侯孝賢與蔡明亮之後：台灣電影於法國行銷之研究分析 - 政大學術集成

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(1)國立政治大學國際傳播英語碩士學位學程 International Master’s Program in International Communication Studies College of Communication National Chengchi University. 碩士論文政治. 大立立Master’s Thesis. •‧. •‧ 國. ㈻㊫學 sit. y. Nat. al. er. io. 侯孝賢與蔡明亮之後：台灣電影於法國行銷之研究分析. n. v i n After Hou Hsiao Hsien Liang: A case C h and Tsai Ming engchi U study of promotion of Taiwan Cinema in France.. Student: Alizee Stalens 史靄琍 Advisor: Professor Ru-Shou Chen 陳儒修教授. 中華民國 101 年 12 月 December 2012.

(2) . Acknowledgment . I would like to thank all the people that have contributed to the completion of this thesis that has not only been the academic piece ending my master degree but also the piece of work that opened the way to my future career. Firstly, I would like to thank my dear advisor, Professor Robert Chen, who inspired me and guided me with kindness during the past year. The first day I met him. 政治大. to discuss on this study, I only had a vague idea of what I would like to do and my. 立立. knowledge on Taiwan Cinema was very limited, but Professor Chen’s understanding. •‧ 國. ㈻㊫學. and passion for Cinema gave me the inspiration I needed to lead the whole research. I. •‧. am very thankful that I had the chance to work with Professor Chen. I would also like. sit. y. Nat. to thank Professor Rachel Juan and Professor Liu Yung-Hao for their time and. n. al. er. io. precious advice in improving the thesis.. i n U. v. Then, I would like to thank all my interviewees without whom this study. Ch. engchi. would not have been possible. Not only did I learn a lot from them, but they will also remain long-term contacts. To the Taipei Film Commission, for letting me help promoting Taiwan Cinema in Cannes while enabling me to observe the current situation during the Film Market. Finally, I want to give a special thanks to my family for their continuous moral and material support. To my mother and father for always making themselves available when necessary for a long distance call and listen to my complaints or simply ask if everything is going fine. To my cousins for letting me stay at their place i .

(3) in Paris to lead interviews. To my grandparents, for offering me a room in the South of France and transiting between their house and Cannes Film Market to take me or pick me up sometimes late at night. Thank you all again for being with me all along the way, making this whole study possible.. Alizée Stalens. 立立. •‧ 國. y sit. io. n. al. er. . Nat. . •‧. . . ㈻㊫學. . . December 2012. 政治大. Ch. . engchi. . ii . i n U. v.

(4) . Abstract Since Cape No.7 was released in theaters in Taiwan, a new interest in local cinema was witnessed among Taiwanese audience. This movie represents the light at the end of the tunnel for Taiwan New Cinema after enduring a long period of “sadness”. When New Taiwan Cinema began in the 1980s, a few directors managed to be under the spotlights on the international scene, such as Edward Yang, Hou Hsiao-hsien, Tsai Ming-liang and Ang Lee. Hou Hsiao-hsien and Tsai Ming-liang. 政治大. have been particularly well received by the French public and the good reviews movie. 立立. professionals and critics there gave them, probably helped their films to the point of. •‧ 國. ㈻㊫學. enjoying some privileged collaboration. However, how is the situation nowadays,. •‧. when it comes to newer directors’ productions, directors from the 2000s?. sit. y. Nat. This thesis aims to study the promotion of Taiwan Cinema in France firstly,. io. al. er. through a field study during the internationally renowned Marché du Film de Cannes. v. n. that takes place during the prestigious Film Festival of the same name and, secondly,. Ch. engchi. i n U. by leading in-depth interviews with French films distributors. After reviewing Taiwan New Cinema background and understanding how Hou Hsiao-hsien and Tsai Ming-liang are still highly welcomed and respected in France, this study revealed that Taiwan Cinema that started to regain local attention doesn’t really attract French distributors’ anymore. Indeed, since 2008 and after the success of Cape No.7 in Taiwan, only two Taiwanese films that were not made by either Hou or Tsai have been distributed in France: Parking and No Puedo Vivir sin Ti. Observations of Taiwanese distributors and Taipei Film Commission at Le Marché du Film de iii .

