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Is this an actual recollection of the decay of the US manufacturing?

I'll be honest, today is the first day I've actually started to question my beliefs. I'm a free-market libertarian.
The basic premise that I've heard is that the US still has a large industrial stronghold, and the jobs lost are due to automation and higher productivity. The output per worker is higher than before, we have aerospace and automotive industries, the wages are high blah blah blah..
Well sometimes it helps to look at what the industry professionals are saying and not trust the propaganda.
"This prompted me to look deeper into the renaissance idea, so I investigated the changes in employment and establishments in 38 manufacturing North American Industry Classification System (NAICS) industries from 2002 to 2018. I really hoped that the optimists were right about the manufacturing renaissance, but the data I collected in Table 1 (see link) shows some inconvenient truths—that 37 out of the 38 manufacturing industries are declining in terms of both number of plants and employees.
Some of the industries, such as textiles, apparel, furniture, hardware, magnetic media, computers, cutlery, hand tools, and electrical equipment, have been declining for many decades and are probably beyond recovery. And I was surprised to see that industries whose resource material is in the United States, like wood and paper, are also declining."
In 1965 American machine tool manufacturers had 28% of the world market for machine tools, but today we have 5% of the world market. In 2018, U.S. machine tool manufacturers exported $4.2 billion and imported $8.6 billion, according to the U.S. Census Bureau USA trade online.
I've come across a left-wing author from 1991 who claims free market is the reason the US industry, particularly its fundamental parts, like tool and die manufacturing, semiconductor industry, machine tools industry and so on took a large hit. He cites the case of Japan that actually neglected what he calls the 'neoliberal policies' and actively intervened in the economy, full-on Soviet-style.
Tokyo extensively protects virtually every Japanese industry, but for different reasons. Industries like microelectronics, steel, machine tools or automobiles are obviously promoted because of their strategic importance. Tokyo carefully protects a range of industries like agriculture, construction, and distribution for their political rather than economic importance. Tens of millions of farmers, builders and distributors and their families give the ruling LDP votes in return for protection and heavy subsidies. This in turn allows the LDP to remain in office and continue supporting both strategic and political industries. The losers are of course Japanese consumers who pay inflated prices for even basic goods and foreign producers whose profits and often livelihoods are lost to Japanese neomercantilism. If Tokyo had followed free market rather than neomercantilist policies for the seven industries analyzed below, none would have achieved their present level of development, and some might not have survived. Japan's steel, automobile, television and machine tools industries may well have been wiped out by competitive imports while its agriculture, construction and distribution industries would be severely limited in size and scope. Japan's economic growth would have been considerably lower while other countries with a comparative advantage in those industries would be wealthier.
(I have a full pdf, if someone wants more quotes)
The exact strategy is outlined by the author as follows (he takes a case of machine tool industry, which is literally the most important industry, cause these machines are used to build the other machines):
If Tokyo had relied on a free market to develop its industry, it would not have a machine tool industry; America's comparative advantage in machine tools in the 1950s and 1960s would have wiped out the Japanese industry. Although Japan's machine tool industry, like all other Japanese industries, had always been protected, in March 1957 MITI presented a comprehensive plan for developing the industry. There is considerable controversy over the effectiveness of MITI's machine tool policy, with some arguing that the industry grew in spite of MITI's efforts while others maintain that MITI's hand was decisive. Specific MITI policies may not have been as effective in promoting Japan's machine tools as they were in other industries. Yet the important point is that Japan's machine tool industry would not have survived in a free market. MITI's policies creating or permitting a web of import restrictions, cartels, subsidies, and export incentives allowed the industry to not only survive but become the world leader while simultaneously battering America's industry.
