The regionalization of television and China

Chua, Beng Huat

doi:10.1080/17544750.2011.647739

Cited by 5 publications

(4 citation statements)

References 11 publications

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“…Online video service providers have started to draw on talent in East Asian markets in the hope of producing more creative content and staying ahead of the market competition. While the state’s continued ideological control on content extracts a heavy cost on content in TV and film co-productions (Chua, 2012b), the less policed online sector is potentially a hotbed of creativity and benefits more from cross-border collaborations in the regional market. The outward flow of domestic content is a long-held ambition held by the state and state-operated or controlled media.…”

Section: Discussionmentioning

confidence: 99%

“…As viewers are increasingly migrating online, the sheer size of the Chinese online video market is attractive for creative talents in East Asian regions to come and secure a slice of the ‘world’s biggest audience’ (Curtin, 2007). As the state continues to maintain strong ideological control over content, despite the liberalisation of the media industry, it extracts a heavy price for content in TV and film co-productions (Chua, 2012b). Potentially, the less policed online sector will give rise to more creative productions as a result of the collaboration with talents in the regional market.…”

Section: Production and Distribution Dynamicsmentioning

confidence: 99%

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The micro-movie wave in a globalising China: Adaptation, formalisation and commercialisation

Zhao

2013

International Journal of Cultural Studies

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While user-generated short online videos have existed since the emergence of video sharing sites in China, they have undergone a process of formalisation and commercialisation, culminating in the wave of micro-movies in recent years. By addressing the wider context of globalisation alongside relevant state policies and shifting viewing habits, this article analyses the local and global causes of this wave. It offers evidence that illustrates how online video service providers in China have adapted in a changing industry landscape as they negotiate state policies, advertiser interests and user preference. It then examines the production and distribution dynamics, where professional producers draw on social media, grassroots creativity and creative talents in regional markets. Finally, it discusses the cultural implications of this process in terms of both the nature and flow of creativity. Based on these analyses, the article also sheds light on the interplay between the state and the market in the context of globalisation and marketisation of media sectors, which becomes more complicated when the state-owned or controlled media enter the emerging market sectors.

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Section: Discussionmentioning

confidence: 99%

Section: Production and Distribution Dynamicsmentioning

confidence: 99%

The micro-movie wave in a globalising China: Adaptation, formalisation and commercialisation

Zhao

2013

International Journal of Cultural Studies

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“…Ainda é cedo para mensurar o impacto da empreitada midiática expansionista da China -seja através do conteúdo infantil ou de sua produção voltada ao entretenimento de adultos -, afinal, ela sofre déficit de trocas culturais. Por isso, é vista como um país com um potencial enorme de mercado consumidor de conteúdo estrangeiro, mas detentor de pouco apelo global para a exportação de suas próprias produções culturais e midiáticas (Chua, 2012;Zhu, 2019). Isso pode ser explicado pela percepção de que a China é uma nação de liderança comunista, com uma economia robusta e que nos últimos anos vem desafiando a ordem global ocidental.…”

Section: História Da Televisão Infantil Na República Popular Da China...unclassified

A televisão infantil no Brasil e na China: uma perspectiva histórica para além dos modelos ocidentais

Araujo

Fiel

2022

Novos Olhares

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Embora Brasil e China possam parecer muito distantes, existem diversas aproximações que podem ser feitas em relação ao desenvolvimento de seu aparato televisivo. O objetivo deste artigo é investigar o desenvolvimento da televisão infantil nos dois países através de uma perspectiva histórica que se atente para modelos não ocidentais de reflexão. Para isso, realizamos um levantamento bibliográfico que nos auxiliou na resolução da seguinte questão: quais são as similaridades e diferenças na formação de uma televisão infantil no Brasil e na China? A hipótese é que a formação televisiva dos dois países experienciou processos semelhantes em momentos distintos do desenvolvimento de seus projetos de nação mediado pela televisão. Enquanto a China permanece com esse projeto nacional em vigor, o Brasil sofreu diversas rupturas por questões políticas.

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“…2. In China studies, regionalization can mean the rise of cities and provinces in media production and its centrifugal effect in China's political configuration (Sun, 2012), or the cultural significance of the East Asian region in the world (Chua, 2012). Another dimension of regionalization diagnoses unequal economic development; see Fan, Kanbur, and Zhang (2011).…”

Section: Notesmentioning

confidence: 99%

Regional Filmmaking After Jia Zhangke

Yang

2015

Sage Open

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This article examines Ying Liang’s films to illustrate Chinese independent filmmakers’ growing propensity for representing regional space through innovative cinematic techniques. As one of the most conspicuous directors onstage in the 2000s, Ying Liang rekindles independent regional film following the legacy of Jia Zhangke’s hometown trilogy. Varying shooting angles and camera positions, his exemplar work of formalistic experimentation, The Other Half ( Ling yiban, 2006), presents space as a pivot of relations, within which the position of self and the situation of the local are intertwined. In line with Doreen Massey’s proposition for a spatial turn in theoretical conceptions, I argue that Ying Liang’s exploration of relational cinematic space, between on-screen and offscreen, from selfhood to nation, continues to challenge the legitimacy of the foretold metanarrative of national progression in which the countryside and inland cities belong to a bygone time that ought to be replaced in a forward-looking timeline. The explosive endings characteristic of Ying’s film oeuvre, in which all the imminent calamities happening to the region and its inhabitants eventually break out, belie the promise of a bright future told by the state and underline the symbolic violence endured by the local.

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The regionalization of television and China

Cited by 5 publications

References 11 publications

The micro-movie wave in a globalising China: Adaptation, formalisation and commercialisation

The micro-movie wave in a globalising China: Adaptation, formalisation and commercialisation

A televisão infantil no Brasil e na China: uma perspectiva histórica para além dos modelos ocidentais

Regional Filmmaking After Jia Zhangke

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