Huya (HUYA): Winner Takes All
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A Brief Genealogy of Hanmai
China Perspectives 2019-3 | 2019 Sinophone Musical Worlds (1) A Brief Genealogy of Hanmai Ge Zhang and Jian Xu Electronic version URL: http://journals.openedition.org/chinaperspectives/9528 DOI: 10.4000/chinaperspectives.9528 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 September 2019 Number of pages: 63-68 ISSN: 2070-3449 Electronic reference Ge Zhang and Jian Xu, « A Brief Genealogy of Hanmai », China Perspectives [Online], 2019-3 | 2019, Online since 01 September 2019, connection on 22 December 2020. URL : http:// journals.openedition.org/chinaperspectives/9528 ; DOI : https://doi.org/10.4000/chinaperspectives. 9528 © All rights reserved Current affairs china perspectives a Brief Genealogy of hanmai Ge ZhaNG aND JIaN XU Introduction Discotheques and revitalised Dongbei folk culture anmai 喊麥, literally “shouting [at] a microphone,” first came to public Hanmai’s musical origin can be traced back to China’s discotheques attention and scrutiny as a distinct sound gaining both popularity and dance halls of the late 1990s in the context of China’s “revolution of and notoriety in 2015, when livestreaming platforms such as YY consumption” (Davis 2000). The history of disco dance clubs from the 1990s H 1 (which launched as a voice chat client in 2008) were growing exponentially. to 2000s in Shanghai is well documented by Andrew Field (2008) and James Contemporary hanmai is therefore predominantly associated with Farrer (2000). Shanghai discotheques (disike 迪斯科) emerged as “large, livestreaming media.2 However, its origin can be traced much further back. cavernous, dark, and simply decorated” (Field 2008: 21) “free-flowing zones The sound culture can be linked to the broader context of market reform of interaction among clubbers from different backgrounds” (Field and Farrer and the emergence of disco music in the 1990s, as well as to the evolution 2018: 128). -
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Applications: A This chapter contains the following sections: • ABC, on page 8 • Abonti, on page 9 • About.com, on page 10 • ABS-CBN, on page 11 • ACA Services, on page 12 • ACAP, on page 13 • Access Network, on page 14 • AccessBuilder, on page 15 • AccuWeather, on page 16 • Ace Hardware Corporation, on page 17 • Acer, on page 18 • AcFun, on page 19 • Achetez Facile, on page 20 • ACI, on page 21 • Acoon.de, on page 22 • ACR-NEMA, on page 23 • Acrobat.com, on page 24 • Active Networks, on page 25 • ActiveSync, on page 26 • Ad Advisor, on page 27 • AD Backup, on page 28 • AD DRS, on page 29 • AD DSAOP, on page 30 • AD DSROL, on page 31 • AD File Replication Service, on page 32 • Ad Marvel, on page 33 • Ad Master, on page 34 • Ad Mob, on page 35 • Ad Nexus, on page 36 • AD NSP, on page 37 • Ad Redirector, on page 38 • AD Restore, on page 39 Applications: A 1 Applications: A • Ad Tech, on page 40 • AD XDS, on page 41 • AD-X Tracking, on page 42 • Ad4mat, on page 43 • Adap.tv, on page 44 • Adaptive Receive Node Scheduling, on page 45 • Adblade, on page 46 • Adcash, on page 47 • Adconion Media Group, on page 48 • Addicting Games, on page 49 • Addictive Mobility, on page 50 • AddThis, on page 51 • AddThis Bot, on page 52 • AddToAny, on page 53 • AdF.ly, on page 54 • AdGear, on page 55 • Adify, on page 56 • AdJuggler, on page 57 • Admasters, on page 58 • Admeld, on page 59 • ADMETA, on page 60 • Admin5, on page 61 • AdNetwork.net, on page 62 • ADNStream, on page 63 • Ado Tube, on page 64 • Adobe Analytics, on page 65 • Adobe Connect, on page 66 -
Chinese Grocery's Age of Empires
CHINESE GROCERY’S AGE OF EMPIRES TWO GIANT GROUPINGS ARE CARVING UP THE MARKET CHINESE GROCERY’S AGE OF EMPIRES Chinese retail is evolving into two rival empires, each dominated by competing e-commerce giants. One realm is centered on Alibaba, which owns two of China’s largest e-commerce platforms, Taobao and TMall, as well as an electronic payments system, AliPay. The other is an alliance between JD, a leading online retailer, and Tencent, an internet and digital-technology conglomerate that owns WeChat, China’s most popular social-media app. These two empires already own the digital lives of Chinese consumers today, where the average Chinese spends over 60% of their mobile app usage on either ecosystem. Now