MITI and the Japan Machine Tool Builders Association allocate production and market share for the industry. Import and investment barriers simultaneously protected Japan's machine tool industry and forced foreign manufacturers to sell out their technology. Machine tool imports dropped steadily from 30-50 per cent of the market in the 1950s to 5 per cent in 1983. During the 1950s, machine tool manufacturers were actually given import subsidies - matching funds and write-offs - to buy machines necessary to make other machines. After Japanese firms mastered the production of these types of machines, import tariffs were imposed to protect the industry. The tariffs varied according to the perceived importance of the product to Japan's growing industry: machines not produced in Japan were subject to a 10 per cent tariff, those competing with infant Japanese products were slapped with a 15 per cent tariff, while strategic products suffered a 25 per cent tariff. As the industry steadily strengthened, the government slowly reduced these tariffs under persistent foreign pressure. Tariffs ranged from 4 to 7.5 per cent throughout the 1970s and were completely eliminated in 1983.
Now I have two questions:
  1. How much of it is true? Did free market betray the American manufacturers? Did government intervention help Tokyo to become an economic superpower?
  2. If it's true, how does a free-market economy can protect itself from the aggressive trade behavior? If an interventionist government acts as a corporation bent on conquering your economy, how is it possible to combat that? No market player can establish a defense strategy, since any competing government is by definition stronger than the largest corporation, even in case of, I don't know, Google vs. Japan. And not to mention that vast capabilities that a government possess to undermine your economy, since it can train an educated workforce, provide large subsidies, depreciate the currency, lobby its interests in the US Congress etc
submitted by s_flab to austrian_economics

[Discussion] Screenwriter's Cheat Sheet (Aki)

I've always wondered what a script "doctor" or a producer did with your script. I mean, the great ones, I'm told, can take a look at your script and, somehow, be it due to divine, natural gift or an infernal contract they've signed with the Dark Prince, they know where you done fudged up!
How?! Like, for serious, how?
What do they look for? What questions do they ask? And, what are these questions that they ask consistently, for every story?
Well, fam, that's what we'll try and figure out today. Today, we're gonna put together a list of questions that you should ask yourself whenever you have a story idea, an outline, or even a finished script. Today, we're putting together the Screenwriter's Cheat Sheet!
Keep in mind, I'm putting these questions in no particular order; since, you know, they're all important and stuffs.
Is your story made for independent film or a studio production?
I open with this question because it is one of the first things I was exposed to in almost every single one of my screenwriting classes; and because, if you're reading this, you're likely an fellow ambitious whipper-snapper trying to create some serious art and not Wes Anderson.
Moving on.
You always have to consider your resources, especially if you're starting out.
If you're a college student with little capital and writing your first short film, I doubt you'll have the budget to fund a script loaded with visual effects, multiple exotic locations, Dwayne "The Rock" Johnson as your lead and Hans Zimmer to score.
Your best bet is to see what locations you yourself have access to with ease; i.e., your house, a park, a friend's house, etc... Or, ask your friend's permission to use their house or whatever you need and see if they're gracious enough to let you. Beyond that, you can ask local businesses, as well. If they agree to let you use their location, be very grateful and show them how much you appreciate it; just make sure you aren't taken advantage of in the process.
Then, you hit up your local schools, JCs and theaters in search of actors that want to boost up their resumes by working pro-bono. You'll find a lot of opportunity there and will build up a good list of contacts.
As far as equipment, you ask if you can rent some, or--and you'll be surprised how effective this can be-- you post on your Facebook page if anyone has insert film equipment here that you can borrow for a day-shoot. If someone steps up and offers their gear, again, be very thankful and, just as importantly, don't be a douche and damage their equipment.
Then, once you spend however long playing producer and gathering up your crew, nail down locations and set your schedules, you put your directing hat on and shoot the film in a day or two. Try not to go over that if you're just starting out.
I'm doing the art of directing and cinematography a great injustice here by skipping over them this way, but just know that they're crazy important and you'll learn a lot from jumping in a trying to practice them as a film student. They're not the point of this specific article, is all.
This is also the part where I tell you to start learning how to edit/use Adobe Premiere and After Effects. There are a ton of great YouTube channels that teach you that (check out this link, or, you can check out sites like Lynda.com for courses.