(5) Cannes revealed a lack of efforts to attract French or European buyers. Besides, Taiwan and Asian Cinema in general are facing a great opponent as French distributors are now being attracted to more emergent cinemas coming from South America and Africa. Furthermore, interviews with French distributors showed that the type of films French distributors were more likely to buy was a art house type of cinema that related to social issues in Taiwan as opposed to the rather commercial type of cinema that regain Taiwanese audience attention since 2008. Even though Taiwan New Cinema is still welcomed in some smaller scale film. 政治大. festivals, its future on the old continent seems fragile.. 立立. •‧ 國. y sit er. al. n. . io. . •‧. . Nat. . ㈻㊫學. . Ch. engchi. . iv . i n U. v.

(6) . 中文摘要海角七號在台灣上映之後，重新喚起了台灣觀眾對於國片的興趣。對於台灣的電影產業來說，海角七號象徵著該產業經歷一段長時間幽暗歲月後所出現的第一道曙光。回顧近二十年的台灣電影概況，雖然在 1980 年代，有一波新台灣電影浪潮，這時許多台灣導演試圖在國際舞台上角逐一席之地，著名的代表導演有楊德昌、侯孝賢、蔡明亮、李安等。其中侯孝賢和蔡明亮的作品深受法國觀眾的歡迎，並且大獲輿論好評，這也讓他們更容易爭取到一些國際的合. 政治大. 作資源。不過，後來在 2000 年以降崛起的新銳導演，他們的作品所面臨的，又是怎麼樣的環境. 立立. 呢?. •‧ 國. ㈻㊫學. 本論文針對台灣電影在法國的推廣來做為研究的主題，並且配合在世界著名的坎城影展所作的田野調查以及對於法國電影批發商的深度訪談來回答研究問題。本論文首先探討台灣. •‧. 新電影浪潮的背景以了解為何侯孝賢和蔡明亮兩位導演的電影能夠在法國受到推崇。而文獻資. y. Nat. io. sit. 料也顯示，近期像是海角七號這類在台灣大受好評的電影，並沒有在法國獲得對等的口碑。事. n. al. er. 實上，在 2008 年以後以及海角七號所開創的票房以來，如果非蔡明亮或是侯孝賢兩位導演的作. Ch. i n U. v. 品，在法國只有引進兩部台灣電影：《停車》和《不能沒有你》。觀察台灣片商和坎城影展台北. engchi. 電影委員會可以發現，台灣其實並沒有花很多精力在歐洲推廣台灣的電影。除此之外，台灣與亞洲的電影在法國的市場，正面臨來自南美與非洲大陸等新興電影的強烈衝擊。另外，根據訪談的結果，法國片商普遍表達，在選擇要進口的台灣電影時，會偏好刻劃台灣社會議題的藝術類型電影，而不會去選擇商業類型，雖然就是這些電影在 2008 年之後重新受到了台灣觀眾的矚目。也就是說，即使台灣電影在一些小型的影展相當受歡迎，在歐洲這塊舊大陸的市場競爭力依舊是相當脆弱的。. v .

(7) . Table of Contents Chapter 1. Introduction ................................................................................................... 1 1.1 Motivation .............................................................................................................................. 1 1.2 Purpose ................................................................................................................................... 3 1.3 Research Question .............................................................................................................. 6 1.4 Method .................................................................................................................................... 8 . Chapter 2: Literature Review ......................................................................................... 9 2.1 Taiwan Cinema ................................................................................................................... 10 2.1.1 Background ................................................................................................................................... 10 . 治政大 2.1.3 Current situation (2000s) ....................................................................................................... 14 立立 2.3 Taiwan Cinema in France ................................................................................................ 17 2.1.2 First and Second New Wave (1980s-‐1990s) .................................................................. 12 . •‧ 國. ㈻㊫學. 2.3.1 The Cinema Market in France ............................................................................................... 17 2.3.2 Hou Hsiao-‐hsien and the auteur theory ........................................................................... 24 . •‧. 2.3.3 Edward Yang ................................................................................................................................. 26 2.3.4 Tsai Ming-‐liang ............................................................................................................................ 28 . Nat. sit. y. 2.3.5 Ang Lee ........................................................................................................................................... 29 . er. io. 2.3.6 The “New Wave” from the 2000s ........................................................................................ 31 2.4 France and Taiwan Links and cooperation ............................................................... 34 . n. al. i n U. v. 2.4.1 French Cinema in Taiwan ........................................................................................................ 34 . Ch. engchi. 2.4.2 New Taiwan Cinema and cooperation with France ..................................................... 35 2.4.3 Taipei Film Commission and France .................................................................................. 41 2.4.4 Directors from the 2000s and cooperation with France ........................................... 45 . Chapter 3: Research and Analysis .............................................................................. 48 3.1 Taiwan Market .................................................................................................................... 49 3.1.1 Interviews with distributors in Taiwan on French movies ...................................... 49 3.1.2 Study on Parking and No Puedo Vivir Sin Ti in Taiwan ............................................... 51 3.2 Cannes Festival Film Market (Field Study) .............................................................. 54 3.2.1Cannes Festival and the Marché du Film History ........................................................... 54 3.2.2 Taiwan Presence at Le Marché du Film 2012 ................................................................. 57 3.2.3 Observations at the booth ...................................................................................................... 62 3.2.3 Screenings at Le Marché du Film 2012 ............................................................................. 65 . vi .

