Globalization, cultural security and television regulation in the post WTO china

GLOBALIZATION, CULTURAL SECURITY AND TELEVISION REGULATION IN THE POST-WTO CHINA XU MINGHUA (M.Phil, National University of Singapore) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF SOCIOLOGY NATIONAL UNIVERSITY OF SINGAPORE 2010 GLOBALIZATION, CULTURAL SECURITY AND TELEVISION REGULATION IN THE POST-WTO CHINA XU MINGHUA NATIONAL UNIVERSITY OF SINGAPORE 2010 Acknowledgement In this thesis production, I have benefited from several people and institutions. At first, I would like to express my deepest gratitude and thanks to my supervisor A/P Ho Kong Chong for his unreserved supports, wise counsels and kind concerns. He is an outstanding supervisor, and without his assistance this thesis in its present form would not have been possible. My heartfelt thanks also go to two members of my thesis committee, Prof. Chua Beng Huat and Dr. Leong Wai Teng, for their guidance in my research. Prof. Chua gives valuable and comprehensive comments and critiques of my drafts and helps to improve my research arguments and writings very much. He also provides the opportunity for me to join an Asian Research Institute (ARI) workshop from which I learned a lot about media and cultural knowledge. This research owns much to the TV workers in CCTV, BTV, Hubei TV, Hunan TV, STAR TV and Phoenix, independent production companies including Yinhan Chuanbo, Guangxian Chuanmei and Guanhua Shiji. They allowed me to observe their activities, visit their worksites, and speak to their colleagues. They also share their experiences and thoughts with me to improve my understandings of the Chinese media. I would like to thank them to provide valuable information, especially the sensitive issues of China’s censorship for my research. Though they requested anonymous interviews, they expressed their feelings honestly to me. Without their help, the research on the Chinese television would have been very difficult to conduct. Thesis arguments are also difficult to make without the evidences provided by them. Besides, I also wish to extend thanks to Prof. Guo Zhenzhi, Prof. Lu Di, A/P Shi Zengzhi, Prof. Zhang Kun, Prof. Shen Fan and Prof. Shi Changshun who worked in the top Communication Schools in China. I talked to them during the period of fieldwork and they generously shared their academic knowledge with me and recommended me to fieldwork in some television stations. Furthermore, I appreciate the help offered by journalists in Beijing Newspaper who gave me valuable understanding of private production houses in China. They helped me a lot in collecting news reports which I have used in thesis writing. Also, some interviewees that I consulted for audience’s analysis, such as Liu Chen, Yang Tingting, Ding Yahui and Zhang Lili, shared with me their interpretations of the text of Chinese TV drama and broadened my ideas about Chinese audiences. This research work was carried out with support from the National University of Singapore (NUS) Research Scholarship and Graduate Support Scheme. These financial assistances made it possible for me to spend six months in the city of Beijing, Wuhan and Changsha in China and obtained many data for my research work. NUS provides generous assistances to improve the academic activities of its graduate students. I was also assisted by NUS to attend academic conferences in Perth and Singapore. These activities help me to broaden vision and be able to communicate with scholars who have similar research interests with mine. At NUS, I am deeply grateful to Prof. Chua Beng Huat, A/P Hing Ai Yun, A/P Maribeth Erb, A/P Habibul Haque Khondker, Dr. Eric Thompson, Prof. Bryan Turner, Prof. Gavin Jones, A/P Tong Chee Kiong and A/P Sinha Vineeta for their kind help, guidance, encouragement and support. I would also like to thank all the secretaries in the Sociology department, like