Bonus tip: For those of you that live in Sonoma County, getting a Sonoma County library card will grant you access to Lynda.com's entire library for free; which includes far more than just editing/filmmaking content. It's honestly a fucking steal.
What's the genre?
This is a question I never really consider when I write my scripts; and it always bites me in the ass. I usually end up going for the fantasy/Sin City style of gritty action without realizing it. Sometime it works, sometime it doesn't; either way, the story is affected.
Every genre has its own specific convention, and I'm going to write something on each of the major genres soon. But, consider the horror genre for now. Regardless what sub-genre it is--slasher, zombie, etc...--the story requires a "monster." Can't have a horror film without a Big Bad Wolf.
The romance genre dictates that you have a love interest to your protag, or multiple love interests, even. Believe it or not, you're love interest will probably end up being your protag's "monster"/antagonist.
Action stories need a badass, "my hands are registered weapons" lead that will probably end up in a shoot-em-up extravaganza with the bad guy.
Fantasy stories use quests, wizards, races and might heavily draw from Campbell's ever-popular mono-myth.
Superhero stories might also draw from the mono-myth, but also demand that you have superpowers, costumes, potentially a side-kick and a world-saving scheme.
Sci-fi might employ alternate timelines, spaceships aliens and/or multiple dimensions.
These are quick, surface-level examples, but you get the point.
Consider the genre your story will be in, because it will influence your world-building, character archetypes and general aesthetic.
Who is your audience?
Much like your consideration of genre, deciding your demographic will dictate, at the very least, the tone of your film, the medium in which you deliver it in, how you articulate your theme, the complexity of your plot and whether or not you can have and show butt-stuff.
Consider Batman, my dear reader; hell, we could've picked other superheroes, but Bats is the best example.
Anywho...Batman has been portrayed in comics, animated features, cartoons, glorious 1960's live-action and even MORE glorious, Christopher-Nolan-live-action. Each of these mediums is influenced by and influences both the story and the audience consuming it.
Generally, animated features will be geared towards younger audience members; but we've all seen some that deliver incredibly mature and thought provoking themes. Live-action is subject to the same spectrum that spans from goofy, yet light-hearted, to gritty-but-sprinkled-with-comedy. The point is, realizing the type of audience member you're speaking to will help you better determine the type of dramatic language to best serve as your vehicle for your story. And you want to give your story the best chance you can to be best experienced by your audience.
What is the thematic question?
Theme was a mess of mystery to me for a long time, having studied and been exposed to different 'gurus's different, even conflicting, definitions of it. But, the simplest way I can put it is:
Theme is the point of your story.
Every joke has a punch-line. Every story has a message. Every film has a point. Every telling has a theme.
If we consider your theme as the lesson you're trying to teach your audience, then your story is how you do it. Think about it, what is the best way humans learn? Seriously, take a quick second to come up with an answer.
As far as I'm concerned, it's experience.
If someone told me "war is awful," I would nod my head and go, "sure;" not really understanding the depth of meaning in those words. But, if I was dropped smack-dab in the middle of Iraq with a band of soldiers facing off against insurgents, I would have a far better, incredibly more visceral understanding of "war is awful."
Now, as writers, stories are the closest thing we have to experience. We can flat-out tell our audience the message behind our story: "War sucks donkey balls, bruh." But, it's far better for our audience if we showed them.
Now, we can't fly them to the Death Star or walk them to Mordor, but we can show them characters that can/will. We can show them who these characters are, what they care about, how they risk everything for their personal purpose, how they suffer and overcome, and, ultimately, if they succeed or fail.
What I'm trying to say is, your theme needs to be dramatized for it to be internalized and understood. That's what stories do, they show us the wisdom inherent in our actions.
"Country above self," "love conquers all," "bacon is king."
For those of you thinking that last one was a real theme, it wasn't; but it totally should be.