Alibaba and Tencent/JD have set their sights on physical retail, including acquiring stakes in six of China’s top 10 hypermarkets, the country’s biggest electronics retailer, one of the largest department stores and the largest commercial property and entertainment conglomerate. Exhibit 1: Empire of JD/Tencent and Alibaba Experiece Online Physical Online Offline Social retail retail influence influence JD/ Mobike, QQ Vip.com, Little Walmart, Tencent Video, WeChat Pay, WeChat, QQ, Tencent University, Red Book, Yonghui, Dianping, JD logistics, LY.com, Qzone, Tencent Cloud, YHD.com, Wanda, Sogou, QQ Meituan Pengyou.com QQ Gaming, Zhuanzhuan Carrefour Music, WeChat DiDi ChuXing Pay Alibaba Ali Health, Taobao Etao, Taobao, Intime Retail, MGTV, YTO express, Sina Weibo, Group Education, Hema, Tmall, New Huadu, Yicai.com, 36Kr, Cainiao, Alipay, Momo, Amap.com, Suning.com Bailian, SCMP, Alipay Ali LST, Koubei Qyer.com, Xiami, Eleme, Century Mart, AcFun, Youku DiDi ChuXing, Sanjiang, Sun Ali Cloud Art, Hema Source: Oliver Wyman analysis Underlying their growing dominance is Chinese consumers’ enthusiasm for online shopping: In 2006, just 11 percent of the population enjoyed internet access; today, more than 460 million Chinese – one-third of the population – regularly shop online. -
Bilibili (BILI): a Leader in ACG with Room to Grow
JAGUAR MEDIA SEPT 8TH, 2020 “CHINESE TECH DEMYSTIFIED” SERIES – EPISODE 5 Bilibili (BILI): A leader in ACG with room to grow Bilibili is often labeled as China’s version of YouTube, but that comparison is only half-accurate. Fundamentally, it is a video sharing and vlogging platform. But if we dig a little deeper, we will find that it caters almost exclusively to a dedicated under-30’s crowd while shunning older audiences, and the video content is overwhelmingly focused on animation, comics, and games (or ACG in short), fashion, pop culture, and music. No news, no politics, no academic discourse, no finance, none of that mundane stuff. Bilibili was founded in 2009 with the intention of being a worthy ACG competitor to AcFun (recall AcFun is the former parent company of DouYu). Bilibili’s founder Xu Yi was formerly a top user with a huge following on AcFun, but grew increasingly frustrated over time with community and website-related issues. And following a series of high-profile disagreements with AcFun management, he decided to sever ties and create Bilibili on the back of funding from now-CEO Chen Rui, a games/animation-loving billionaire investor who currently owns over 20% of the company. Before long, Bilibili saw significant traffic, enough to challenge AcFun’s. Due to this rivalry and history, Bilibili is commonly referred to by the Chinese internet community as “B Site” or “Station B”, while AcFun is nicknamed “A Site” or “Station A”. Fun fact: The word “Bilibili” doesn’t have any literal meaning. Rather, it is a playful reference to a main character from A Certain Scientific Railgun, a popular comic/animation series at the time, whereby “Bilibili” is the sound she makes when firing her weapon. -
Boston San Francisco Munich London
Internet & Digital Media Monthly August 2018 BOB LOCKWOOD JERRY DARKO Managing Director Senior Vice President +1.617.624.7010 +1.415.616.8002 [email protected] [email protected] BOSTON SAN FRANCISCO HARALD MAEHRLE LAURA MADDISON Managing Director Senior Vice President +49.892.323.7720 +44.203.798.5600 [email protected] [email protected] MUNICH LONDON INVESTMENT BANKING Raymond James & Associates, Inc. member New York Stock Exchange/SIPC. Internet & Digital Media Monthly TECHNOLOGY & SERVICES INVESTMENT BANKING GROUP OVERVIEW Deep & Experienced Tech Team Business Model Coverage Internet / Digital Media + More Than 75 Investment Banking Professionals Globally Software / SaaS + 11 Senior Equity Research Technology-Enabled Solutions Analysts Transaction Processing + 7 Equity Capital Markets Professionals Data / Information Services Systems | Semiconductors | Hardware + 8 Global Offices BPO / IT Services Extensive Transaction Experience Domain Coverage Vertical Coverage Accounting / Financial B2B + More than 160 M&A and private placement transactions with an Digital Media Communications aggregate deal value of exceeding $25 billion since 2012 E-Commerce Consumer HCM Education / Non-Profit + More than 100 public equities transactions raising more than Marketing Tech / Services Financial $10 billion since 2012 Supply Chain Real Estate . Internet Equity Research: Top-Ranked Research Team Covering 25+ Companies . Software / Other Equity Research: 4 Analysts Covering 40+ Companies RAYMOND JAMES / INVESTMENT BANKING OVERVIEW . Full-service firm with investment banking, equity research, institutional sales & trading and asset management – Founded in 1962; public since 1983 (NYSE: RJF) – $6.4 billion in FY 2017 revenue; equity market capitalization of approximately $14.0 billion – Stable and well-capitalized platform; over 110 consecutive quarters of profitability . -
