\", nor does it follow certain rules and boundaries commonly found in the discussions on documentary-making, but rather, out of the respect for the \"spirit of documentary\", explore the creative use of \"real materials\" or \"real images\".<\/p>\n\n\n\n

In these creative approaches and dialogues, \"documentary\" or \"freedom\" do not serve as a noun, but a verb to be perceived and practiced as a concrete action. Whether it is \"essay film\" , \"auteur film,\" or \"personal film,\" these forms bursting with the spirit of freedom can very well be a pathway to creative practice, but not to be modified or limited by any kind of cinematic terminology<\/p>\n\n\n\n

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KEYNOTE SPEAKER<\/strong><\/p>\n\n\n\n

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Wu Wenguang - Documentary Director<\/p>\n\n\n\n

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<\/p>\n","post_title":"DOCUMENTARY WORKSHOP: FILM WRITING","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"documentary-workshop-film-writing","to_ping":"","pinged":"","post_modified":"2021-07-22 00:36:28","post_modified_gmt":"2021-07-21 16:36:28","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41613","menu_order":1310,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}},{"activity":{"ID":41793,"post_author":"45","post_date":"2021-07-22 00:37:09","post_date_gmt":"2021-07-21 16:37:09","post_content":"\n

FIRST stands with the young generation while reflecting the problems of our society and our epoch.<\/p>\n\n\n\n

It has been 11 years since FIRST finds its home in Xining. We have gradually formulated conceptions on geographic relationships, site-specific arts and youth culture: we are concerned about the interaction and relationship among the field of Xining and its resources as well as the environment, thus engendering deeper reflections on sustainable development - FIRST always expects and supports energies that can constantly grow and flow between tangible materials and the spiritual world, just as FIRST, a trial field for young filmmakers, where creativity is constantly produced, circulated and regenerated.<\/p>\n\n\n\n

Resources, climate, environment, bio-diversity\u2026 people get bored when these topics become clich\u00e9. However, are these seemingly unrelated topics irrelevant? The films concern the connection between humans and nature, as well as sustainable development. Based in Xining, Qinghai, a snowy plateau with diverse natural and cultural resources, we hope to perceive a broad and realistic landscape of reality. But what does sustainability mean to the Qinghai-Tibet Plateau? How can we imagine sustainable development on this plateau?<\/p>\n\n\n\n

The panel is specially supported by GEOX.<\/p>\n\n\n\n

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MODERATOR<\/strong><\/p>\n\n\n\n

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Zhang Hailyu - Travel Writer, Film Critic<\/p>\n\n\n\n

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GUEST<\/strong><\/p>\n\n\n\n

*In alphabetical order<\/p>\n\n\n\n

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Filippo Gori - General Manager, GEOX Asia Pacific<\/p>\n\n\n\n

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Wang Jiuliang - Documentary Director<\/p>\n\n\n\n

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Wang Qian - Regional Project Director (Shanghai) of WWF (Switzerland) Beijing Office<\/p>\n<\/div><\/div>\n\n\n\n

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Shaway Yeh - Founder of yehyehyeh, Global Co-Creative Director of NOWNESS<\/p>\n\n\n\n

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<\/p>\n","post_title":"PANEL FOR SUSTAINABLE DEVELOPMENT: EXPECTATION FROM THE PLATEAU","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"panel-for-sustainable-development-expectation-from-the-plateau","to_ping":"","pinged":"","post_modified":"2021-07-22 00:37:12","post_modified_gmt":"2021-07-21 16:37:12","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41793","menu_order":1282,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}},{"activity":{"ID":41642,"post_author":"45","post_date":"2021-07-22 00:36:08","post_date_gmt":"2021-07-21 16:36:08","post_content":"\n

When words give way to images and sounds, an overwhelming amount of visual content densely rushes into the recommending streams. In this era when all of us \u201cCreate Together\u201d, everyone is able to use portable devices to obtain a broader creative space as digital devices being optimized, 5G and live streaming platforms being further evolved. This has led to a passion of re-discovering and documenting the slices of life. However, as the gaze through camera lenses becomes inescapable, will the easily accessible portable filming devices turn our lives into the invisible too?<\/p>\n\n\n\n

How are the technological iterations going to form a two-way interaction with the art of moving image and the ways of viewing? What kind of stories are we expecting to see now? Does the new senses-evoking approach brought by portable devices still apply to the traditional discourse of filmmaking? How should we set the standards? When creators explore the narratives of contemporary times, how will they imagine the future?<\/p>\n\n\n\n