Jane, Raja and Cecilia, who have always been helpful. Moreover, I appreciate the friends here for their encouragement, such as Liu Yi, Zhou Wei, Wang Zhengyi, Li Hui, Zhou Qiongyuan, Ge Yun, Yang Chengsheng, Shi Fayong, Sheng Sixin, Sahoo, Saiful, Eugene, Yong Chong, Keith, Hui Hsien, Jia Lin and Gui Kai Chong. Finally, I own special thanks to my parents, Prof. Xu Changfa and A/P Ye Cuihua in Huazhong University of Science and Technology (HUST) and my husband Dr. Wang Bang in Nanyang Technological University (NTU) for their love, affection and care. They gave me unreserved emotional support and understanding. I appreciate my family for being aside with me through these years. I dedicate this thesis to them. Their loves keep me going. Xu Minghua March 2010 Table of Contents ACKNOWLEDGEMENT LIST OF FIGURES LIST OF TABLES ABBREVIATIONS SUMMARY INTRODUCTION III IV V VI VII 1.1 Research Focus 1.2 Central Argument 1.3 Research Methodology and Fieldwork Design 1.3.1 Research Site 1.3.2 Research Interviewees 10 1.4 1.5 Outline of Chapters Significance of the Study 15 17 GLOBALIZATION AND TELEVISION INDUSTRY 21 2.1 Globalization of Mass Media 2.1.1 Sophisticated Infrastructure of Communication 2.1.2 Development of Media Conglomerates 2.1.3 Expansion of Market Deregulation 2.1.4 Global Consumption of Cultural Commodities 2.1.5 Summary 21 22 24 26 28 29 2.2 Cultural Implications of Media Globalization 2.2.1 Culture 2.2.2 Cultural Exchange 2.2.3 Imbalance of International Communication 2.2.3.1 Unevenness in economic resources 2.2.3.2 Unevenness in cultural flows 2.2.4 Summary 30 31 32 33 33 35 36 2.3 Cultural Security and Television Regulation 2.3.1 Cultural Security 2.3.2 Television Regulation: The Necessity of Cultural Security 2.3.2.1 Communication Sovereignty 2.3.2.2 National Culture 2.3.2.3 Soft Power 2.3.3 Television Regulation: From Theory to Practice 2.3.3.1 Regulation Dilemma: Threats or Profits? 2.3.3.2 Regulation Model: Authoritarian or Libertarian? 2.3.4 Summary 36 37 39 40 41 42 45 45 47 51 TELEVISION REGULATION IN CHINA AND DEBATES ON CULTURAL SECURITY 54 I 3.1 Television System before 1978 3.1.1 An overview of national profile 3.1.2 Mao’s Era and the Indoctrinatory Model (1949-1976) 54 54 55 3.2 Television Transformation after 1978 3.2.1 Deng’s Era and the Market-based Monopolistic Model (1978-1992) 3.2.2 Rapid commercial development and the Chinese television in transition (1992-till present) 57 57 58 3.3 3.4 3.5 Contemporary Regulatory Structure and Hierarchy Debates on Cultural Security Summary 61 64 67 CHINESE TV REGULATION IN THE ERA OF GLOBALIZATION 4.1 The WTO and Chinese Television 4.2 Regulation Environment with Chinese Characteristics 4.2.1 Marketization v.s. Political Control 4.2.2 Television Chanye Hua v.s. Commercialization 70 70 75 75 78 4.3 Chanye Hua Reform Measures of Television Industry 4.3.1 Separation of TV program Production and Broadcasting (STVPB) 4.3.1.1 The Formation of STVPB 4.3.1.2 Implications of STVPB 4.3.2 Television Industry Broadcasting Consolidation and Reorganization (BCR) 4.3.2.1 The Formation of Broadcasting Consolidation and Reorganization (BCR) 4.3.2.2 Implications of Broadcasting Consolidation and Reorganization (BCR) 4.3.3 Channel Specialization 4.3.3.1 The Formation of Channel Specialization 4.3.3.2 Implications of Channel Specialization 4.3.4 Going-out Project 4.3.4.1 The Formation of Going-out Project 4.3.4.2 Implications of Going-out Project 81 82 83 86 94 95 97 101 103 108 112 113 115 4.4 Summary 122 CHINESE TV OPERATION IN THE ERA OF GLOBALIZATION 126 5.1 TV Practitioner---Dancing With Fetters 5.2 Patterns of Negotiation Strategy of Domestic TV Practitioner 5.2.1 Juxtaposition 5.2.1.1 Negotiation Process 5.2.2 De-Politicalization 5.2.2.1 Negotiation Process 5.2.3 Playing in the Margin 5.2.3.1 Negotiation Process 5.2.4 Rejection 5.2.4.1 Negotiation Process 126 128 129 134 136 139 