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Advances in Social Science, Education and Humanities Research, volume 142 4th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2017) The Narrative Construction of Chinese Animation from the Perspective of Adolescent Audience Hongya Zhou School of Art and Design Xihua University Chengdu, China 610039 Abstract—Since the new century, the new generation of earth-shaking changes. When the original animation creation "post 2000" audience cultivated by the Chinese animation are under planned economic system entered the market economy, gradually entering adolescence, so continuing to grasp the it began to appear big shrinking since it was unable to adapt viewing preferences of this group and adapting to the market to the viewing needs of audience under the changes of the demand of a higher level is an important means for Chinese times. Both quality and quantity cannot be compared with animation to achieve the continuation of influence and sound the previous achievements. Coupled with the large-scale and comprehensive development. Based on the theme narrative "invasion" of animation culture from the United States, theory, this paper takes contemporary adolescent as object and Japan and other countries, Chinese animation have no place tries to find the way out and direction of sustainable to stand, which completely lost the competitiveness, as well development of Chinese animation in the fierce market as the audience base of the two generations of "post 1980" competition through the study of the narrative theme, role shaping, narrative carrier and the cultural inheritance. and "post 1990". Basically, putting aside the external cause of weak means of market operation, the conservative, single Keywords—Chinese Animation; adolescent; narrative animation narrative means with the form bigger than the content is an important factor that causes Chinese animation text to lose its vitality. -
How Chinese Television Found Its Way out of the Box
International Journal of Communication 10(2016), 5426–5443 1932–8036/20160005 Disconnecting, Connecting, and Reconnecting: How Chinese Television Found Its Way Out of the Box MICHAEL KEANE1 Curtin University, Australia The emergence of online platforms dispensing TV content in China has transformed conventional understandings of Chinese media. Online video companies have revitalized the Chinese media industry while throwing out challenges to the government. Three disruptive moments illustrate how Chinese television is regulated, distributed, and accessed: disconnecting, connecting, and reconnecting. I examine some of the leading online platforms and consider the growing power of Baidu, Alibaba, and Tencent—known as the “kingmakers” of the Chinese Internet. I describe how the Internet has created an unprecedented transformation in China’s television industry and how “Internet television” is disrupting the formerly stable and heavily managed sector. Finally, the article explores how new technologies of distribution are allowing Chinese culture to internationalize and to “reconnect” with Chinese-speaking communities. Keywords: Internet television, television, China, digital disruption, soft power When James Lull published China Turned On: Television, Reform and Resistance in 1991, the People’s Republic of China was in the midst of an upsurge in media production, spurred on by economic reforms that allowed many millions of people to buy television receivers, then a much-desired consumer item. Lull (1991) depicts Chinese viewers gathered around the TV as a family unit, watching serial dramas. The television receiver is a rectangular box in the living room disseminating government messages and entertainment—mainly serial drama—to an enthralled audience. In the decades that followed, television evolved. -
