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Political History TV Dramas and the Representation of Confucian China the Regulation, Emergence and Politics of a New Genre

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Political History TV Dramas and the Representation of Confucian China the Regulation, Emergence and Politics of a New Genre Political History TV Dramas and the Representation of Confucian China The Regulation, Emergence and Politics of a New Genre Duo Luan (MA, BA) Director of Studies: Dr. Robert Shail Second Supervisor: Dr. Thomas Jansen Submitted to the University of Wales Trinity Saint David in partial fulfilment for the Degree of Doctor of Philosophy University of Wales Trinity Saint David 2017 0 Abstract In order to bridge the knowledge gap noted between Western and Chinese approaches to analysis of China’s TV media, this thesis sets out to propose an alternative methodological framework for investigation of the emergence, development and significance of a distinctive television genre categorised as ‘political history TV drama’ (PHTD), produced in Mainland China since the 1980s. Situating the genre in its historical and political contexts of production, I make particular reference to the orchestrating role of the Chinese state, the political re-articulation of Confucian values, and the reinventing of Chinese national identity. The thesis is composed of three parts. Part one includes the literature review of both Chinese and Western genre theory, followed by a discussion of further useful constructs to put in place the theoretical scaffolding for the study. In part two, the historical review concerns the production and political contexts of Chinese TV and TV drama in general. The third part applies this methodological framework to PHTD when contextualised in its Chinese setting, analysing its definitions, conventions, generic and cultural verisimilitudes, and hybridity. The third part is the core of the research, which investigates its rise to maturity, utilising a cultural and discursive account that encompasses: textual analysis; the study of its political and historical contexts; Chinese moral ideology and linguistics. A number of examples and case studies are examined as evidence for my perspective on questions of nationalism and Confucianism embedded in PHTD. The significance of this genre is in its reconstructed portrayal of the revived concept of a ‘patriarchal Confucian society’. Therefore, the thesis sets out the political, social and cultural landscape in which the genre is embedded in recognition of its representation of much more than just repackaged traditional narratives. In turn, this investigation helps to achieve a fuller understanding of the relation between political and intellectual forces, and the key role of nationalism combined with Confucianism in the media strategy of the Chinese authorities up until the first ten years of the 21st century. 1 Table of Contents Abstract 1 Introduction 6 Chapter I 18 Literature Review: Genre Theory and Analysis Chapter II 36 Methodology Chapter III 49 Historical Review of Chinese TV and TV Drama Chapter IV 85 The Genre Definitions of Political History TV Drama (PHTD) Chapter V 107 Genre Conventions of Political History TV Drama Chapter VI 134 From One to Another: Generic Verisimilitude and Genre Hybridity of PHTD Chapter VII 155 The Reconstruction of Historical Memory and Cultural Verisimilitude: Case Study Analysis of The Great General Shi Lang Conclusion 189 Towards a New Confucian China Reference 206 Bibliography 227 Television Dramas and Film Consulted 234 Appendixes 245 2 Table of Illustrations Table 1.1 Lacey’s tripartite relation for defining a genre 25 Table 1.2 Basic Narrative Structure found in film/fiction-based 27 television programmes Table 1.3 A Comparison of the Genre’s Repertoire of Elements in 28 quiz/game show and drama-based television programmes Table 3.1 Chart 1 (TV penetration in China) and Chart 2 (TV 54 penetration in urban China) Table 3.2 Diagram of the contemporary structure of Chinese television 59 systems Table 3.3 Report on advertising revenue in 2009 63 Table 3.4 Number of television dramas produced in China, 2005-2009 63 Table 3.5 The domestic sales of Chinese television dramas, 2005-2009, 63 unit: billion (RMB) Table 3.6 Decree No. 40 issued by the SARFT, 2004 72 Table 3.7 Preliminary Response on Agreed Important Historical or 74 Revolution TV dramas, May 2006 Table 4.1 Administrative formats legalized by the SARFT 88 Table 4.2 TV Dramas Produced for Feb 2008 89 Table 4.3 Seven Sub-categories with Contemporary Themes Produced 90 in Feb 2008 Table 4.4 Differential Definitions of Genres by CNDRE, CNAVE and 93 the SARFT Table 4.5 Genre Definitions of Chinese TV dramas by Keane 95 Table 4.6 Two methods of categorizing Chinese television dramas 97 suggested by Zeng Table 4.7 Comparison between Chinese revolution drama and political 103 