Your thematic question is one posed in every scene of your story; and, more than that, it's answered by your theme.
For example, if your thematic question is, "how can you best honor your family?," then your theme can/will be, "by putting their needs before your own." This should be shown to the audience through your characters actions; be it in the positive/the character did put family first, or the negative/the character didn't put family first.
Since showing the answer to the thematic question--showing the theme--is the point of you telling this story, it would make sense that the more your hero fails in accomplishing this answer, the further away they get from their goal and the more they suffer.
Let's say your hero wants to get that big promotion in their company; that's their Bull's Eye, which we'll talk about in a later question. So, they're after this big promotion, but, at a point in the film, you, the brilliant writer that you are, force them to decide between betraying their sister and guaranteeing that they'd fall into their boss's good graces, or, honor their sister and jeopardize all the work they've done towards getting that promotion.
Now, if your protag doesn't betray their family, they'll either get the job through different means or won't get the job but realize that what they really needed was something else entirely and will get that instead; depending on how you write it.
If the protag does screw their sister over, they'll have the job, but realize that having it tastes bland, even disgusting, now that they've compromised their character and shit on this all-too-important bond.
Write down your thematic question and its theme/answer and keep it in front of you at all times when you write. It'll keep your writing focused and your scenes tight.
Who is your protagonist?
Your protagonist is the character most connected to the audience. Theirs is the purpose we root for. Whatever they want to achieve, we want them to achieve. They're the character we most care about, the character who is most active/moves the storyline forward, and the character with the most screen-time. Your protagonist is your main character.
That being said, and beyond their structural/story role, your protagonist can be anyone. They can be a literal lowly ant or God herself; it doesn't matter, actually. It only matters insofar as how they relate to the story. Their story has to be the most interesting one in that story world; which implies that they themselves must be the most interesting character in that story world.
This point is crucial for two reasons. The first is for the sake of the audience. If you don't give the audience your 'best' character--in this case, the character that will evoke the most emotion in them--then you're severely underselling your story and shortchanging your audience.
The second is for your own sake as a writer. If you don't choose a character that excites you, impresses you, even surprises you during the long writing process, you're going to find yourself hard-pressed to keep writing. You're going to be spending a lot of time with this character. So much so that you'll likely get to know them more than you know anyone; maybe even yourself. So, it's a good idea to take a second to pick a character that, to you, is very fun; and to also be willing to change your main character if they don't fit this criteria.
Personally, I like to learn as much about my lead as possible: Favorite pastime, books, songs, color, music, who their idols are, their brand of humor, how they choose to solve problems, are they a toilet-paper-roll-rolls-over or rolls-under kinda person...you know, important stuff. Butt, when it comes down to it, there are three basic elements that you must know about your protagonist. If you don't know those three, it doesn't matter if you know what your character weighed when they were born or which hand they jack-off with. If you don't know those three elements, you don't know your character.
Those three elements are: The character's Bull's Eye, their Wound, and their Flaw.
What is your protag's Bull's Eye?
Bull's Eye is a term I use to better illustrate, for myself, what other's call Outer Motivation, Goal, External Motivation, and anything that means what your hero is after.
You need to know what your hero will be chasing throughout your story because, if you're hazy on that detail, your story will fall apart.
Are they trying to stop a meteor hurdling towards Earth or find their long lost home? Are they trying to win that dance competition or climb Mount Everest? And so on.
The thing to remember about your protag's Bull's Eye is that it needs to be both specific and visual; otherwise, it won't work.
If I told you that my protag's Bull's Eye is to save the city, your response will probably be, "uh, how? From what?" These questions demand details. There are a lot of things that a person can "save the city" from. Poverty, the plague, awful fashion fads, the damn Kardashians.
A Bull's Eye needs to be specific so we know when the protag finally achieves or hits it; otherwise, the audience won't know when the story is over.
Batman's Bull's Eye is to save Gotham by stopping Ra's/the JokeBane.
Jessica Jones's Bull's Eye is to stop/kill Kilgrave.
