Television in Transition

Keane, Michael

doi:10.1007/978-1-84457-686-9_2

Cited by 3 publications

(4 citation statements)

References 14 publications

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“…Before then, the main devices to gauge audience interest were letters and calls from the audience as well as sporadic interviews conducted by broadcasters in the context of limited competition. This scenario changed with intensified market competition (Bai, 2005; Keane, 2015). The decentralisation policy in the 1980s saw a proliferation of television stations through the establishment of a four-level (national, provincial, municipal and county) broadcasting system.…”

Section: The Institutionalisation Of Television Ratings and Its Disco...mentioning

confidence: 99%

“…They have not only become a key part of distribution infrastructure of television content but also wield significant power in content production. Leading streaming service providers such as iQiyi, Tencent Video and Youku Tudou have not only deployed licensing strategies to acquire local, regional and international titles, but also made aggressive investment in original and commissioned productions, most notably drama series and variety shows (Fung, 2019; Keane, 2015; Lin, 2022; Wang and Lobato, 2019; Zhao and Keane, 2013). These platforms usually derive their revenue from advertising, user subscription as well as on-demand transactions.…”

Section: Reconfiguring Audience Measurement In the Streaming Culturementioning

confidence: 99%

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Streaming culture and a new wave of institutionalisation of audience measurement in China

Zhao

2023

Media, Culture & Society

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This article examines the unfolding re-institutionalisation of audience measurement as the streaming culture reshapes the television industry in China. Following a brief introduction of the institutionalisation of the ratings culture, I examine how streaming platforms are reconfiguring audience measurement by tracing how various metrics are defined, used and valued by different platforms, in different contexts and across time. The analysis reveals continuing and new forms of informalities despite signs of convergence towards the use of algorithmic metrics, which are closely connected to streaming service providers’ self-serving interest in a multi-sided market. Next, I discuss how the disruption of the state’s near-monopoly in audience measurement in the traditional television industry breaks the regulatory inertia. I explain the dual-approach to institutional intervention by the state – the regulation of metric commodities through mandated calibration, and the launch of an official system as market alternative and policy instrument. I argue that the state intervention – through governance of and with algorithms – constitutes adaptive cultural governance serving ‘mass’ audience construction, and the regulation doubles up as a market response to serve the state’s intention to reclaim power in and over the market.

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Section: The Institutionalisation Of Television Ratings and Its Disco...mentioning

confidence: 99%

Section: Reconfiguring Audience Measurement In the Streaming Culturementioning

confidence: 99%

Streaming culture and a new wave of institutionalisation of audience measurement in China

Zhao

2023

Media, Culture & Society

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“…Although all television stations in China are still state-owned and all contents are subject to an encompassing censorship system, it would be too simplified to consider Chinese television as merely a mouthpiece of the state and its authoritarian governance. The commercialization of the television industry since the 1980s has engendered a regime of entertainment that is extremely lucrative and robust filled with paradoxes and contentions, and many scholarships have drawn attention to the richness and complexity of Chinese television through various lenses (Bai, 2014, 2015; Bai & Song, 2015; Keane, 2005, 2015; Lull, 1991; Zhong, 2010; Zhu, 2008).…”

Section: Literature Reviewmentioning

confidence: 99%

Representing Single Women: The Transformation of “Leftover Women” on Chinese TV Series

Peng

2022

Journal of Communication Inquiry

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The tendency of late marriage and the increasing single population in Chinese society have galvanized a considerable amount of anxiety in recent years. Part of such anxiety has been manifested through the constant media representations of “shengnü” or “leftover women” since 2010. Referring to women in their late twenties or over thirties while still not getting married, the term “leftover women” indicates a continuous patriarchal policing of single women circulated in mass media. This study, by comparing two popular Chinese television series— We Get Married (2013) and Nothing but Thirty (2020), discusses the altering constructions of unmarried women on Chinese television against the backdrop of China's post-socialist gender politics. The comparison provides a useful vantage point to examine the emerging gendered structures and new cultural imperatives under specific historical contexts.

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“…In the past few decades, China has witnessed significant economic, political, and sociocultural changes, including in the television industry incepted in 1958 (Keane, 2015). On the one hand, the rapid development of information and communication technologies, particularly Internet technologies, has provided new opportunities “promised by the integration of telecommunications, broadcast, and Internet networks (Zhao, 2017)” for media convergence; On the other hand, new genres of TV programs have been emerging: For example, the promotion of female status and the prosperity of the female economy (Osinubi & Asongu, 2021) have jointly led to the rise of a new TV drama genre known as the female TV drama in China, of which the leading characters and target audiences are mainly females.…”

Section: Introductionmentioning

confidence: 99%

Television, women, and self-objectification: Examining the relationship between the consumption of female TV dramas and sexism, the internalization of beauty ideals, and body surveillance in China

Hu,

2023

Global Media and China

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In China, a newly arising genre of TV dramas known as “female TV drama” has become very popular among female audiences and brought about great changes to the television industry in recent years. Under the framework of objectification theory, this study examines the relationship between the consumption of female TV dramas and sexism, the internalization of beauty ideals, and body surveillance among female audiences in China. Drawing on data collected from a questionnaire survey, we found that women’s consumption of female TV dramas is directly and indirectly associated with the levels of body surveillance, but is only indirectly associated with self-objectification. The relationship between women’s consumption of female TV dramas and their self-objectification is mediated by the internalization of beauty ideals. The consumption of female TV dramas can impose threats on women’s well-being and pursuit of gender equality in contemporary China.

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Television in Transition

Cited by 3 publications

References 14 publications

Streaming culture and a new wave of institutionalisation of audience measurement in China

Streaming culture and a new wave of institutionalisation of audience measurement in China

Representing Single Women: The Transformation of “Leftover Women” on Chinese TV Series

Television, women, and self-objectification: Examining the relationship between the consumption of female TV dramas and sexism, the internalization of beauty ideals, and body surveillance in China

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