An Investigation Into Chinese Television Production in 2013
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Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
God in Chinatown
RELIGION, RACE, AND ETHNICITY God in Chinatown General Editor: Peter J. Paris Religion and Survival in New York's Public Religion and Urban Transformation: Faith in the City Evolving Immigrant Community Edited by Lowell W. Livezey Down by the Riverside: Readings in African American Religion Edited by Larry G. Murphy New York Glory: Kenneth ]. Guest Religions in the City Edited by Tony Carnes and Anna Karpathakis Religion and the Creation of Race and Ethnicity: An Introduction Edited by Craig R. Prentiss God in Chinatown: Religion and Survival in New York's Evolving Immigrant Community Kenneth J. Guest 111 New York University Press NEW YORK AND LONDON NEW YORK UNIVERSITY PRESS For Thomas Luke New York and London www.nyupress.org © 2003 by New York University All rights reserved All photographs in the book, including the cover photos, have been taken by the author. Library of Congress Cataloging-in-Publication Data Guest, Kenneth J. God in Chinatown : religion and survival in New York's evolving immigrant community I Kenneth J. Guest. p. em.- (Religion, race, and ethnicity) Includes bibliographical references (p. 209) and index. ISBN 0-8147-3153-8 (cloth) - ISBN 0-8147-3154-6 (paper) 1. Immigrants-Religious life-New York (State)-New York. 2. Chinese Americans-New York (State )-New York-Religious life. 3. Chinatown (New York, N.Y.) I. Title. II. Series. BL2527.N7G84 2003 200'.89'95107471-dc21 2003000761 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 Chinatown and the Fuzhounese 37 36 Chinatown and the Fuzhounese have been quite successful, it also includes many individuals who are ex tremely desperate financially and emotionally. -
Adopting a Chinese Mantle: Designing and Appropriating Chineseness 1750-1820
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Adopting a Chinese Mantle Designing and Appropriating Chineseness 1750-1820 Newport, Emma Helen Henke Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Adopting a Chinese Mantle: Designing and Appropriating Chineseness 1750-1820 Emma Helen Henke Newport King’s College London Thesis submitted for the degree of Doctor of Philosophy in English Research 1 Abstract The thesis examines methods of imagining and appropriating China in Britain in the period 1750 to 1820. -
Traceability Study in Shark Products
Traceability study in shark products Dr Heiner Lehr (Photo: © Francisco Blaha, 2015) Report commissioned by the CITES Secretariat This publication was funded by the European Union, through the CITES capacity-building project on aquatic species Contents 1 Summary.................................................................................................................................. 7 1.1 Structure of the remaining document ............................................................................. 9 1.2 Acknowledgements ....................................................................................................... 10 2 The market chain ................................................................................................................... 11 2.1 Shark Products ............................................................................................................... 11 2.1.1 Shark fins ............................................................................................................... 12 2.1.2 Shark meat ............................................................................................................. 12 2.1.3 Shark liver oil ......................................................................................................... 13 2.1.4 Shark cartilage ....................................................................................................... 13 2.1.5 Shark skin .............................................................................................................. -