The panel is specially supported by vivo.<\/p>\n\n\n\n

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MODERATOR<\/strong><\/p>\n\n\n\n

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Gao Yitian - Director of Operations, FIRST IFF<\/p>\n\n\n\n

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GUEST<\/strong><\/p>\n\n\n\n

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Cao Fei - Artist, Short Short Film Jury Member<\/p>\n\n\n\n

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Kiva Liu - Director, Former Deputy Editor-in-Chief of OW Magazine<\/p>\n\n\n\n

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Li Zhuo - Director of Imaging Product, vivo<\/p>\n<\/div><\/div>\n\n\n\n

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Xu Zhiyuan - Writer & The Founder of OWSPACE<\/p>\n\n\n\n

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Ying Zhaoyi - Director<\/p>\n\n\n\n

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<\/p>\n","post_title":"SHORT SHORT FILM PANEL: SHEER MAKING, FRESH VIEWING","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"short-short-film-panel-sheer-making-fresh-viewing-2","to_ping":"","pinged":"","post_modified":"2021-07-22 19:09:43","post_modified_gmt":"2021-07-22 11:09:43","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41642","menu_order":1263,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}},{"activity":{"ID":41518,"post_author":"45","post_date":"2021-07-22 00:37:26","post_date_gmt":"2021-07-21 16:37:26","post_content":"\n

In Plato\u2019s Cave, by watching shadows projected on the wall from objects passing in front of a fire behind them, the cavemen that were having their backs facing to the exit of the cave started to have an illusion that what they were seeing was the reality. By immersing into the darkness of the cinema, the audience takes apart from reality, and their emotions are protected by a screen that reflects intimacy and empathy. The projector's light is the spirit of the age\u2019s paint brush. As one of the essential collective human experiences, seeing a film in cinema offers a sense of co-existence. However, such a psycho-spatial exchange encounters unprecedented crisis in the age of images overflow.<\/p>\n\n\n\n

In 2020, a virus invaded the global society and had cut down approximately all the traditional physical ties. After nearly six-month extended closures of cinemas in China, people suddenly realize that perhaps cinemas were no longer irreplaceable. In fact, long before all this happened, we had already entered the age of post-cinema - digitalization, mobile devices, online streaming, XR\u2026 diverse ways of viewing films are now emerging, which are alternatives to traditional cinemas. Video games and short videos have become a red ocean for capital and investments, and traditional cinemas have been shocked again and again. At first glance, it seems that traditional cinemas will gradually disappear. However, in China, with 70,000 screens in places and annual box office revenues of over 60 billion RMB, there is still room for growth in cinema attendance and the film industry. Function-driven shopping malls have given rise to multiplex complex cinemas, which can satisfy the audience's diverse needs. Compared to the number of 20 years ago, which was 2,000 screens and $1 billion box office income, we seem to be living in a perfect world. However, is this the real world?<\/p>\n\n\n\n

In 2021, recurring epidemics make it uncertain whether the domestic cinemas can open as they are now, while in other parts of the world, cinemas are still waiting for the moment to come back in. How should filmmakers, film festivals, and audiences face this unsettled period? How can we imagine the future of cinema?<\/p>\n\n\n\n

MODERATOR<\/strong><\/p>\n\n\n\n

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Duan Lian - Programmer, FIRST IFF<\/p>\n\n\n\n

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GUEST<\/strong><\/p>\n\n\n\n

* In alphabetical order<\/p>\n\n\n\n

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Cao Fei - Artist<\/p>\n\n\n\n

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Dai Jinhua - Scholar<\/p>\n\n\n\n

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Wang Xiaolu - Film Critic, Curator<\/p>\n<\/div><\/div>\n\n\n\n

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<\/p>\n","post_title":"FILMMAKING FORUM: CINEMATIC SPIRIT IN THE \"POST-CINEMA\" ERA","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"filmmaking-forum-cinematic-spirit-in-the-post-cinema-era","to_ping":"","pinged":"","post_modified":"2021-07-22 00:37:27","post_modified_gmt":"2021-07-21 16:37:27","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41518","menu_order":1303,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}},{"activity":{"ID":41555,"post_author":"45","post_date":"2021-07-22 00:38:37","post_date_gmt":"2021-07-21 16:38:37","post_content":"\n

