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.

The years following the Cultural Revolution saw the arrival of television as part of China’s effort to ‘modernize’ and open up to the West. Endorsed by the Deng Xiaoping regime as a ‘bridge’ between government and the people, television became at once the official mouthpiece of the Communist Party and the most popular form of entertainment for Chinese people living in the cities. But the authorities failed to realize the unmatched cultural power of television to inspire resistance to official ideologies, expectations, and lifestyles. The presence of television in the homes of the urban Chinese strikingly broadened the cultural and political awareness of its audience and provoked the people to imagine better ways of living as individuals, families, and as a nation. Originally published in 1991, set within the framework of China’s political and economic environment in the modernization period, this insightful analysis is based on ethnographic data collected in China before and after the Tiananmen Square disaster. From interviews with leading Chinese television executives and nearly one hundred families in Beijing, Shanghai, Guangzhou, and Xian, the author outlays how Chinese television fosters opposition to the government through the work routines of media professionals, television imagery, and the role of critical, active audience members.

Serialized television drama (dianshiju), perhaps the most popular and influential cultural form in China over the past three decades, offers a wide and penetrating look at the tensions and contradictions of the post-revolutionary and pro-market period. Zhong Xueping’s timely new work draws attention to the multiple cultural and historical legacies that coexist and challenge each other within this dominant form of story telling. Although scholars tend to focus their attention on elite cultural trends and avant garde movements in literature and film, Zhong argues for recognizing the complexity of dianshiju’s melodramatic mode and its various subgenres, in effect "refocusing" mainstream Chinese culture. Mainstream Culture Refocused opens with an examination of television as a narrative motif in three contemporary Chinese art-house films. Zhong then turns her attention to dianshiju’s most important subgenres. "Emperor dramas" highlight the link between popular culture’s obsession with emperors and modern Chinese intellectuals’ preoccupation with issues of history and tradition and how they relate to modernity. In her exploration of the "anti-corruption" subgenre, Zhong considers three representative dramas, exploring their diverse plots and emphases. "Youth dramas’" rich array of representations reveal the numerous social, economic, cultural, and ideological issues surrounding the notion of youth and its changing meanings. The chapter on the "family-marriage" subgenre analyzes the ways in which women’s emotions are represented in relation to their desire for "happiness." Song lyrics from music composed for television dramas are considered as "popular poetics." Their sentiments range between nostalgia and uncertainty, mirroring the social contradictions of the reform era. The Epilogue returns to the relationship between intellectuals and the production of mainstream cultural meaning in the context of China’s post-revolutionary social, economic, and cultural transformation. Provocative and insightful, Mainstream Culture Refocused will appeal to scholars and students in studies of modern China generally and of contemporary Chinese media and popular culture specifically.

Thirty years ago, the Chinese Communist Party (CCP) made a fateful decision: to allow newspapers, magazines, television, and radio stations to compete in the marketplace instead of being financed exclusively by the government. The political and social implications of that decision are still unfolding as the Chinese government, media, and public adapt to the new information environment. Edited by Susan Shirk, one of America's leading experts on contemporary China, this collection of essays brings together a who's who of experts--Chinese and American--writing about all aspects of the changing media landscape in China. In detailed case studies, the authors describe how the media is reshaping itself from a propaganda mouthpiece into an agent of watchdog journalism, how politicians are reacting to increased scrutiny from the media, and how television, newspapers, magazines, and Web-based news sites navigate the cross-currents between the open marketplace and the CCP censors. China has over 360 million Internet users, more than any other country, and an astounding 162 million bloggers. The growth of Internet access has dramatically increased the information available, the variety and timeliness of the news, and its national and international reach. But China is still far from having a free press. As of 2008, the international NGO Freedom House ranked China 181 worst out of 195 countries in terms of press restrictions, and Chinese journalists have been aptly described as "dancing in shackles." The recent controversy over China's censorship of Google highlights the CCP's deep ambivalence toward information freedom. Covering everything from the rise of business media and online public opinion polling to environmental journalism and the effect of media on foreign policy, Changing Media, Changing China reveals how the most populous nation on the planet is reacting to demands for real news.

As China navigates the murky waters of a 'third way' with liberal economic policies under a strict political regime, the surprising battleground for China's future emerges in the country's highest rated television network - China Central Television, or CCTV. With 16 internationally broadcast channels and over 1.2 billion viewers, CCTV is a powerhouse in conveying Chinese news and entertainment. The hybrid nature of the network has also transformed it into an unexpected site of discourse in a country that has little official space for negotiation.

“The definitive work on Chinese television . . . A pioneering picture of CCTV and its crucial role in the contemporary Chinese political economy” (Robert W. McChesney, author of Corporate Media and the Threat to Democracy). As China navigates the murky waters of a “third way” with liberal economic policies under a strict political regime, the surprising battleground for China’s future emerges in the country’s highest rated television network—China Central Television, or CCTV. With 16 internationally broadcast channels and over 1.2 billion viewers, CCTV is a powerhouse in conveying Chinese news and entertainment. The hybrid nature of the network has also transformed it into an unexpected site of discourse in a country that has little official space for negotiation. While CCTV programming is state sponsored—and censored—the popularity and profit of the station are determined by the people. And as the Chinese Communist Party seeks to exert its own voice on domestic and international affairs, the prospect of finding an amenable audience becomes increasingly paramount. Through a series of interviews with a fascinating cast of power players including a director of a special topic program that incited the 1989 student movement, current and past presidents of CCTV, and producers at the frontline of the network’s rapidly evolving role in Chinese culture, celebrated media analyst Ying Zhu unlocks a doorway to political power that has long been shrouded in mystery. “An indispensable guide to the Chinese media landscape.” —The New Inquiry “Up until Two Billion Eyes, the view of Chinese media has often been limited . . . Ying Zhu expands the periphery of our vision.” —Los Angeles Review of Books

In the 1990s, China’s economic reform campaign reached a new high. Amid the eager adoption of capitalism, however, the spectre of revolution re-emerged. Red Classics, a historic-revolutionary themed genre created in the high socialist era were widely taken up again in television drama adaptations. They have since remained a permanent feature of TV repertoire well into the 2010s. Remaking Red Classics in Post-Mao China looks at the how the revolutionary experience is represented and consumed in the reform era. It examines the adaptation of Red Classics as a result of the dynamic interplay between television stations, media censorship and social sentiment of the populace. How the story of revolution was reinvented to appeal and entertain a new generation provides important clues to the understanding of transformation of class, gender, locality and faith in contemporary China.