(8) 3.3 Interviews ............................................................................................................................ 67 3.3.1 Interview Framework .............................................................................................................. 67 3.3.2 ASC Distribution: Parking ....................................................................................................... 70 3.3.3 Heliotrope films: No Puedo Vivir Sin Ti ............................................................................ 73 . Chapter 4: Conclusion .................................................................................................... 82 Discussion ................................................................................................................................... 85 Further research ....................................................................................................................... 88 . Appendices ......................................................................................................................... 90 Reference ......................................................................................................................... 103 . y sit. n. al. er. io. . Nat. . •‧. . •‧ 國. . ㈻㊫學. . 立立. 政治大. . Ch. engchi. . vii . i n U. v.

(9) . Table of Figures Figure 1: Top 10 markets worldwide by admission (2009-‐2011) ............................... 18 Figure 2: Market share for Cinema according to country of production in France ......................................................................................................................................................... 19 Figure 3: Comparison of results of the Films by Edward Yang that showed in France (number of tickets sold in Taipei and in France) ....................................... 27 Figure 4: Repartition of evolution of benefits in Asia in Euro ....................................... 34 Figure 5: Number of French movies showed in the theaters in Taiwan .................... 35 . 政治大. Figure 6: A comparison of Tsai Ming Liang’s movies in Taiwan and in France . 立立. (number of tickets sold) (See also Appendix 7) ......................................................... 38 . •‧ 國. ㈻㊫學. Figure 7: Comparison of Hou Hsiao-‐hsien’s films’ tickets sale in Taipei and in France (See also Appendix 10) .......................................................................................... 41 . •‧. Figure 8: Comparison of Taiwan films between 2000 and 2007’s ticket sales in . sit. y. Nat. Taipei and France (See also Appendix 11) ................................................................... 45 . al. er. io. Figure 9: Asian movies in France (Japan, HK, China, Taiwan, South Korea, . v. n. Thailand) and including animation ................................................................................. 61 . Ch. engchi. i n U. Figure 10: Screenings at the Market 2012 by country of production ........................ 66 Figure 11: Taiwan movies that entered the French market after 2008 (comparison of the number of tickets sold in Taiwan and France) (See also Appendix 16) ............................................................................................................................. 78 . viii .