Artistic or commercial? As two evaluation criteria, shouldering different missions, seems rather antithetical on the surface. However, is this where the status-quo lies? Nowadays, film genres show the trend to diversified and subdivided, but homogenization of genres is still the dilemma of the industry. Are films with unique audio-visual styles and the spirit of experimentation the rigid demand of the market and the audience? Do the criteria vary from film festivals to film markets? What is the best way for young filmmakers to comprehend the criteria and cooperate it with their production?<\/p>\n\n\n\n

All anxiety caused by the same cliche: ROI, it\u2019s still the premise if the green-horn-filmmakers want to obtain recognition of the capital management and the market, other than creating personalize works which only discuss their own life experience. Although works such as OLD BEAST and DWELLING IN THE FUCHUN MOUNTAINS have received praise and awards presented by professionals, due to the limitation of Chinese film distributing situation,\u201dBe seen by the mainstream audience\u201dhas always been a common concern at this stage.<\/p>\n\n\n\n

Capital's demands, market tendencies, and audiences' needs affect the growth of young filmmakers jointly. Nowadays, supporting program for young directors are flourishing, but how many of those are offering the essential supports? How the intention of exploring niche genres will not fail due to the lack of investments caused by the unstable return model? Under the situation of audience becoming more critical and demanding, how to properly guide and adapt to the changes in their tastes, in order to reach to the target audiences more precisely? Or how to influence their taste by pulling some tricks, in order to draw attention for more films to be seen? How does marketing and distribution strategies can help in the early planning stage? Since the made of blockbuster relies more and more on the releasing schedule itself, will there be a new outlet for young directors with the rise of streaming platforms during the post-pandemic era?<\/p>\n\n\n\n

Supported by YiMagazine<\/p>\n\n\n\n

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MODERATOR<\/strong><\/p>\n\n\n\n

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Zhao Jia - Editor-in-Chief, YiMagazine<\/p>\n\n\n\n

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GUEST<\/strong><\/p>\n\n\n\n

*In alphabetical order<\/p>\n\n\n\n

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Ma Yingli - Screenwriter, Director, Producer<\/p>\n\n\n\n

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Song Jia - Vice President, iQiyi; Head of Film Center, iQiyi<\/p>\n\n\n\n

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Wang Yibing - Producer, President & CEO of Dirty Monkeys Studio<\/p>\n<\/div><\/div>\n\n\n\n

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Xin Yukun - Director, Screenwriter<\/p>\n\n\n\n

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Zhang Wenbo - Founder of Bravo Entertainment, Producer<\/p>\n\n\n\n

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<\/p>\n","post_title":"MART FORUM: MAKE CALLINGS FROM AUTHORS NO LONGER JUST ECHOES","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"mart-forum-make-callings-from-authors-no-longer-just-echoes","to_ping":"","pinged":"","post_modified":"2021-07-22 00:38:39","post_modified_gmt":"2021-07-21 16:38:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41555","menu_order":1305,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}},{"activity":{"ID":41600,"post_author":"45","post_date":"2021-07-22 00:34:40","post_date_gmt":"2021-07-21 16:34:40","post_content":"\n

FIRST FRAME hopes to follow and focus on the diverse images of women in young Chinese filmmakers' works and encourage more women-focused expressions. By sampling this year's shortlisted films, FIRST FRAME invites filmmakers to share and exchange, both for the present and future, the approaches to explore and inspire the creation of women's films.<\/p>\n\n\n\n

FIRST wishes to maintain an open space for discussion, arouse awareness, and propose responses, helping the image of women to discover echoes in the current cinematic narrative. With the blurred boundaries of creative languages, viewing methods, and distribution channels, do extensive viewings and discussions represent shattering the dominating gaze? How can the public narrative expect from the future of women's films?<\/p>\n\n\n\n

The forum is in cooperation with CHANEL.<\/p>\n\n\n\n

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MODERATOR<\/strong><\/p>\n\n\n\n

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Xiao Yaohui - Publisher, NOWNESS<\/p>\n\n\n\n

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GUEST<\/strong><\/p>\n\n\n\n

*In alphabetical order<\/p>\n\n\n\n

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Duan Lian - Programmer, FIRST IFF<\/p>\n\n\n\n

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Gao Qisheng - Director, RIVER OF SALVATION<\/p>\n\n\n\n

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Ma Weijia - Director, STEP INTO THE RIVER<\/p>\n<\/div><\/div>\n\n\n\n

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Wang Xide - Director, A CHAT<\/p>\n\n\n\n

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Wu Xia - Director, LADY BUG<\/p>\n\n\n\n

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Ying Ze - Actor, A CHAT<\/p>\n\n\n\n

