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This book explores the political, economic, and cultural forces, locally and globally that have shaped the evolution of Chinese primetime television dramas, and the way that these dramas in turn have actively engaged in the major intellectual and policy debates concerning the path, steps, and speed of China’s economic and political modernization during the post-Deng Xiaoping era. It intertwines the evolution of Chinese television drama particularly with the ascendance of the Chinese New Left that favors a recentralization of state authority and an alternative path towards China’s modernization and China’s current administration’s call for building a "harmonious society." Two types of serial drama are highlighted in this regard, the politically provocative dynasty drama and the culturally ambiguous domestic drama. The book also provides cross-cultural comparisons that parallel the textual and institutional strategies of transnational Chinese language TV dramas with dramas from the three leading centers of transnational television production, the US, Brazil and Mexico in Latin America, and the Korean-led East Asia region. The comparison reveals creative connections while it also explores how the emergence of a Chinese cultural-linguistic market, together with other cultural-linguistic markets, complicates the power dynamics of global cultural flows.
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- Sales Rank: #13377961 in Books
- Published on: 2008-03-25
- Original language: English
- Number of items: 1
- Dimensions: 9.21" h x .50" w x 6.14" l, .95 pounds
- Binding: Hardcover
- 200 pages
Review
'This contribution to comparative and global television studies provides readers with an enhanced level of expertise and insight into some of the most fascinating and significant media dynamics at work in our contemporary culture.' - John Downing, Global Media Research Center, Southern Illinois University, USA�
'In this book Ying Zhu provides an outstanding account of television in China. Her synthetic analysis of political economy, industrial practice and program content, all set in historical contexts is a model for future study of any national television system.' - Horace Newcomb, Lambdin Kay Chair for the Peabodys and Director, The George Foster Peabody Awards, The University of Georgia, USA
"Recommended.� Upper-division undergraduates through faculty." - CHOICE, October 2008 Vol. 46 No. 02
About the Author
Ying Zhu is Associate Professor of Media Culture, City University of New York-Staten Island, USA. She is the author of Chinese Cinema during the Era of Reform: The Ingenuity of the System, and her work has appeared in leading media journals and various edited books.
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Most helpful customer reviews
2 of 2 people found the following review helpful.
Big Idea; Compelling Read
By G. Jasek
A compact volume with a big idea, this book is a forceful evocation of what Stanley Rosen, in his Forward, calls the "negotiation" between State and Society in contemporary China. "After thirty years of reform," Rosen says, "state-society relations are no longer a one-way street." Zhu argues that the advance of commercial popular culture plays a leading role in this new dynamic. Here the focus is on television, as Zhu reveals how public/popular discourse is channeled through the narrative and formal content of China's most popular television programming -- serial dramas in primetime - and parallels this with the leading intellectual debates and movements of the post-reform era, and with the rhetoric and policies of the state. What Zhu finds, among other things, is that at least for now public opinion, the leading intellectual factions and the state are all more or less in line with the Hu Jintao administration's broad goals and strategies in the service of producing a "Harmonious Society."
Zhu also raises good questions about Hollywood's future role in the transnational Chinese audio-visual market; about the state's rhetoric of "One China" versus the more civilizational, less state-oriented vision of "Greater China" suggested by a pan-Chinese audio-visual audience; about whether or not China's leaders fully understand the extent to which they have invited the rest of the world to take an active interest in China's "internal affairs" as they take steps like joining the WTO and hosting the Summer Olympics; and about differences, similarities, cooperation and competition between the three centers of Chinese television production (China, Hong Kong, Taiwan). This is a scholarly work, but highly accessible, original and compelling.
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