Analysis of Chinese Video Website Barrage Language Based on the Influence of the ACGN Culture
International Journal of Internet, Broadcasting and Communication Vol.13 No.2 195-207 (2021) http://dx.doi.org/10.7236/IJIBC.2021.13.2.195 IJIBC 21-2-25 Analysis of Chinese Video Website Barrage Language Based On the Influence Of The ACGN Culture JiHui Yan, Yang Pan, Taesoo Yun Doctor, Department of Visual Contents, Dongseo University, China Doctor, Department of Visual Contents, Dongseo University, China Professor, Department of Game, College of Software Convergence, Dongseo University, South Korea. [email protected], [email protected], [email protected] Abstract In recent years, with the rapid growth of China’s animation industry, the two-dimensional culture and consumption have been immersed in the daily lives of young people. The two-dimensional culture that mainly exists on young people is gradually entering the public’s field of vision, making the two-dimensional culture not It is only restricted to the fixed fan circle, but is known to more people outside the circle. At the same time, the "barrage" (screen text) cultures in video websites has become popular with some film and television works, Internet terms, etc., and has attracted the attention on mainstream culture. On the one hand, its cultural products have appeared on traditional mainstream video websites and advertisements on provincial satellite TV. And in the program, on the other hand, a small part of the screen text and cultural terms are also used by some celebrities and other ordinary people who don’t understand the meaning of the terms at all, and have caused widespread dissemination. Sometimes the video website itself is also mentioned, which obviously shows a difference. -
Video-Streaming Platform Turned Mobile-Gaming Operator Bilibili Sets
Publication date: 06 Mar 2018 Author: Chenyu Cui Senior Research Analyst, Games Video-streaming platform turned mobile- gaming operator Bilibili sets sights on $400million IPO Brought to you by Informa Tech Video-streaming platform turned mobile- 1 gaming operator Bilibili sets sights on $400million IPO Bilibili sets sights on $400 million IPO According to a prospectus filed on 2 March, Bilibili, the online entertainment platform covering video, live broadcasting and mobile games, plans to list on the New York Stock Exchange. Bilibili business was initially centered on the Anime, Comic and Games (ACG) industry and has developed into a comprehensive content platform. ACG content has become very popular in China and is influenced by Japanese anime and video games. Our analysis Bilibili started out as a video-streaming platform that went on to establish a large userbase interested in ACG content, and then moved into aggressive monetization through a variety of approaches: film production, membership subscription as well as involvement in sponsorship of sports championships, i.e. the Chinese Basketball Association. However, only its game operation has brought a scalable revenue stream and contributed to its IPO progress. In 2017, revenue from mobile games accounted for 83.4% of its total revenue compared to the rest from live broadcasting and advertising. The prospectus indicates that the platform has average MAUs of 67 million and generated revenue of $379.3 million in 2017. Mobile games are key to Bilibili's recent performance but sustaining this performance will be a challenge Among the eight exclusively distributed mobile games and 63 games under joint operation, Fate/Grand Order was the driver for revenue growth in 2017. -
Use Cases of 5G Broadcast Technology
USE CASES OF 5G BROADCAST TECHNOLOGY WHITE PAPER V7.0 O 2020.11 Use Cases of 5G Broadcast Technology Use Cases of 5G Broadcast Technology Version 1 FuTURE Forum 5G Broadcast and Video WG 2020/11/27 Use Cases of 5G Broadcast Technology Table of Contents 1 Preface ............................................................................................................... 1 2 Typical Scenarios and Use Cases of 5G Broadcast & Video ............. 5 2.1 Smart Radio and TV & Public Services .................................................. 5 2.1.1 Publicity .......................................................................................... 