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<\/p>\n","post_title":"FIRST FRAME FILMMAKER FORUM: TOGETHER WE SHARE THE FRAME","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"first-frame-filmmaker-forum-together-we-share-the-frame","to_ping":"","pinged":"","post_modified":"2021-07-22 00:34:41","post_modified_gmt":"2021-07-21 16:34:41","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41600","menu_order":1307,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}},{"activity":{"ID":41819,"post_author":"45","post_date":"2021-07-21 20:00:16","post_date_gmt":"2021-07-21 12:00:16","post_content":"\r\n

The Film Technique Workshop invites professionals from various areas of film production, such as sound design, production design, cinematography, etc., young filmmakers and FIRST industry guests can obtain insights about other areas of film production except directing and writing in order to convey more attention towards other technical occupations of film production.<\/p>\r\n\r\n\r\n\r\n

*This workshop is reserved to festival guests who holds the following accreditation: Filmmaker (F), Market Guest(M), VIP, Premium Market Guest, Visiting Guest, Premium Visiting Guest.<\/p>\r\n\r\n\r\n\r\n

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GUEST<\/strong><\/p>\r\n\r\n\r\n\r\n

*In alphabetical order<\/p>\r\n\r\n\r\n\r\n

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CHENGMA - Filmography: MOSES ON THE PLAIN (2021), FOX HUNT (2021), MY PEOPLE, MY COUNTRY\u2015HELLO BEIJING (2019), VORTEX (2019), LOST, FOUND (2018), AIRPOCALYPSE (2018), THE ONE (2017), DUCKWEED (2017), etc.<\/p>\r\n\r\n\r\n\r\n

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Lan Zhiqiang - Production Designer. Filmography: A COVER- UP(2021), WRATH OF SILENCE (2017), RIVER OF FURY (2018), IN WINTER (2019), etc.<\/p>\r\n\r\n\r\n\r\n

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Li Yongyi - Editor. Filmography: THE DEAD END (2015), COCK AND BULL (2016), CLIFF WALKERS (2021), LOVE SONG TO THE DAYS FORGONE (2021), AN ACCIDENTAL SHOT OF LOVE (2015). Among his works, THE DEAD END was nominated for Best Editing at the 31st Golden Rooster Awards.<\/p>\r\n\r\n\r\n\r\n

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Lin Mu - Filmography: BEIJING LOVE STORY (2014), DESIGN OF DEATH (2012), CHRONICLES OF THE GHOSTLY TRIBE (2015), CHONGQING HOTPOT (2015), TILL THE END OF THE WORLD (2018), THE ISLAND (2018), THE EIGHT HUNDRED (2020), UNDER THE LIGHT (2021), CLIFF WALKERS (2021), A LITTLE RED FLOWER (2020), THE SNIPER (2021), etc.<\/p>\r\n<\/div>\r\n\r\n\r\n\r\n

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Wen Bo - Sound Supervisor, Sound Recordist.
Filmography as the Sound Supervisor: LET BULLETS FLY (2010), GONE WITH THE BULLETS (2014), THE LAST SUPPER (2012), CHRONICLES OF THE GHOSTLY TRIBE (2015), YOUTH (2017), LOST, FOUND (2018), 749 (2021), TRIDENT (2020), etc.Filmography as the Sound Recordist: LITTLE RED FLOWERS (2006), THE BANQUET (2006), ASSEMBLY (2007), RED CLIFF (2008), IF YOU ARE THE ONE (2008), THE MESSAGE (2009), etc.<\/p>\r\n\r\n\r\n\r\n

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Zhang Qi - Editor. Filmography as editor: GONE WITH THE BULLETS(2014), YOUTH(2017), HIDDEN MAN(2018).<\/p>\r\n<\/div>\r\n\r\n\r\n\r\n

\u00a0<\/div>\r\n\r\n\r\n\r\n
\u00a0<\/div>\r\n","post_title":"FIRST MART\u00b7FILM TECHNIQUE WORKSHOP 2021","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"first-mart%c2%b7film-technique-workshop","to_ping":"","pinged":"","post_modified":"2022-09-02 17:05:19","post_modified_gmt":"2022-09-02 09:05:19","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41819","menu_order":1309,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}},{"activity":{"ID":41616,"post_author":"45","post_date":"2021-07-21 04:27:05","post_date_gmt":"2021-07-20 20:27:05","post_content":"\r\n