(10) . . Table of Pictures . Picture 1: Festival of Toulouse Made in Asia 2012 and Taiwan Cinefest 2012 ......... 5 Picture 2: Festival du Film Asiatique de Deauville 2012 and Festival des 3 Continents Nantes 2012 ......................................................................................................... 5 Picture 3: Festival International des Cinémas d’Asie de Vesoul 2013 .......................... 5 Picture 4: YiYi: A One and a Two’s Box Office in France ................................................... 26 Picture 5: Box office for What time is it there? and La Saveur de la Pastèque ......... 28 Picture 6: Box Office in Taiwan of La Saveur de la Pastèque ........................................... 29 Picture 7: Box office for Lust Caution and The Secret of Brokeback Mountain (in . 政治大. Euro) ............................................................................................................................................. 29 . 立立. Picture 8: French Box office for The Wedding Banquet ..................................................... 30 . •‧ 國. ㈻㊫學. Picture 9: Summary of Press critics for Face ......................................................................... 37 . •‧. Picture 10: Hou at la cinémathèque française ...................................................................... 39 . sit. y. Nat. Picture 11: Still from the teaser of Kamomé and other stories on Youtube .............. 43 . n. al. er. io. Picture 12: Box office of No Puedo Vivir Sin Ti in Taipei ................................................... 52 . i n U. v. Picture 13: Box office of Parking in Taipei ............................................................................. 53 . Ch. engchi. Picture 14: Le Marché du Film de Cannes, Palais ................................................................ 58 Picture 15: Taiwan booth at Le Marché du Film de Cannes 2012 ................................ 58 Picture 16: Taiwan Night at Le Festival de Cannes 2012 ................................................. 59 Picture 17: Brazil’s large booth at Cannes 2012 .................................................................. 60 Picture 18: Catalogues of Taiwan Cinema 2010-‐2012 ...................................................... 64 Picture 19: ASC Website ................................................................................................................. 70 Picture 20: Parking selected in Un Certain Regard (2008) ............................................. 71 Picture 21: Box Office of Parking in France ........................................................................... 72 ix .

(11) Picture 22: Website of Heliotrope films .................................................................................. 74 Picture 23: Box office of No Puedo Vivir Sin Ti in France ................................................. 76 Picture 24：Box offcie of GF*BF in Taiwan in Taiwan ...................................................... 87 . 立立. 政治大. •‧. •‧ 國. ㈻㊫學. n. er. io. sit. y. Nat al. Ch. engchi. x . i n U. v.

(12) . Chapter 1. Introduction 1.1 Motivation My main motivation to work on that topic as a thesis project stems from the fact that, as videos were becoming common commodities at home, I grew up watching many movies from France and Hollywood essentially. As my interest for foreign languages grew and DVD technology appeared, I had the impression that watching movies in original language version would help me improve my language skills and it was also the best way to arouse my interest. As I came to Taiwan and the. 政治大 Internet was becoming more common, things became even easier to reach cultural 立立. •‧ 國. ㈻㊫學. contents that would help me progress in Chinese language. Mandarin language songs, television series and of course movies when my skills improved, became part of my. •‧. everyday life in Taiwan. It didn’t teach me only the language but also showed me a lot. y. Nat. io. sit. about local culture. I started being deeply touched by Taiwan films, as if I had spent. n. al. er. all my life here and was part of the culture I saw in the movies. I had watched. Ch. i n U. v. Millenium Mambo (千禧曼波, 2001) and Three Times (最好的時光, 2005) made by. engchi. Hou Hsiao-Hsien back in France, but the first Taiwan film that really touched me is Cape No. 7 (海角七號, 2008), and that probably because I had already been permeated with Taiwan culture, thus I could understand at least roughly what the film was about. Since then, Taiwan cinema became one of my passions. Since then, I decided to try my best to share my enthusiasm for Taiwan cinema with my family and friends and more widely with the French audience. What I didn’t realize at the time I was watching Cape No.7 in 2008, is that 1 .

(13) Taiwan cinema industry was witnessing a new rise of a so-called “third new wave” of the New Taiwan cinema that started in the 2000s (the first one being represented by Hou Hsiao-Hsien (侯孝賢) and Edward Yang (楊德昌) in the 1980s, and the second by Tsai Ming-liang (蔡明亮) and Ang Lee (李安) in the 1990s). Since 2008 and with the success of Cape No.7 by Wei Te Sheng, a new wave of directors and ideas spread over the island and often conquered the heart of the local audience. In that four-year period of time, those new movies already had the occasion to be known abroad through famous film festivals such as the Berlinale or the Festival de Cannes.. 政治大. However, being shown at international festivals does not guarantee that general. 立立. audiences will have the chance to come across those movies as it depends on the film. •‧ 國. ㈻㊫學. distributors and the choice they make regarding which movies they think are worth. •‧. distributing on their markets. In addition, the fact that a movie is shown in festivals is. y. sit er. io. 2010).. Nat. far from guaranteeing that the general public will have interest in them (邱詩淳,. al. n. iv n C Through this research, myhmain focus willU e n g c h i be the French market. Indeed, France is one of the cradles of art cinema and has been very supportive and in admiration of the creation made by Hou Hsiao-Hsien in particular. France and Taiwan seem to somehow have some special relationship in regard to cinema. Recently, a close partnership has been agreed on the two countries for enhancing cooperation in that regard between La Commission du Film d’Ile de France and Taipei Film Commission (Taipei Film Commission, 2011).. 2 .