141 143 147 148 5.3 149 Localization of Western TV Practitioner II 5.3.1 Localization---an adaptation strategy of western media 5.3.1.1 Localized Culture 5.3.1.2 Localized Ideology 5.3.1.3 Localized Partnership 5.3.2 The Consequences of Localization---Constructive or Destructive 5.3.2.1 Cultural Adaptation of Western Practitioner 5.3.2.2 Reflexive Awareness of Audience 5.3.2.3 Active Competition of Local Industry 150 150 153 155 156 156 158 160 5.4 Regionalization of East Asia TV Practitioner 5.4.1 Rise of A Regional Market 5.4.2 Cultural Proximity 5.4.2.1 Case of Korean Wave 5.4.3 Ideological Proximity 5.4.3.1 Case of Phoenix 163 163 165 166 169 171 5.5 Summary 174 CHINESE TV IN THE 21ST CENTURY 177 6.1 Ideological Function of Chinese Television 6.1.1 A Broadened Concept of Ideology 6.1.2 Effectiveness of Propaganda Work 6.1.3 Political Influence on Television Content Creation 178 180 182 183 6.2 State Broadcasters in China’s Media Market 6.2.1 Marginalized Foreign Producers---Localization & Regionalization 6.2.2 Marginalized Domestic Private Producers---Self-Censorship 6.2.3 Monopolization of State Broadcasters---Effective Propaganda Work 186 187 190 191 6.3 Cultural Security in post-WTO China 6.3.1 Communication Sovereignty 6.3.2 National Culture 6.3.3 The State’s Soft Power 194 195 195 197 6.4 Chinese TV Regulation and Bureaucratic Authoritarianism 6.4.1 Bureaucratic-Authoritarian Model 6.4.2 Juxtaposition---As a dominant narrative strategy in the future 200 201 204 BIBLIOGRAPHY 212 III List of Figures FIGURE 1-1: MAP OF CHINA’S MAIN CITY 12 FIGURE 3-1: 2005 MARKET SHARE OF CHINESE TV STATIONS AT ALL LEVEL 63 FIGURE 5-1: 1999-2005(FIRST HALF) COMPARISON OF MARKET SHARE BETWEEN FOREIGN AND LOCAL TV CHANNELS 162 FIGURE 5-2: PERCENTAGE ALLOCATION OF TV IMPORTS IN CHINA FROM 2004-2006 (FIRST HALF) 165 IV List of Tables TABLE 1-1: INTERVIEWEE AND INTERVIEW OBJECTIVE 13 TABLE 2-1: THE LARGEST ENTERTAINMENT MEDIA COMPANIES IN 1994 26 TABLE 2-2: TELEVISION REGULATION MODELS IN EAST ASIA 50 TABLE 4-1: CHINA’S WTO ACCESSION COMMITMENTS ON THE MASS MEDIA 73 TABLE 4-2: LIST OF TRANSNATIONAL TV CHANNELS PERMITTED BY SARFT (YEAR 2009) 74 TABLE 4-3: EASE ASIAN STATES’ RESPONSE TO WTO 80 V Abbreviations ARI Asian Research Institute BA Bureaucratic-Authoritarianism BCR Broadcasting Consolidation and Reorganization BTV Beijing Television CCP Chinese Communist Party CCTV China Central Television CITVC China International Television Corporation CMG China Media Group CPD Central Propaganda Department CUC Communication University of China DBS Direct Broadcasting by Satellite GATT General Agreement on Tariffs and Trade KMT Kuo Min Tang PRC People’s Republic of China SARFT State Administration of Radio, Film and Television SMG Shanghai Media Group STV Shanghai Television STVPB Separation of TV Production and Broadcasting TNC Transnational Cooperation UNESCO United Nations Educational, Scientific and Cultural Organization WTO World Trade Organization VI Chadha, K. and Kavoori, A. 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(2008) TV Drama in China, Hong Kong: Hong Kong University Press. 228 [...]... of the media market and these countries are then faced with the dilemma of whether to regulate or deregulate On the one hand, it is necessary to maintain strict control over television in order to safeguard cultural security in the nation On the other hand, strictly controlling every single aspect prevents national television from developing into a commercialized and hence a competitive player in the. .. broadcast in the mainland television system They are representatives of foreign producers in China s market Hence, obtaining interviews with people in these two branches can help with understanding how they respond to restrictive media policies and censorship in China and how they manage to negotiate with the authorities Fifth, it is worthwhile to