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Chinese Music Reality Shows: a Case Study
Chinese Music Reality Shows: A Case Study A Thesis Submitted to the Faculty of Drexel University by Zhengyuan Bi In partial fulfillment of the requirements for the degree of Master of Science in Television Management January 2017 ii © Copyright 2017 Zhengyuan Bi All Right Reserved. iii DEDICATION I dedicate this thesis to my family and my friends, with a special feeling of gratitude to my loving parents, my friends Queena Ai, Eileen Zhou and Lili Mao, and my former boss Kenny Lam. I will always appreciate their love and support! iv ACKNOWLEDGMENTS I would like to take this opportunity to thank my thesis advisor Philip Salas and Television Management Program Director Al Tedesco for their great support and guidance during my studies at Drexel University. I would also like to thank Katherine Houseman for her kind support and assistance. I truly appreciate their generous contribution to me and all the students. I would also like to thank all the faculty of Westphal College of Media Arts & Design, all the classmates that have studied with me for these two years. We are forever friends and the best wishes to each of you! v Table of Contents DEDICATION ………………………………………………………………………………..iii ACKNOWLEDGEMENTS…………………………………………………………………...iv ABSTRACT……………………………………………………………………………………vii Chapter 1: Introduction………………………………………………………………………..1 1.1 Introduction………………………………………………………………………………...3 1.2 Statement of the Problem…………………………………………….................................3 1.3 Background…………………………………………………………………………………4 1.4 Purpose of the study…………………………………………………………………….....5 -
Television News Since the Cultural Revolution [1976-1982]
Durham E-Theses Governing China with the news television & national development in China since 1958 Dong, Steven Guanpeng How to cite: Dong, Steven Guanpeng (2009) Governing China with the news television & national development in China since 1958, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2161/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Governing China with the News Television & National Development in China since 1958 Thesis submitted for the Degree of The copyrighl of this thesis rests with the author or the university to which it was Doctor of Philosophy submitted. No quotation from it, or Department of East Asian Studies information derived from it may be published without the prior written University of Durham consent of the author or university, and any information derived from it should be acknowledged. -
Androgynous Beauty, Virtual Sisterhood Stardom, Fandom, and Chinese Talent Shows Under Globalization Hui Faye Xiao
5 Androgynous Beauty, Virtual Sisterhood Stardom, Fandom, and Chinese Talent Shows under Globalization hui faye xiao In the future, everyone will be world-famous for 15 minutes. —Andy Warhol, exhibition catalog (1968) [P]opular culture always has its base in the experiences, the pleasures, the mem- ories, the traditions of the people. Hence, it links with what Mikhail Bakhtin calls “the vulgar”—the popular, the informal, the underside, the grotesque. —Stuart Hall, “What Is Th is ‘Black’ in Black Popular Culture?” (1993) Th ree decades of post-1978 rapid economic growth have made China the world’s second-largest economy. Its 2002 integration into the World Trade Organization further affi rmed its place in the global capitalist order. Th e accelerating marketization and globalization of the Chinese economy have changed every aspect of contemporary Chinese society, including its gender ideology and cultural politics. Transnational capital and cultural fl ows have brought in a variety of imported television programs broad- casting to the single largest national audience in the world. Th e threat of foreign cultural invasion has propelled a reform of the Chinese television broadcasting system that, combined with an emerging Internet culture and regionalization of visual culture, aff ects its youthful audience’s per- ceptions of beauty, gender, and sexuality. In the recent frenzied competition among Chinese television stations in adapting various Euro-American reality shows into localized programs, an arguably fi rst made-in-China idol has been produced. Th e craze for the androgynous beauty of this unlikely new star has spread from mainland China to Taiwan, Hong Kong, and overseas Chinese communities mainly 104 Androgynous Beauty, Virtual Sisterhood | 105 through the medium of the Internet. -