(14) . 1.2 Purpose This thesis aims to offer a glimpse on the foreign movie distribution. From a place like Taiwan, a small market that according to previous research should try to focus on the oversea market (including the culturally close markets like China and Hong Kong as well as close neighbors like Japan and Korea) to touch a larger audience in the hope of making more money. Since studies have already been made on those closer neighbors, I would like to focus on the European market and more specifically on the French market. What are Taiwanese distributors trying to do to sell. 政治大. their films in France? Indeed, unlike Asia where a closer culture can help in. 立立. understanding the content of the movie, places like Europe are much more oblivious. •‧ 國. ㈻㊫學. to what is going on in Asia. However, in the recent years, the number of people. •‧. learning Mandarin Chinese has increased, and has become one of the most studied. sit. y. Nat. foreign languages in France after English, Spanish and German. Thus, people might. n. al. er. io. not only be interested in the language but in the culture as well which could actually. v. give rise to a higher consumption of films coming from Taiwan for instance. Asian. Ch. engchi. i n U. cultures are indeed an important topic in Europe and it thus generated a lot of related festivals. The Asian Film Festival of Deauville has been held in the city since 1998. Taiwan movies were represented several times during that festival. We can cite Au Revoir Taipei (一頁台北, 2010), which was in competition in 2010 and Seediq Bale (賽德克．巴萊(上)太陽旗, 2011) in 2012. An increasing interest in Taiwan cinema is witnessed by the creation of a 100% Taiwan cinema Festival organized independently of any Taiwanese cultural department and already being held in London for 3 years and being held in Paris as well in May 2012 for the first time. The list is not 3 .

(15) exhaustive but, in 2009, the festival featured Parking (停車, 2008), The Most Distance Course (最遙遠的距離, 2007), then Sorry, I Love You (對不起，我愛你, 2009), Yang Yang (陽陽, 2009), Island Etude (練習曲, 2007) in 2010. Finally, in 2011 Monga (艋舺, 2010), Seven Days in Heaven (父後七日, 2010), and Love in Disguise (戀愛通告, 2010) were played. In 2012, the festival is even going further than just showing Taiwan movies, it also offers the possibility to Taiwan young directors to send their short films and participate to a competition. The best ones will have the honor to be shown in London and Paris during the festival. The winner of this year is a short film. 政治大. of 30 minutes called Reflection (美麗鏡界) by director Zhuang Jing-shen (莊景燊). 立立. and written by Wang Li-wen (王莉雯) who acts in Seven Days in Heaven. Besides,. •‧ 國. ㈻㊫學. the Made in Asia Festival held in Toulouse, a student populated town in the south of. •‧. France, had Taiwan as its main theme after Korea in 2011. This latter festival is. sit. y. Nat. working on developing awareness on Asian cultures, not only cinema but also dance,. n. al. er. io. music, etc. This year, God Man Dog (流浪神狗人, 2007), Butterfly and Beautiful. i n U. v. Crazy (亂青春, 2009) were shown among others and different talks organized about. Ch. engchi. Taiwan as well as a retrospective of 30 years of Taiwan cinema. A reputed Film Festival is held in Nantes, le Festival des 3 Continents, and it regularly showed Taiwanese movies. At the end of this year, it will be holding its 34th edition and in 2010, it showed The Fourth Portrait (第四張畫, 2010) in its competition. Finally, the International Film Festival of Asian cinemas of Vesoul is now in its 19th year of programming. This is the festival that introduced No Puedo Vivir Sin Ti to its French distributor to be.. 4 .

(16) Picture 1: Festival of Toulouse Made in Asia 2012 and Taiwan Cinefest 2012 . Source: Festival Made in Asia website home page (http://www.tchin-tchine.com/madeinasia/?cat=72) And Taiwan Cinefest website home page (http://taiwancinefest.com/). 政治大. Picture 2: Festival du Film Asiatique de Deauville 2012 and Festival des 3 Continents Nantes 2012 . 立立. •‧. •‧ 國. ㈻㊫學. n. er. io. sit. y. Nat al. i n C (http://www.deauvilleasia.com/index.php?pid=11) hengchi U Source: Festival’s website, Action Asie category. v. Picture 3: Festival International des Cinémas d’Asie de Vesoul 2013 . 5 .