conduct fieldwork in Beijing because it has other rich... (CCTV) and the other is Beijing Television (BTV) CCTV is the most well-known TV station in China which is at the top of China s television hierarchy This station serves as one of the most important mouthpieces of the Party and reports directly to high-level officials in the government Having long enjoyed the highest level of prestige and privilege, CCTV is now the largest TV station in China and is... capture these new changes There is a growing body of literature focusing on the rapid commercial changes that took place in Chinese television during the 1990s and arguing for the decentralization, or rather, the de-monopolization of television (Lee, 1990;Yu, 1990;Lull, 1991) 2 Particularly after China s accession into the World Trade Organization (WTO) in 2001, Chinese television has had to face intensified... adopt regulation policies to safeguard cultural security and puts forward the argument that the traditional portrayals of Chinese television regulation as an “authoritarian” model is no longer adequate for understanding the fast-changing media context in contemporary China Chapter 3, entitled Television Regulation in China and Debates on Cultural Security , provides a historical analysis of the development... process, the situation of cultural security and possible future changes to television regulation in post- WTO China It is argued that the cultural security of Chinese television has not been seriously threatened to the extent that some existing studies have claimed On the contrary, it has in fact been strengthened because television producers have become more subject to the government’s political and cultural. .. implemented in the industry A third reason for studying Beijing is that most of the independent television production houses are centered there Beijing is undoubtedly the political, economic and cultural centre of China This city offers outstanding conditions for the development of independent producers, such as talent, experts and investment Among these independent production houses, Guangxian Chuanbo 2 and. .. Nevertheless, some in- depth interviews of non-randomly selected audiences contributed to my understanding of how television content is interpreted by them Finally, I have conducted extensive archival research in Chinese libraries in order to obtain more knowledge about China s television and have monitored both television and film content during the period of my fieldwork 1.4 Outline of Chapters This thesis... by the convincing arguments offered by Ma and Lee, and He and Huang This thesis attempts to contribute a complementary analysis to 19 employing such the BA model to analyze the Chinese media The empirical findings collected during my fieldwork in China are used to prove that the future of Chinese television regulation is very likely to evolve into such a BA model in which the “state” and “market” are... analysis of the development of Chinese television regulation and summarizes the current academic debates on cultural security in China It mainly introduces the ways in which commercial imperatives forced the Party to step back and loosen controls during the period from the 1980s to the 1990s, and discusses how this phenomenon raised huge academic concerns about cultural security , which has now become . for independent production companies in China. They are representative of Chinese private producers. Interviewing them can help in understanding the situation of independent producers in China. in China s market. Hence, obtaining interviews with people in these two branches can help with understanding how they respond to restrictive media policies and censorship in China and how they. GLOBALIZATION, CULTURAL SECURITY AND TELEVISION REGULATION IN THE POST- WTO CHINA XU MINGHUA (M.Phil, National University of Singapore) A THESIS SUBMITTED FOR THE DEGREE