Western Media Corporations' Risk and Strategies in Post
WESTERN MEDIA CORPORATIONS’ RISK AND STRATEGIES IN POST-WTO CHINA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Zhan Li, B.A. ***** The Ohio State University 2004 Dissertation Committee: Professor John Dimmick, Adviser Approved by Professor Thomas Schwartz _____________________________ Professor Prabu David Adviser Professor Steven Hills Communication Graduate Program Professor Mona Makhija ABSTRACT The media industries play a major role in the trend of globalization today. Western transnational media corporations (TNMCs) have been actively expanding their businesses around the world for maximized profits. China’s accession to WTO in 2001 demonstrated further openness of the economy to international competition. This study aimed to examine Western TNMCs’ risk and strategies in the Chinese media market after WTO in an attempt to provide insights into the global media giants’ perceptions, positions, and plans regarding the market. International business theories highlighted the effect of a firm’s external conditions on its strategy. Examination of Western TNMCs’ strategic behavior in transitional and emerging markets revealed that their equity ownership differs by location as affected by the level of risk they perceive in the market. Based on its external conditions, a firm’s perception of risk in terms of uncertainties about the market affects its control strategy in terms of equity ownership. Employing this innovative theoretical model, the study aimed to determine whether China’s WTO entry would lead to Western TNMCs’ lowered uncertainty perceptions and higher equity ownership in China as compared to before WTO, and a. The primary research method used in this study was interviews. -
© 2013 Jing Ning ALL RIGHTS RESERVED
© 2013 Jing Ning ALL RIGHTS RESERVED CCTV-9’S COVERAGE OF THE IRAQ WAR AND THE EVOLUTION OF ENGLISH LANGUAGE TELEVISION NEWS IN CHINA by JING NING A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Communication, Information and Library Studies Written under the direction of Dr. Montague Kern And approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey MAY, 2013 ABSTRACT OF THE DISSERTATION CCTV-9’s Coverage of the Iraq War and the Evolution of English Language Television News in China By JING NING Dissertation Director: Professor Montague Kern This research aims to find out how China Central Television (CCTV) International (CCTV-9) news programs shaped the presentation of the 2003 Iraq War, specifically how news making processes in China’s English-language TV channel influenced the content of the news. It examines how the news production team negotiated with its upper management and the Chinese government in producing TV news. By drawing on the visuals from Western news sources such as Reuters, Associated Press Television News (APTN) and CNN and targeting an English-speaking audience, CCTV-9’s presentation of foreign news is quite different from the CCTV domestic channels, all of which are controlled by the Chinese government. ii The research methods used in the study include in-depth interviews with the news production team together with textual analysis of the news line-ups and transcripts of news stories and semiotic analysis of promotional spot visuals. -
Global Destiny Cable, Inc
Global Destiny Cable, Inc. (GDCI) is born. Philip Chien sends the first signals of cable operator Global Cable from a makeshift office on the 4th floor of the Solid House building in Makati. The Global Destiny Cable traces its origin from the Global Cable Inc., established by Philip Chien on May 8, 1993. CableLink was started in March 1, 1995 as "Concepcion Pay TV Network", December 8, 1995 when Paranaque Cable opened it's operations. Taking off from the success of Global Cable, Destiny Cable, the seventh cable operator in Metro Manila, starts operations in January 1995. CPTVN and PC are merged in January 18, 1995. 