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TV Drama in China PDF

289 Pages·2008·2.941 MB·English
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Hong Kong University Press thanks Xu Bing for writing the Press’s name in his Square Word Calligraphy for the covers of its books. For further information, see p. iv. TransAsia: Screen Cultures Edited by Koichi IWABUCHI and Chris BERRY What is Asia? What does it mean to be Asian? Who thinks they are Asian? How is “Asian-ness” produced? In Asia’s transnational public space, many kinds of cross- border connections proliferate, from corporate activities to citizen-to-citizen linkages, all shaped by media — from television series to action films, video piracy, and a variety of subcultures facilitated by internet sites and other computer-based cultures. Films are packaged at international film festivals and marketed by DVD companies as “Asian,” while the descendents of migrants increasingly identify themselves as “Asian,” then turn to “Asian” screen cultures to find themselves and their roots. As reliance on national frameworks becomes obsolete in many traditional disciplines, this series spotlights groundbreaking research on trans-border, screen-based cultures in Asia. Other titles in the series: The Chinese Exotic: Modern Diasporic Femininity, by Olivia Khoo East Asian Pop Culture: Analysing the Korean Wave, edited by Chua Beng Huat and Koichi Iwabuchi Series International Advisory Board Ackbar ABBAS (University of Hong Kong) Ien ANG (University of Western Sydney) Yomi BRAESTER (Washington University) Stephen CHAN (Lingnan University) CHUA Beng-Huat (National University of Singapore) Ian CONDRY (Massachusetts Institute of Technology) DAI Jinhua (Peking University) John Nguyet ERNI (Lingnan University) Annette HAMILTON (University of New South Wales) Rachel HARRISON (School of Oriental and African Studies, University of London) Gaik Cheng KHOO (Australian National University) KIM Kyung-Hyun (University of California, Irvine) KIM Soyoung (Korean National University of Arts) Helen Hok-Sze LEUNG (Simon Fraser University) Akira Mizuta LIPPIT (University of Southern California) Feii LÜ (National Chengchi University) LÜ Xinyu (Fudan University) Eric MA (Chinese University of Hong Kong) Fran MARTIN (Melbourne University) MOURI Yoshitaka (Tokyo National University of Fine Arts and Music) Meaghan MORRIS (Lingnan University) NAM Inyoung (Dongseo University) PANG Laikwan (Chinese University of Hong Kong) Michael RAINE (University of Chicago) Bérénice REYNAUD (California Institute of the Arts) Lisa ROFEL (University of California, Santa Cruz) Krishna SEN (Curtin University of Technology) Ubonrat SIRIYUVASAK (Chulalongkorn University, Bangkok) Eva TSAI (National Taiwan Normal University) Paola VOCI (University of Otago) YOSHIMI Shunya (Tokyo University) ZHANG Zhen (New York University) Edited by Ying Zhu, Michael Keane, and Ruoyun Bai Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong © Hong Kong University Press 2008 Hardback ISBN 978-962-209-940-1 Paperback ISBN 978-962-209-941-8 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Secure On-line Ordering http://www.hkupress.org Printed and bound by Kings Time Printing Press Ltd., Hong Kong, China. Hong Kong University Press is honoured that Xu Bing, whose art explores the complex themes of language across cultures, has written the Press’s name in his Square Word Calligraphy. This signals our commitment to cross-cultural thinking and the distinctive nature of our English-language books published in China. “At first glance, Square Word Calligraphy appears to be nothing more unusual than Chinese characters, but in fact it is a new way of rendering English words in the format of a square so they resemble Chinese characters. Chinese viewers expect to be able to read Square Word Calligraphy but cannot. Western viewers, however are surprised to find they can read it. Delight erupts when meaning is unexpectedly revealed.” — Britta Erickson, The Art of Xu Bing 1 Contents Notes on Contributors ix Introduction 1 Ying Zhu, Michael Keane, and Ruoyun Bai I Tradition, History, and Politics 19 1. Yongzheng Dynasty and Totalitarian Nostalgia 21 Ying Zhu 2. Family Saga Serial Dramas and Reinterpretation of 33 Cultural Traditions Janice Hua Xu 3. “Clean Officials,” Emotional Moral Community, and 47 Anti-corruption Television Dramas Ruoyun Bai 4. Global Imaginary, Local Desire: Chinese Transnational 61 Serial Drama in the 1990s Li Zeng vi Contents II Gender and Domestic Sphere 73 5. Family Matters: Reconstructing the Family on the 75 Chinese Television Screen Shuyu Kong 6. Maids in the Televisual City: Competing Tales of 89 Post-Socialist Modernity Wanning Sun 7. Pink Dramas: Reconciling Consumer Modernity and 103 Confucian Womanhood Ya-chien Huang III Production, Reception, and Distribution 115 8. A Brief History of Chinese Situation Comedies 117 Di Miao 9. Carnivalesque Pleasure: The Audio-visual Market 129 and the Consumption of Television Drama Rong Cai 10. From National Preoccupation to Overseas Aspiration 145 Michael Keane 11. A Trip Down Memory Lane: Remaking and 157 Rereading the Red Classics Gong Qian IV Co-productions and Pan-Asian Markets 173 12. Looking for Taiwan’s Competitive Edge: The Production 175 and Circulation of Taiwanese TV Drama Yi-Hsiang Chen 13. From the Margins to the Middle Kingdom: Korean TV 187 Drama’s Role in Linking Local and Transnational Production Dong-Hoo Lee Contents vii 14. Rescaling the Local and the National: Trans-border 201 Production of Hong Kong TV Dramas in Mainland China Carol Chow and Eric Ma Notes 217 References 251 Index 269 viii Contents Notes on Contributors Ruoyun BAI is an assistant professor in the Department of Humanities (Scarborough) and the Centre for Comparative Literature at the University of Toronto. Her research interests include television criticism, television drama in the global context, media institutions and practices in East Asia,and digital media. She has published in the Global Media Journal and Studies in Symbolic Interaction. She is completing a book on Chinese anti-corruption television dramas.She was assistant professor of Media, Culture, and Communication of NewYork Universityfrom 2007 to 2008. Rong CAI is an associate professor of Chinese at Emory University, Atlanta, USA. Her recent publications include The Subject in Crisis in Contemporary Chinese Literature (2004) and “Gender imaginations in Crouching Tiger, Hidden Dragon and the Wuxia World,” positions (2005) 13(2). Yi-Hsiang CHEN is an associate professor in the Department of Public Relations and Advertising at Shih Hsin University, Taiwan. She has received grants from Taiwan’s National Science Council for a research project in media diversity. Her current research interests include diversity studies in television programming, prime-time TV dramas, and language variety in Taiwan TV programs. Her English-language publications include a chapter co-authored with Liu Yu-Li in Television Across Asia: Television Industries, Programme Formats and Globalization, edited by Albert Moran and Michael Keane (2004).

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