Romance in Post-Socialist Chinese Television

2020 ◽  
Author(s):  
Huike Wen
Keyword(s):  
2019 ◽  
Vol 5 (3) ◽  
pp. 36-59
Author(s):  
Yingzi Wang ◽  
Sabina Mihelj

This paper examines changing representations of women in Chinese television dramas since the early 1990s and interprets them within a framework of global socialist media cultures, considering both domestic developments and transnational trends. Drawing on the analysis of three selected dramas, it traces the trajectory of televised femininity from exemplary socialist worker-citizens devoted to family and community, to more individualized middle-class urbanites. It is tempting to see this transformation as an outcome of China's integration into the global capitalist economy, the attendant retreat of the party-state from the private realm, and the infusion of Western cultural gender ideals. Yet this interpretation downplays important continuities, and misses intriguing parallels with TV dramas produced in socialist Eastern Europe. The argument pays particular attention to the enduring appeal of the socialist-style superwoman who shoulders the double burden of a professional career and unpaid domestic work while also acting as a discerning citizen-consumer.


2021 ◽  
pp. 026327642110120
Author(s):  
Alessandro Jedlowski

On the basis of the results of an ongoing research project on the activities of the Chinese media company StarTimes in Nigeria and Côte d’Ivoire, this paper analyses the fluid and fragmentary dimension of the engagements between Chinese media and African publics, while equally emphasizing the power dynamics that underlie them. Focusing on a variety of ethnographic sources, it argues for an approach to the study of Chinese media expansion in Africa able to take into account, simultaneously, the macro-political and macro-economic factors which condition the nature of China–Africa media interactions, the political intentions behind them (as, for example, the Chinese soft power policies and their translation into specific media contents), and the micro dimension of the practices and uses of the media made by the actors (producers and consumers of media) in the field.


2005 ◽  
Vol 115 (1) ◽  
pp. 82-93 ◽  
Author(s):  
Michael Keane

This paper discusses the evolution of television serial drama in China. It argues that Chinese television drama production has progressed through three periods: industrial (1958–89), market (1990–2002), and most recently interpersonal (2003 onwards). These three stages of development are in turn associated with standardised production according to state-directed formulae, outbreaks of producer autonomy, and celebration of modern lifestyles and consumer culture. The paper provides an overview of the development of drama production during these three periods, and notes a shift from ‘socialist reality’ towards contemporary popular reality.


2017 ◽  
Vol 2 (2) ◽  
pp. 183-196 ◽  
Author(s):  
Yeh Hsueh ◽  
Zongkui Zhou ◽  
Guimin Su ◽  
June Lee ◽  
Katherine Kitzmann

Big Bird Looks at the World, a Chinese co-production with Sesame Workshop, the producer of Sesame Street, uses science as a vehicle to promote curiosity, observation, and hands-on investigation among 3- to 7-year-old children. This study assessed the educational impact of Big Bird Looks at the World in a sample of 1860 children. Preschool and Grade 1–2 classrooms in Central and Southwestern China were randomized within schools to the experimental group (watched 42 11-minute episodes of Big Bird Looks at the World over a 7-week period) or the control group (engaged in normal class activities). Children’s Big Bird Looks at the World content knowledge, in terms of science vocabulary and science facts, was assessed through interviews at baseline and post-test; children’s responses were coded for quantitative analyses. Consistent with our assumptions based on cultural script theory, relatively brief exposure to Big Bird Looks at the World had significant benefits. Rural and urban children, children in preschool (ages 3–5) and Grades 1–2 (ages 6–7), and boys and girls all gained equally from exposure to the show. The results suggest that entertaining educational television has great potential for helping Chinese young children expand their science learning experiences.


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