Estructura mediática china: una aproximación al caso de China Central Television (CCTV).

China’s Emerging superpower has become a key piece on the global information board in recent years. This study aims to delve into the Chinese media structure, paying special attention on the public television group China Central Television. From a diacritical perspective, one seeks to understand the crossroads underlying it; a descriptive methodological approach focused on content analysis will take an in-depth look at how the media and the administration that control them will be controlled. In 2018, the Chinese government carried out a “State institutional reform plan and the Deepening Party” whose main objective is based on improving public opinion about China on a global scale. Therefore, the transnational media conglomerate China Media Group was created. It has segmented and currently controls three Chinese media giants: on a television level, with China Central Television (CCTV) and radio with China National Radio and China Radio International. Using a historiographic methodology and the implementation of a descriptive methodological approach we will deepen into the following objectives. First, we seek to glimpse the way Chinese media organization is. It is then when we intended to know the way of control carried out by the government related to information and media and will eventually address the thematic content of Chinese public television (CCTV). The Chinese government’s desire for expansion around the world is particularly important, which aims to export Chinese singularities and thus to become a counterpoint to the single control currently exercise by the United States globally. Communication is a key point for China in this expansion.

On the Spot: The Art of the Real at the Intersection of Poetry and Documentary

Three documentaries on poetry appeared in China during a short period between 2014 and 2016, indicating a renewed interest in the real dimension of poetry, especially its “real” link with social and political issues. Despite the fact that they were made by very different cultural producers – state-owned China Central Television, independent filmmakers, and Youku, one of China’s largest commercial video websites – these documentaries all deploy and appropriate the cultural discourse of xianchang 现场 (on the spot, live scene) to authenticate poet, poetic texts, poetic tradition, and poetic practices of writing, reading, and performing for political, social, aesthetic purposes. Approaching the intersection of poetry and documentary from the perspective of transmedia, this case study also explores destabilized criteria of poethood and evaluation, changing writing and reading practices as well as altered textuality of poems across media.

A Mechanism of Coded Communication: Xinwen Lianbo and CCP Politics

Studies of the official media of the Chinese Communist Party (CCP) have long focused on interpretations of political propaganda. In this article, we propose another model—the “secret code communication” model. We find that the main audience for some of the official media consists not of members of the public but rather cadres. The China Central Television (CCTV) program Xinwen Lianbo is a typical example. The program operates according to a very obscure political code. By watching and decoding Xinwen Lianbo, cadres can see that Xi Jinping is firmly in power. They can also gain insight into the policy directions favored by the CCP. Xinwen Lianbo thus acts as a mechanism for communication within the party using a code that can only be deciphered by insiders.

CCTV in Africa: Constructive approach to manufacturing consent

China Central Television (CCTV) launched its first media centre in Nairobi, Kenya, in 2012 and is one of the main actors in the ‘China’s media go global’ campaign. CCTV-Africa’s reporting style has previously been engaged by media practitioners and academics in terms of its discursive practices. In 2014, a new paradigm studying the journalistic practice of Chinese media in Africa emerged. It has been argued that the journalistic approach deployed by Chinese media in Africa, especially CCTV-Africa, is more constructive than simply positive. This article aims to provide a structural analysis on the role of international news in mediating and reinforcing the ‘harmony of interest’ of transnational elite groups with empirical findings from the case study of CCTV-Africa and its constructive approach of journalism. The findings of this research show that the ‘constructiveness’ of CCTV-Africa is marked with the ‘non-interference’ diplomatic strategy of China in Africa which minimalizes the political involvement of China in local conflicts by reducing investigation on causes and emphasizing solutions. Simultaneously, it also produces an apolitical context which encourages economic development in African societies to cater to the grander politics of China in Africa.