Wreck-It Ralph's Bull's Eye is to get back his (stolen) Hero's Medal.
Dory's Bull's Eye is to find her family.
All those Bull's Eyes are visual and specific, and we can easily tell if the protag hits or misses them/is getting closer or further away from them at any point in the story.
You'll also notice that they're goals that can be broken down into mini/many smaller goals, as well as being open to evolving.
Batman's main Bull's Eye (stopping the Joker) is broken down into several smaller battles throughout the film; which include finding the Joker, ending his killing spree, saving Rachael, maintaining Dent's reputation as Gotham's White Knight, and, finally, stopping the Joker. All those are minor, albeit emotional skirmishes that make up the protag's Bull's Eye.
The protag will lose a lot, if not most, of those 'battles,' but that will only better enforce how difficult it the antagonist was as an obstacle, and how heroic they were in besting said antagonist.
I prefer to think of the protag-antag relationship in terms of warfare, because their confrontation must be so intense and have so many loses and reversals that the protag baaaarely comes out on top, and almost never unscathed.
What's your protag's Wound and resulting Flaw?
We all have Wounds. By "Wounds" I mean, defining traumatic moments. Getting physically and emotionally bullied by Mark Bateson in 6th grade (Wound) resulted in us--the royal 'us'--being afraid of confrontation (Flaw).
Losing our pants during 10th grade P.E. in front of our--royal 'our'--class (Wound) resulted in 'us' being cripplingly uncomfortable with our bodies, not just in a "let's go swimming" setting, but overall.
What I'm hoping you notice here is not my run-of-the-mill high school trauma, but that Wounds are experiences that dictate what emotional battles we must engage in within ourselves on a daily basis in order to be our best selves.
Your protag, and, believe it or not, antag, can and should have Wounds and Flaws to overcome; because, that's what it means to have a character arc, or, to put it in other terms, growth. Or, even better, a character having a Wound and Flaw not only makes them relatable, but it makes them just like us: human.
In Anger Management, a young Dave Buznik has his shorts and underwear pulled by a bully while trying to kiss a girl in public (Wound). The embarrassment and accompanying emotional trauma stays with him well into his adult life and leaves him unable to be affectionate towards his girlfriend in public, and causes him to repress any and all emotion; ergo, making him Hulk-levels of angry under the seemingly quiet surface.
Once Dave is transformed by the events of the story and undergoes character growth as a result/survives Jack Nicholson, the pivotal moment of him kissing someone in public--which he experienced in the beginning in the film--is repeated again with his girlfriend near the end. Except, this time, Dave, now changed, succeeds/gives her a "five-second Frencher."
One thing to take note of:
Despite Dave being a fully-developed human being (as the writer artfully portrayed), the story only addresses ONE of his Wounds and the ONE resulting Flaw of said Wound. Why? Because the story could only handle solving a single traumatic event/emotional scar combo at a time. Having any more would be too much for both the writer and the audience to handle.
One story. One Wound. One Flaw. That's it.
What is your antagonist's Bull's Eye, Wound and Flaw?
Since I've already discussed what Wound and Flaw are, I don't feel the need to go over it again.
But, let's talk about your antagonist's Bull's Eye; and, feel free to refer to what a Bull's Eye is by looking back at what I wrote.
The reason I want to stress your antag's Bull's Eye is because it's a defining attribute of any great villain.
To put it simply, your antagonist has to want exactly the same thing as your protagonist.
Let me give you an example.
Let's say you and I are protag and antag pairing (dibs on being the antag, my dude). And, let's say that we're both on the playground with a bunch of toys in front of us. Now, your Bull's Eye, as the protag, is to grab that sick, voice-activated Gamora action figure. What would happen between us if my Bull's Eye, as the antag, was to grab the equally-badass Deadpool action figure?
Short answer: Nothing.
Long answer: There would be no conflict, no drama, no story.
Why? Because we both want different things, and, we can both have what they want. It's a win-win for both of us.