history drama Table 6.1 Development at the Early Stages of PHTD 137 3 Table of Illustrations Image 3.1 Photo of A Veggie Cake (Yikou caipingzi, Dir. Hu Xu, 1958) 65 Image 3.2 Poster of TV drama / Science Fiction Man from Atlantis (Dir. 66 Lee H. Katzin, 1977-1978) Image 5.1 The Chinese cultural heritage of Buddhism travels to Japan, 118 in Jianzhen’s Journey to the East (Jianzhen dongdu, 2006) Image 5.2 Jianzhen (Ganjin in Japanese, 688-763), dry-lacquer statue at 118 Toshodaj-ji, Japan Image 5.3 Poster of The Romance of Three Kingdoms (Sanguo yanyi, 126 1994) Image 5.4 Chen as the Emperor Puyi in The last Emperor 128 Image 5.5 Chen as the Emperor Kangxi in Kangxi Dynasty 128 Image 5.6 Chen as King Qin in film Hero 128 Image 5.7 Chen as the Emperor Tianqi in The Affairs in the Swing Age 128 Image 5.8 Chen as the King Guojian in The Great Revival 128 Image 5.9 The cover of the television drama Qin Shi Huang (Qin Shi 130 Huang, 2001) Image 5.10 The cover of the Hong Kong television drama A Step into the 130 Past (Xunqin Ji, dir. Man Wai-hong et al., 2001) Image 5.11 The poster of The Story of Tang Taizhong 131 Image 5.12 The cover of Genghis Khan 131 Image 5.13 The cover of The Great Revival 131 Image 6.1 Poster of Qiao’s Grand Courtyard 144 Image 6.2 Poster of The Emperor Wu of Han 145 Image 7.1 Portrait of Shi Lang 162 Image 7.2 An illustration of Zhang Fei (left) and Guan Yu (right) in the 163 classical novel Stories of the Three Kingdoms Image 7.3 The image of Shi Lang in Great General Shi Lang, 2006 165 Image 7.4 The image of Shi Lang in Kangxi Dynasty, 2001 165 4 Image 7.5 Concept 21st Group Great Earthquake 1988 Performance 167 Image 7.6 Wang Jin Knocking on the Door 1995 169 Image 7.7 Image in Zheng Chenggong Temple in Tainan, Taiwan 179 5 Introduction: Nostalgia for a Glorious China This thesis begins by introducing and explaining my initial motivation for applying the Western theory of genre to the research and analysis of Chinese Political History TV Drama (PHTD). It is suggested that such research is called for due to the knowledge gap found in the literature between studies carried out by the scholarly community in China in the field of Chinese TV drama and Western genre theory and its discursive and analytical practices. Thus, my study is driven by the need to fill the academic gap noted above in putting forwards an alternative methodology for the analysis of Chinese television drama, a methodology that functions in ways that seek to deepen understanding of the richness and complexity of the PHTD genre in the unique context of its cultural, social and political setting. To this end, I shall follow in this introductory chapter the structural stages below, and set out the rationale for undertaking such a study by briefly reviewing the existing body of research in the specific field of TV genre study and suggesting how constructs considered could be applied to the context of Chinese media. In order to establish the basis for my research, I will propose a series of research questions or hypotheses, the answers to which will provide guiding principles for the investigation. An overview of the thesis will also be given, chapter by chapter. My thesis covers the following research questions: 1) what are the genre definitions of PHTD? (chapter IV) 2) what are the genre conventions that these TV drama productions exhibit? (chapter V) 3) what are generic verisimilitude and genre hybridity, and how do PHTDs interact and differentiate from other genres? (chapter VI) 4) what is the cultural verisimilitude of PHTD, and how does it present itself? (chapter VII). Following the above, objectives for this introductory chapter and beyond are as follows: 1. To establish the scope of my research into genre theory; 2. To review and summarise the existing body of literature both in the West and in China in the field of genre study; 3. To demonstrate the research and academic gap identified in the existing body of scholarly literature in China, raising a series of questions to guide and structure my current research; 4. To set out my investigation in detail, and state its purpose and aims; 5. To outline the thesis in its entirety. The intent in the objectives listed above is to provide a logical progression of analysis from genre study in general to the specifics of the PHTD genre in the unique setting of the Chinese political and cultural context. In particular, the summary and review of previous research that follows will explore the knowledge gap identified above in current genre study in the field of Chinese TV drama. 1. Background to the Study: Existing Research in the Theory of Genre 6 In the context of this thesis, then, genre theory is selected as the core methodological approach, providing a theoretical scaffold for interpreting a complex cluster of political and cultural phenomena in Chinese contexts.
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