The Law Workshop was first introduced in 2020. Professionals and scholars engaged in legal business in the film industry were invited to share their years of practical experience, providing young filmmakers with a full range of legal and investment knowledge that ranges from script development, shooting and production, publicity and distribution, film festival and awards to copyrights protection, in order to help young filmmakers to build a more comprehensive understanding system about the film industry.<\/p>\r\n\r\n\r\n\r\n

*This workshop is reserved to festival guests who holds the following accreditation: Filmmaker (F), Market Guest(M), VIP, Premium Market Guest, Visiting Guest, Premium Visiting Guest.<\/p>\r\n\r\n\r\n\r\n

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GUEST<\/strong><\/p>\r\n\r\n\r\n\r\n

*In alphabetical order<\/p>\r\n\r\n\r\n\r\n

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Ren Yanling is the executive director and managing partner of Tianyuan Law Firm. She is also a CPPCC member of the Beijing Xicheng District , the Vice Chairman of All-China Youth Federation Beijing Xicheng District, and a member of Beijing Lawyer Association, and the vice chairman of the Lawyer Association Xicheng District. During her more than 20 years of practice, she has mainly engaged in and specialized in legal services of corporate investment and financing, M&A , equity private investment. She also has rich experience in the fields of acting agency, film and television, music recording, variety show, as well as cultural tourism real estate and cultural derivative industry.<\/p>\r\n\r\n\r\n\r\n

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Ning Qingyuan is a lawyer of Tianyuan Law Firm and a member of the\u00a0Beijing Entertainment Law Society. Mr. Ning is mainly engaged in cultural entertainment, corporate investment and financing, M&A . He also has rich experience in legal services in film and television production, acting agency, and music recording.<\/p>\r\n<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n

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Beijing Tian Yuan Law Firm<\/p>\r\n\r\n\r\n\r\n

Beijing Tian Yuan Law Firm (\"Tian Yuan\") is a general-service Chinese Law firm. Tian Yuan Specializes in the fields of entertainment and media, including performing brokerage, firms and TV, music records, variety shows, games and animation, publishing and distribution, sports events, internet new media and cultural derivative industries, ets., providing the legal services of whole industry and the whole process. Tian Yuan's professional and efficient legal service is willing to enable entertainment and media enterprises to develop with high quality and stability.<\/p>\r\n<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n

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 <\/p>\r\n","post_title":"FIRST MART\u00b7LAW WORKSHOP 2021","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"short-short-film-panel-sheer-making-fresh-viewing","to_ping":"","pinged":"","post_modified":"2022-09-02 17:05:09","post_modified_gmt":"2022-09-02 09:05:09","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41616","menu_order":1285,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}},{"activity":{"ID":41842,"post_author":"45","post_date":"2021-07-21 17:24:14","post_date_gmt":"2021-07-21 09:24:14","post_content":"\r\n

As an important event of FIRST MART, the Distribution Workshop invites industry leaders from areas like the Internet, art-house theater chains, overseas distribution and marketing area, to provide a full range of professional knowledge for young filmmakers based on their rich experience and knowledge. This year, the Distribution Workshop will summarize the experience of the past three years, analyze and interpret the current domestic and foreign film distribution market more specifically, hoping to provide more cutting-edge and precise guidance to young filmmakers by providing case studies of different films' promotion and distribution plans in domestic and foreign film markets.<\/p>\r\n\r\n\r\n\r\n

*This workshop is reserved to festival guests who hold the following accreditation: Filmmaker (F), Market Guest(M), VIP, Premium Market Guest, Visiting Guest, Premium Visiting Guest.<\/p>\r\n\r\n\r\n\r\n

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GUEST<\/strong><\/p>\r\n\r\n\r\n\r\n

Coming soon...<\/p>\r\n\r\n\r\n\r\n

 <\/p>\r\n","post_title":"FIRST MART\u00b7DISTRIBUTION WORKSHOP 2021","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"first-mart%c2%b7distribution-workshop","to_ping":"","pinged":"","post_modified":"2022-09-02 17:04:44","post_modified_gmt":"2022-09-02 09:04:44","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www-test.firstfilm.org.cn\/?p=41842","menu_order":1260,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}}]},"_links":{"self":[{"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/pages\/45663"}],"collection":[{"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/comments?post=45663"}],"version-history":[{"count":0,"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/pages\/45663\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/pages\/31602"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/media\/45962"}],"wp:attachment":[{"href":"https:\/\/www-test.firstfilm.org.cn\/en\/wp-json\/wp\/v2\/media?parent=45663"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}