1995 opened the doors of Destiny Cable and Cable Link open its doors with the big events of 1995-2001: the 1995 nationwide protest versus the Pacific atom bomb test, the cases of Filipina workers Victoria Suller (early 1990's in India), Flor Contemplacion (1994 in Singapore) and Sarah Balabagan (1995 in the Emirates), the 10th anniversary of EDSA Revolution 1 (1996), the visit of Pope John Paul II (1995), and the 45th anniversary of Republic Broadcasting System- the predecessor of GMA, the 35th anniversary of Kanlaon Broadcasting System- the predecessor of RPN and the 20th anniversary of Intercontinental Broadcasting Corporation (1995), and Mexico's number 1 actress-singer Thalia (in 1996), the 50th anniversary of the final battles of World War II in the Philippines (1994-1995) and the 50th anniversary of Bolinao Electronics Corporation-the predecessor of ABS-CBN Manila (1996), the situation of Filipinos in Hong Kong during -
HUANG Fengrong Painter
HUANG FengRong Painter Huang FengRong is born in 1977 in Putian city Fujian province, China. He’s been painting since his childhood. In 2006, he decided to promote his personal style by combining painting and “Happening perFormances”. In 2010, he was recognized as the Best Painting and Performance Chinese Artist after his participation to the CCTV Television program. He is Frequently invited by CCTV and many other TV stations to attend their programs, thanks to his excellent and unique painting perFormances. His paintings and multimedia productions received The Best Creativity Award and A Prize Of Excellent Works. His works are collected by Chinese Government members, renowned entrepreneurs, celebrities and overseas Art Collectors. Exhibitions & Performances 2014 - Exhibition and PerFormance at the Debiut in Macao on 28th Feb, 2014 - PerFormance at the Shenzhen Television “ Male leFt Female right” Paste up For Famous Start Lixiang on 7th Mar, 2014 - PerFormance at the CCTV3 “I Love Applause” on 12th Mar, 2014 - PerFormance at the “Three Two One” in Putian city on 23rd Mar, 2014 - Special prize for his performance at the HK Lingnan University on 27th Mar, 2014 - PerFormance at the Hongkong Emperor Motion Pictures’ premiere oF “That Demon Within “in Apr, 2014. - Exhibition and PerFormance at the Meizhou Island "worship Mazu" on 20th Apr, 2014 - Exhibition and PerFormance at the first “Shenzhen-Hong Kong Youth Fashion Festival” on 26th Apr, 2014 - PerFormance at the Youth Day For Youth League in Putian on 2nd May, 2014 - Exhibition and PerFormance at the Hongkong Kung Lee College - Huang Fengrong’s Sharing With Art on 7th May, 2014 - Exhibition and PerFormance at the Shezhen ICIF From 15th May 2014 to 18th May, 2014 - PerFormance at the Fujian Television “ The GiFt OF Tonight” on 22nd May, 2014 - PerFormance at the Zhejiang Television “ Chinese Dream” on 26th May, 2014 - PerFormance at the Dragon Television “Chinas Got Talent” on 12th Jun ,2014. -
L'internazionalizzazione Della Televisione in Cina
Corso di Laurea magistrale in Lingue e Istituzioni Economiche e Giuridiche dell’Asia e dell’Africa Mediterranea Tesi di Laurea L’internazionalizzazione della televisione in Cina: l’adozione di strategie market oriented nella variazione del palinsesto televisivo cinese degli anni 2000. Relatore Ch.ma Prof.ssa Cinzia Colapinto Correlatore Ch. Prof. Paolo Magagnin Laureanda Francesca Ferrini 834085 Anno Accademico 2014 / 2015 前言 本篇论文的主要题目是中国电视产业化的重要性。中国电视产业化是社会主义市场 经济条件的必然趋势,本篇论文提出了中国电视产业经营发展的现状。中国电视产业化 发展的思路有三个部分:第一个部分是加快改革步伐,致力产业开发,拓展经营思路; 第二个部分是引入竞争机制,实行资源重组,激活电视荧屏;第三个部分是事业政府 主导 ,产业市场主导,形成公益事业与经营产业并存的新型电视体制,构建以市场竞 争为手段,以公益事业与经营产业分离为策略,以舆论导向为保证的 中国电视新格局。 本篇论文的第一章陈述了中国电视的历史和发展。从 1958 年到 2000 年中国电视 理论伴随着中国电视的发展而不断进步。在这一过程中,它经历了起步阶段、发展阶 段、深化阶段。本篇论文的第一章对电视理论以上的三个阶段进行了检查。 关于第一个阶段中国电视理论用了二十年的起步时间,也就是说从 1958 年开始到 1977 年为止。1958 年,中国开始办电视,在没有任何历史积累的条件下,中国电视进 入了一条摸索的道路。与此同时,中国电视理论也开始起步,起步阶段的中国电视理 论表现出两个方面的特点:一个是研究对象集中在电视属性和业务操作方面,电视媒 体属性大多是决策性研究,有的是通过文件等体现出来的,比如当时党中央提出,电 视台应根据自己的特点,担负起宣传政治、传播知识和充实群众文化生活的任务;另 一个是研究处于个人自发状况,理论平台少,早期的电视研究基本停留在个人的自发 状态,没有相应的组织机构,处于分散无序。 第二个阶段就是中国电视发展的阶段,它是从 1978 年开始到 1991 年为止的。随着 改革开放,中国电视也开始进入全面改革开放时期。“四级办电视”的决策理论使中 国电视事业迅速发展,电视节目从内容到形式、从播出数量到质量都得到了极大的改 善与提高。在这个时期中,中国电视发展的研究主要包括两个方面:第一个方面是建立 电视理论研究机构,开展各种学术活动,并且电视研究的刊物和理论文章大幅度增加; 第二个方面是电视理论研究开始进入全面发展阶段。电视研究机构的成立、电视研究 队伍的扩大,促进了中国电视理论的研究,并使相关人员开始重视电视学科建设,电 视理论和研究受到普遍关注。加上随着改革开放,中国电视也以开放的心态,引进西 方传媒学术思想和先进理念。一些西方传播理论和西方文化研究理论开始引入中国。 这些理论的引入,对当时中国电视理论研究也起到重要的作用。 第三个阶段是中国电视理论的深化阶段(从 1992 年到 2000 年)。1992 年,邓小平 发表南巡讲话,他讲话主要 的题目是由于理论研究环境大为改善所以电视理论研究指 导思想更加明确。到世纪末,中国电视理论研究跃上新的台阶,中国特色社会主义电