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This is a draft version of the introduction to and translation of poems from “The Lament for Delhi” (Fuġhān-i Dihlī) eventually published in: Nationalism in the Vernacular: Hindi, Urdu, and the Literature of Indian Freedom. Ed. Shobna Nijhawan. Delhi: Permanent Black. 2009. 88-92. Copyright (c) 2009 by Pasha Mohamad Khan. This work is made available under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. It may be shared for non-commercial purposes, with attribution. It may not be altered, transformed or built upon without the permission of the author. Pasha M. Khan 1 The Lament for Delhi (1863) The collection of poems gathered under the title Fuġhān-i Dihlī (The Lament for Delhi) were authored by various members of the Delhi literati and compiled in 1863 by the poet Tafaz̤z̤ul Ḥusain Kaukab, who was a disciple of Mirzā Asad Allāh Ġhālib. These poems are formally varied, including 14 musaddasāt, 38 ġhazals, and a few qit̤ʿahs among their number, but they are united by their reference to the city of Delhi and to the turbulent events of 1857 and the years that followed. Largely for reasons of space, I have chosen to translate two ghazals by Shahāb al-Din Aḥmad “Ṡāqib” and Ḥakīm Muḥammad “Aḥsan,” each of which is prefaced by a short biographical notice from the Lament. The effect of the testimony of some of the Lament’s authors regarding the provenance of the poems is strangely inconsistent with the hints provided by the poems themselves with regard to their relation to one another. -
East Asia Forum Quarterly
EASTASIAFORUM ECONOMICS, POLITICS AND PUBLIC POLICY IN EAST ASIA AND THE PACIFIC Vol.13 No.2 April–June 2021 $9.50 Quarterly Reinventing global trade Inu Manak Agenda to save the WTO David Dollar Asia’s new foreign investment landscape Homi Kharas and Meagan Dooley The digital transformation Deborah Elms Managing digital trade ... and more ASIAN REVIEW: Angie Baecker and Yucong Hao on boys’ love fan labour CONTENTS EASTASIAFORUM 3 INU MANAK Quarterly Agenda to save the WTO 6 BILAHARI KAUSIKAN ISSN 1837-5081 (print) ISSN 1837-509X (online) Can Asia reinvent global trade? From the Editor’s desk 8 MELY CABALLERO-ANTHONY Towards a multipolar order For long, trade hovered confidently over the Asia Pacific region as its vital post-pandemic growth engine. As average tariffs fell from 17 per cent in 1989 to 5.3 per cent 10 CARLOS KURIYAMA in 2018, regional trade multiplied—faster than the rest of the world—along The international economics with jobs and incomes. Increasing integration even helped the region to of self-harm bounce back from shocks as severe as the 2008–09 global financial crisis. 12 DAVID DOLLAR Escalation of geopolitical tensions seems to have unsettled trade from Clear skies over Asia’s new foreign its perch. As rivalries heightened and criticism of globalisation grew in investment landscape recent years, the multilateral trading system on which Asia’s prosperity and 14 HOMI KHARAS, MEAGAN DOOLEY security had been based was challenged and the WTO’s relevance called The digital transformation of East Asian into question. trade It took a global pandemic to shift the narrative. -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
Vanemuise Teatris / in Vanemuine Theatre
Carmen 151. hooaeg esitleb Helilooja / Music by ALAN MENKEN Laulutekstid / Lyrics by GLENN SLATER Libreto / Book by CHERI STEINKELLNER & BILL STEINKELLNER Täiendav helilooming / Additional Book Material DOUGLAS CARTER BEANE Põhineb Touchstone Picturesi filmil „Sister Act”, stsenaariumi autor Joseph Howard Based on the Touchstone Pictures Motion Picture „Sister Act”, written by Joseph Howard Esitatakse kokkuleppel agentuuriga / Presented by arrangement with MUSIC THEATRE INTERNATIONAL (Europe) TOUCHSTONE PICTURESI JA JOSEPH HOWARDI KOMÖÖDIAFILMI “SISTER ACT” AINETEL esitleb ALAN MENKENI MUUSIKAL / ALAN MENKEN’S MUSICAL Vanemuise teatris / In Vanemuine Theatre NUNNAD HOOS Lavastaja / Director Samuel Harjanne (Soome / Finland) Muusikajuht ja dirigent / Musical Director and Conductor Taavi Kull SISTER ACT Dirigent/ Conductor Ele Sonn Kahes vaatuses / In two acts Kunstnik ja kostüümikunstnik / Set and Costume Designer Karmo Mende Koreograaf ja liikumisjuht / Choreographer and Movement Director Orkestratsioonid / Orchestrations by Doug Besterman Gunilla Olsson (Rootsi / Sweden) Vokaal- ja lavamuusika seaded / Vocal and Incidental Tõlkijad / Translators Aapo Ilves ja/and Mario Pulver Music Arrangements by Michael Kosarin Helirežissöör / Sound Designer Toomas Paidra Broadway produktsioon valmis Whoopi Goldbergi ja Stage Entertainmenti koostöös Valguskunstnik / Lighting Designer Märt Sell (Rakvere teater / Rakvere Theatre) produktsioonifirmadega The Shubert Organization ja Disney Theatrical Productions Koreograafi assistent ja repetiitor / Choreographer’s -