But, if we both want one or both actions figures, it means that we'll be butting heads at every point in the story. It means that there will be a winner and there will be a loser. And, more profoundly, since we both feel the need to have said action figures, the stakes are personal; meaning, we will put everything on the line for a chance to have those action figures.
I've already given you the 'warfare' analogy to describe the protag-antag relationship. But you can also think of it in terms of conflict. If there is no conflict between your protag and antag, there is no drama, there is no emotion, there is no story.
Which brings us to our next question:
What is the main relationship driving the story?
As far as I'm concerned, your protag-antag relationship is the most important and main relationship of your story. But, that answer comes with nuances.
In a straight up action flick, the good guy-bad guy relationship is what's obviously driving the plot, since their gun-toting, explosion-ridden fights are a convention at the heart of the genre. I can almost hear some of you saying, "but, what about the hero's love-interest, amigo? That's pretty important."
To that I say, sure, fam, romance is important. But, in terms of character growth--the element that makes a character most relatable/human--which is more important: The protag and love-interest getting together, or, the protag realizing that they must overcome both their proverbial and literal demons (antag) before earning their place in paradise (love-interest)?
Let's shift gears for a second.
To my male audience out there: Fellas, do you know why women are so 'difficult?'
The answer is really pretty simple: Because we, as men, need them to be.
Picture a guy who isn't motivated, doesn't want to do anything, doesn't want to work for anything, has no values or standards, doesn't try to better himself in any personal or practical way, has no prospects of any sorts and still gets the perfect woman.
How realistic is that?
Shit, even in film that's asking too much. Personally, if I was sitting in that theater, it'd take all of thirty seconds for me to get my ass out of there and ask for my money back.
The point: Women test us to see if we're being, or at the very least trying to be, our best selves every single minute of the day.
In fiction, your protag's relationship with your antagonist is that test.
Your protag must overcome their greatest adversary, the one person that stands between them and their noblest self, before they can live their 'happy ever after.'
Now, I'm not saying that everyone is looking for love, though the argument can sure as hell be made; what I'm saying is, romance/love is a very powerful mechanism inside us humans and that makes it something that super-charges any story with emotional content.
Basically, love sells, boys and girls.
Ever hear of Titanic? The Notebook? Fifty Shades of Grey?
The most important relationship in your story is the one between your protag and antag; even if you, as an audience member, worship that gem of a love story at the heart of all the action.
Now, a caveat.
When it comes to romance films, you'll find that the antagonist is actually the love-interest. This is because both the protag and antagonist/love-interest are looking for love, in most cases, and the only thing standing in their way is each other.
Think of When Harry Met Sally. Or, What Women Want, Think Like A Man, Hitch, or any of the examples listed above. The character that makes the protag's life most difficult--a defining trait of the antag--is the one person they want most: their love-interest. It's actually a pretty brilliant dynamic to have in a story, and one you should always consider when designing the protag-antag relationship. Even Nolan did it in The Dark Knight Rises.
The good guy-bad guy and protag-love-interest relationships are just two examples that make for a driving relationship in story. There are a ton more that can be the heart of your telling. The most prominent one I've seen in recent years is the parent-child relationship; with examples like: Big Daddy, The Last of Us, Logan and the most recent God of War.
Nail down the most important relationship in your story so you can focus on it and draw as much emotional content from it as possible to entertain and connect with your audience.
Use this list to check any inconsistencies in your story, be it a fully-written script or just a germ of an idea. If something doesn't make sense or, fix it, obviously; or, get rid of it and start over.
Once you've ironed out the details, it's a good idea to write a synopsis of your story. I'd say a paragraph for each act addressing this checklist would do, generally. After that, you'll have a pretty air-tight script in terms of structure, character development and delivery of emotion. You can decide if it needs more pretty-ing up from there.
That's all I got for you this time around.
Keep writing.
More good stuff!
submitted by AAAslan to Screenwriting

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