1. INTRODUCTION
China 's media industry has a great opportunity for development. According to the data released by SARFT (The State Administration of Radio, Film, and Television), the population coverage rate of Chinese television programmes is about 98.42%. China has more than 1900 television channels overall and the audience ratings suggest that users watch television for more than three hours per day. Therefore, China 's television industry and Chinese audiences are closely interrelated.
Even though the television industry developed rapidly in China, it is still considered to have a lack of creation and innovation. This is because almost all the popular programmes on China’s television screens were purchased from foreign television formats. …show more content…
Meanwhile, with the rapid development of television format trading worldwide, this transaction has become a mature business globally and a number of overseas copyright agencies appeared in China. Hence, transnational television format business exchange is not impossible. Furthermore, the introduction of overseas television formats use minimal time and money to meet the Chinese audience’s captious taste, for many television production companies, it is indeed a good way to save lots of human …show more content…
However, when we consider the negative effects of importing overseas television formats, some problems are still worth discussing. Imported television formats will inevitably bring their own foreign culture, which may be contrary to traditional Chinese culture and shock viewers. The overseas television formats need to go through the process of localization, but after all, this format will carry its own ideology and values. Hence, it will undoubtedly influence traditional Chinese cultural values. Furthermore, the import of foreign television format intensifies Chinese television programmes’ homogenisation. A related survey shows that in China, among 32 satellite television channels, the percentage of purchasing foreign variety shows’ copyright reaches 90 percent. Those popular imported programmes like The voice of China, Dad, where are we going? and I am a Singer are all variety shows. Thus, the homogenisation phenomenon of Chinese television programmes is very serious. It will not only shorten the programmes’ life cycle, but also will speed up the ‘aesthetic fatigue’ process of the audience. In the long run, it is not conducive to the interests of the programme development and brand management. Last but not least, the core issue of importing foreign television formats will encourage China to
China 's media industry has a great opportunity for development. According to the data released by SARFT (The State Administration of Radio, Film, and Television), the population coverage rate of Chinese television programmes is about 98.42%. China has more than 1900 television channels overall and the audience ratings suggest that users watch television for more than three hours per day. Therefore, China 's television industry and Chinese audiences are closely interrelated.
Even though the television industry developed rapidly in China, it is still considered to have a lack of creation and innovation. This is because almost all the popular programmes on China’s television screens were purchased from foreign television formats. …show more content…
Meanwhile, with the rapid development of television format trading worldwide, this transaction has become a mature business globally and a number of overseas copyright agencies appeared in China. Hence, transnational television format business exchange is not impossible. Furthermore, the introduction of overseas television formats use minimal time and money to meet the Chinese audience’s captious taste, for many television production companies, it is indeed a good way to save lots of human …show more content…
However, when we consider the negative effects of importing overseas television formats, some problems are still worth discussing. Imported television formats will inevitably bring their own foreign culture, which may be contrary to traditional Chinese culture and shock viewers. The overseas television formats need to go through the process of localization, but after all, this format will carry its own ideology and values. Hence, it will undoubtedly influence traditional Chinese cultural values. Furthermore, the import of foreign television format intensifies Chinese television programmes’ homogenisation. A related survey shows that in China, among 32 satellite television channels, the percentage of purchasing foreign variety shows’ copyright reaches 90 percent. Those popular imported programmes like The voice of China, Dad, where are we going? and I am a Singer are all variety shows. Thus, the homogenisation phenomenon of Chinese television programmes is very serious. It will not only shorten the programmes’ life cycle, but also will speed up the ‘aesthetic fatigue’ process of the audience. In the long run, it is not conducive to the interests of the programme development and brand management. Last but not least, the core issue of importing foreign television formats will encourage China to