Global Cities, Local Knowledge
Formatting and Change in East Asian Television Industries: Media Globalization and Regional Dynamics Lim, Wei Ling Tania Patricia BSocSc (Hons), MSc (Media & Comms) Creative Industries Research and Applications Centre Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 2005 Keywords Circuit of cultural production, East Asian popular culture, Television industries, Field of broadcasting, Formatting, Local knowledge, Media capitals, Neo-networks, Regional dynamics, TV Formats, martial arts dramas, teenage idol soap operas, game-shows. ii Abstract Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children’s animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood’s dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production. -
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. -
The Future of Mobile Social Media in China
The Future of Mobile Social Media in China: Empower or Control by Huanhuan Bi Bi 2 Abstratct China, the most populated country in the world, has blocked all the global social media services, and this attracted many scholars to study what are happening in China. I use Sina Weibo, the Chinese version of Twitter, to study the political power of social media in this country and conclude that mobile social media do empower the Chinese citizens and make the Chinese society more transparent. Bi 3 Table of Contents Chapter 1: Introduction Chapter 2: Background Chapter 3: Literature Review Chapter 4: Research Design Chapter 5: Data Analysis, Discussions, and Case Study Chapter 6: Conclusions and Recommendations Bi 4 Chapter 1: Introduction Siri: “What can I do for you?” Penny: “Find me the best Chinese food restaurant near Campus Drive.” Siri: “I don’t like the word ‘best’; it’s superficial. I suggest you some popular restaurants…” Jim: “Siri sucks try Yelp, buddy.” … Ten minutes later, we go to the Shanghai café. Half an hour passed, and food is served. “Hey, looks great!” “Wait a minute, let me take a picture.” “Me too!” Everybody takes out iPhone; shoot; upload it on Facebook. What? An airplane missed! Then all check Twitter. No one knows what is happening. OK, let us try New York Times; they should do the journalist job. Everyone is looking at the mobile. “Could we have human being interactions or just eat?” Welcome to the messy world of social media. Today, nearly everyone uses social media, talks social media, no matter what one’s favorite platform is, and we are overwhelmed by social media. -
Parent–Child Television Reality Programmes in China
Where are we going? Parent–child television reality programmes in China Abstract This article looks at the role of format television in the People’s Republic of China. It juxtaposes two key ideas: the ‘one format policy’ and the One Child Policy. Both are government restrictions intended to kerb reproduction. Formats provide a means for the reproduction of programming ideas, that is, they are generative. When formats ‘fit’ cultural understandings they can be remarkably successful, as with family oriented formats. Yet there is something unusual about China: in comparison to many international markets, China offers a unique demographic – those people born after 1978. The article examines a formatted programme called Where Are We Going, Dad?, introduced into China from South Korea, which illustrates a subgenre known as the ‘parent-child caring’ (qinzi) format. The article shows how this genre has capitalised on the interest in the health and future well-being of the One Child in China, as well as spinning off its own formatted offspring. Keywords Celebrities, China, Korean formats, One Child Generation, reality TV, TV formats Introduction Most readers will be aware of the Chinese government’s restriction on reproduction, the One Child Policy. The policy was devised in 1978 as a way to control the nation’s population, which had spiralled out of control in the 1950s and 1960s. It was finally rescinded in 2016. The One Child Policy exhibits an indirect historical link to the Chinese television industry. The year that the policy came into effect, 1978, Chinese television programming began to develop after being stalled due to the chaos of the Cultural Revolution (1966–1976).