6 2.1.2 Emergency Broadcasting ............................................................... 8 2.1.3 Rural education .............................................................................. 9 2.1.4 Mobility and wide coverage of traditional radio and television ....... 10 2.1.5 Media Convergence Enabler ........................................................ 12 2.1.6 5G broadcast and multi-screen linking .......................................... 12 2.1.7 Community-Oriented 5G Broadcast Service ................................. 14 2.2 Innovative Internet Use Cases .............................................................. 14 2.2.1 Live Streaming of Internet Celebrities .................................................. 14 2.2.2 Live Commerce ..................................................................................... 15 2.2.3 Multi-angle View and Playback............................................................ -
SOCIAL MEDIA TRENDS 2018 One of the Trends We Highlighted for 2017 Was How Big Social Media Networks in Were Trying to Transform Their Image, Amid Some Bad Publicity
SOCIAL MEDIA TRENDS 2018 One of the trends we highlighted for 2017 was how big social media networks IN were trying to transform their image, amid some bad publicity. Examples at that time included Snapchat’s rebranding at the end of 2016, Pinterest’s new positioning as a ‘catalogue of ideas’, expanding beyond the realm of a social network and even Twitter switching its designation from a ‘Social Network’ to a ‘News’ app in the App Store. Behind this shift in strategy lies a desire for networks to evolve and become an ever-growing part of our lives. Social networks have advanced so much since their early beginnings that it TR is now difficult to confine them to being described by words like ‘social’ or ‘media’. Digital is also a reductive definition when pure players redouble in ingenuity to anchor themselves in both physical and digital environments; ‘phygital’ might, therefore, be a better descriptor. What’s also interesting is how the landscape is currently evolving. In the past, we had seen newcomers trying to compete with established ‘social networks’. Now the competition comes from many other players. Amazon’s launch of OD Spark, a social network for its shoppers or its powerful advertising platform, which directly competes with players like Facebook, is an example of this. FAMGA (Facebook, Apple, Microsoft, Google, Amazon) as they are now referred to are becoming so ubiquitous in the digital world that you would have to be living under a rock to avoid them. The rise of home assistant devices like Amazon Echo, Google Home or the coming Facebook Aloha are yet another example that proves these giant’s goal to become seamlessly UC integrated into daily life. -
Applications: A
Applications: A This chapter contains the following sections: • ABC, on page 8 • Abonti, on page 9 • About.com, on page 10 • ABS-CBN, on page 11 • ACA Services, on page 12 • ACAP, on page 13 • Access Network, on page 14 • AccessBuilder, on page 15 • AccuWeather, on page 16 • Ace Hardware Corporation, on page 17 • Acer, on page 18 • AcFun, on page 19 • ACI, on page 20 • Acoon.de, on page 21 • ACR-NEMA, on page 22 • Acrobat.com, on page 23 • Active Networks, on page 24 • ActiveSync, on page 25 • Ad Advisor, on page 26 • AD Backup, on page 27 • AD DRS, on page 28 • AD DSAOP, on page 29 • AD DSROL, on page 30 • AD File Replication Service, on page 31 • Ad Marvel, on page 32 • Ad Master, on page 33 • Ad Mob, on page 34 • Ad Nexus, on page 35 • AD NSP, on page 36 • Ad Redirector, on page 37 • AD Restore, on page 38 • Ad Tech, on page 39 Applications: A 1 Applications: A • AD XDS, on page 40 • AD-X Tracking, on page 41 • Ad4mat, on page 42 • Adap.tv, on page 43 • Adaptive Receive Node Scheduling, on page 44 • Adblade, on page 45 • Adcash, on page 46 • Adconion Media Group, on page 47 • Addicting Games, on page 48 • Addictive Mobility, on page 49 • AddThis, on page 50 • AddThis Bot, on page 51 • AddToAny, on page 52 • AdF.ly, on page 53 • AdGear, on page 54 • Adify, on page 55 • AdJuggler, on page 56 • Admeld, on page 57 • ADMETA, on page 58 • Admin5, on page 59 • AdNetwork.net, on page 60 • ADNStream, on page 61 • Ado Tube, on page 62 • Adobe Analytics, on page 63 • Adobe Connect, on page 64 • Adobe Creative Cloud, on page 65 • Adobe PostScript,