(17) Source: Festival’s website (http://www.cinemas-asie.com/). The new wave of Taiwanese films that rose in the 2000s is said to have found an identity by showing more about Taiwanese culture, that most of European people might not be aware of and might become curious in discovering. Cape No.7 seems to have been the first one of that trend, telling a story in the south of the island with a background of the end of the Japanese occupation. Although this movie still hasn't made its way on the French market, Taiwanese directors might have seen some new hope for Taiwan cinema with the impressive results of Cape No.7, and their. 政治大. future films might have a chance to reach the country.. 立立. •‧ 國. ㈻㊫學. 1.3 Research Question . If the French market has been an audience of the works of Hou. •‧. Hsiao-Hsien, Edward Yang, Tsai Ming Liang or Ang Lee, what is the prospect for the. Nat. sit. y. films produced after the 2000s) It appears that the French market is still very receptive. n. al. er. io. to those directors from the 80s. Indeed, at the end of 2011, Terrorizers (恐怖份子,. Ch. i n U. v. 1986) by Edward Yang was shown for the first time in the theatres for 3 weeks. More. engchi. recently, since the beginning of August 2012, a 1986 movie by Hou Hsiao-hsien, Dust in The Wind (戀戀風塵, 1986) is being played in the theatres again while it was already distributed in 1991 (both by the distributor Splendor films apparently specialized in redistributing old movies as its website shows1). Parking and No Puedo Vivir sin ti have been shown in the French theaters in 2009 and 2010 respectively. However, movies such as Cape No.7 and Monga are still not available in the country. 1 Slendor films website http://www.splendor-films.com/contact 6 .

(18) Parking’s director, Mong-Hong Chung, is now said to be a rising star in the world of cinema and its latest movie The Fourth Portrait was planned for coming out in France in the beginning of 2012. However, the work of Wei Te-sheng (director of Cape No.7) Seediq Bale is still waiting for a distributor to sign a contract, even though its performance in Taiwan as well as in other countries in Asia2 has been quite high ("Pendant ce temps-là… dans les salles HK !," 2011). Thus, we wonder what are the motivations of the French professionals from. 政治大 the French market. What are the factors that make them think that one movie would 立立. the cinema industry when deciding which movies from Taiwan could be distributed on. •‧ 國. ㈻㊫學. work better on the market than others? Additionally, we would like to understand the promotion made from Taiwan to the French market and in which measure it might. •‧. influence the results? For this, we will analyze the presence of Taiwan at the Film. y. Nat. io. sit. market held during the Cannes Festival. According to the Taipei Film Commission,. er. Taiwan had prepared a big appearance at the Cannes Festival Film Market in 2011.. al. n. iv n C Thus, it could be interesting to follow in order to make a link between the h that e nactivity gchi U promotion and the choices of the French local distributors.. 2 “le cinéma taiwanais cartonne à Hong Kong. En effet, Warriors of the Rainbow: Seediq Bale Part 1 avait fait un excellente entrée la semaine dernière en récoltant plus de 150 000 € alors que la seconde partie débute bien mieux avec plus de 200 000 € cette semaine” (Taiwan cinema is doing great in HK. The first part of Seediq Bale did a good coming out last week with 150,000 Euros while the second part is doing even better with 200,000 euros the first week) . 7 .

(19) 1.4 Method In order to bring an answer to the questions presented above, we will use different methods. After reviewing the literature concerning Taiwan new cinema from the 1980's to nowadays as well as the literature enhancing the tight relation between France and Taiwan new cinema, a field study was lead during the International Film Market of Cannes held at the same time as the internationally renowned Film Festival. Then, I managed to have in depth-interviews with professionals of the film industry from Taiwan. Subsequently, Not only can we observe the space allowed to Taiwan. 政治大. during the market and the performance on sales and collaboration projects they may. 立立. reach, but we can also use that opportunity to lead interviews with professional. •‧ 國. ㈻㊫學. distributors in France. This way, we can understand their points of view on Taiwan. •‧. cinema, specifically on Hou Hsiao-hsien and his counterparts of the same period, as. n. al. er. io. sit. y. Nat. well as on the directors from the 2000s. . Ch. engchi. 8 . i n U. v.

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