Chinese television drama
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Television_series_distribution_license_by_NRTA.png/220px-Television_series_distribution_license_by_NRTA.png)
Chinese television dramas (Chinese: 中国电视连续剧; pinyin: Zhōngguó diànshì liánxùjù), sometimes colloquially known as C-dramas, are Chinese-language television drama series originating from mainland China, sometimes including co-productions with the Greater China region. Popular drama series genres in mainland China include fantasy romance, period costume, contemporary urban and thriller dramas.[1][2] These dramas are also subjected to stringent regulatory supervision from the Chinese government.[3]
China produces the most television drama episodes per year and has the largest number of domestic television viewers in the world.[4][5] It is also the second largest video streaming market in the world by revenue.[6] Chinese television dramas are regularly broadcast and streamed throughout Asia; particularly in Vietnam, Malaysia, Singapore, Thailand, Indonesia, the Philippines, Sri Lanka and Cambodia.[7][8][9][10][11]
History
1958–1980: Early years
The first mainland China-produced television program, One Piece of Cake (Chinese: 一口菜饼子), was aired in 1958, after the launch of China's first television station, Beijing TV Station (later rebranded as China Central Television, or CCTV).[12][13]
Other provincial television channels were launched in the subsequent years, including Shanghai Television, Jiangsu Television, Guangdong Television and Hunan Television. From 1958 to 1966, 200 drama anthologies were broadcast, although ownership of television sets was not widespread.[14] During the cultural revolution from 1967 to 1976, the only entertainment allowed on Chinese television were eight revolutionary operas, three war movies and some song renditions. Fictional dramas returned in 1978 with San Jia Qin, the first mainland drama filmed on location.[15] Meanwhile, across the straits in Taiwan, the first long-form Mandarin television series Jing Jing was aired in 1969 on China Television, and the 1970s saw more familial dramas with heavy political tones produced by the three Taiwanese terrestrial channels, as martial law continued to be in enforcement.[16]
1980s: Expansion of state-run television channels
In 1980, the first drama series Eighteen Years in Enemy Camp was aired on state-run CCTV. Domestic demand for programming increased as television viewers increased from 80 million in 1978 to 1.1 billion by 1986.[17] Besides importing foreign shows, China began to produce many costume drama series. Long-form TV adaptions of classic Chinese novels and folklore include Outlaws of the Marsh (1983), Ji Gong (1986), Dream of the Red Chamber (1987) and Journey to the West (1988).[14]
In 1987, the Republic of China (ROC) government lifted the travel ban to mainland China, and in 1988, the People's Republic of China (PRC) government started courting ROC investments in the PRC with guarantees to safeguard their assets, visitation and legal rights. The Chinese state regulators introduced a permit system allowing for private and independent investors to co-produce television series with state-run media entities in the late 1980s as part of its market reforms.[14] The thawing of cross-straits relations resulted in a series of co-productions between the two regions in from the 1990s to 2000s.[18] Taiwanese romance novelist Chiung Yao and her team began working in mainland on several television series, either based on her novels or original screenplays. Period drama My Fair Princess (1998), a collaboration between Chiung's production company and Hunan Broadcasting System, was a success in both regions and widely sold in other Asian markets.[19]
1990s–2000s: Rise of satellite channels and rapid commercialization
The 1990s also marked the start of satellite broadcast of Chinese television networks and the rapid commercialization of television programming in the form of advertising.[20][14] China Central Television and other provincial channels like Zhejiang Television, Anhui Television, Jiangsu Television, Dragon TV and Hunan Television began expanding their satellite network coverage and diversifying programming offerings.[21] Family drama Ke Wang (1990), immigrant story A Native of Beijing in New York (1993), and sitcom I Love My Family were some of the contemporary dramas aired on prime-time television.[22] Fortress Besieged (1990), a period drama adapted from the satirical novel by Qian Zhongshu, was critically acclaimed.[23][24] The first mainland-produced idol romance drama Cherish Our Love Forever was also aired in 1998.[25]
Since the 1990s, historical serials have been the dominant genre on prime-time television. The trend peaked in the late 1990s and early 2000s, with many palace (also known as "Qing") dramas shown on television.[26] Fictionalized drama series based on well-known ancient figures like Romance of the Three Kingdoms (1994) and The Legend of Liu Yong (1996) continued to draw strong ratings.[25] Producers like Zhang Jizhong and Wong Jing also started making the mainland television adaptations of classic wuxia novels, such as those written by household names Jin Yong and Gu Long. Critical reception to shows such as The Legend of the Condor Heroes (2003), The Proud Twins (2005) and Demi-Gods and Semi-Devils (2003) were mixed and they are often compared to previous adaptations from Hong Kong and Taiwan.[27][28][29] Investment groups like Hengdian Group expanded into movie and television production in the mid-1990s, building large filming sets for different dynastic (and Republic) periods.[30] Hengdian's large film set in eastern Zhejiang was said to have accommodated at least 70% of China's films and TV shows at one point.[31] Established Hong Kong television production companies like TVB also began producing dynastic period dramas such as A Step into the Past (2001) and War and Beauty (2004) in mainland China due to the availability of such sets.[32][33]
After the turn of the millennium, Chinese historical fantasy romance dramas started gaining popularity, eventually overtaking the market share of adaptations of wuxia novels that were popular in the previous decades.[34] Seasoned Hong Kong director Lee Kwok-lap produced the hugely popular Chinese Paladin (2005), the television adaption of the first installment of the Sword and Fairy video game series, contributing to the popularity of xianxia and xuanhuan (fantasy) genres in the mainland entertainment landscape.[35] As these fantasy shows are often not tied to a specific dynasty or era, scriptwriters and designers had more creative leeway in their production, often mixing elements of Chinese mythology with modern humor and romance elements that is noticeably different from the stoic, honorable themes in wuxia genres.[36][37]
2010s: Regulatory changes and emergence of streaming television
Historical period dramas continued to be popular in the early 2010s. Imperial power struggle drama series with female leads set in the Qing dynasty such as Empresses in the Palace (2011), Scarlet Heart (2011) and Story of Yanxi Palace (2018) became an important side genre in mainland China,[38] although the genre has since come under regulatory criticism for its "extravagance and negative influence on society".[39]
A series of escalating protectionist measures were issued by the regulatory body in the mid-2010s. In 2014, the Chinese government announced that imported foreign films and TV series required publication licenses in order to be aired within China.[40] Korean dramas, then one of the most popular drama genres in China, as well as Korean-Chinese co-productions,[41] were banned from both broadcast and streaming services in 2016, following the THAAD missile deployment disagreement between China and South Korea.[42] Regulators also banned the broadcast of foreign television shows during prime-time slots and issued quotas on the number of imported content on streaming video platforms in 2018.[43][44] At the same time, streaming television took off in China as technology giants Baidu, Tencent and Alibaba invested more in their own Chinese productions under their respective streaming business units iQiyi, Tencent Video and Youku.[45][46] Traditional terrestrial broadcasters also started partnering with streamers to deal with declining TV viewership.[46] Since the mid-2010s, intellectual property (IP) adaptation rights of popular online novels, video games and comics were in huge demand as television adaptations of such works started becoming common,[47] examples of which include the adventure series The Lost Tomb (2015), as well as historical political dramas Nirvana in Fire (2015) and Joy of Life (2019). Between 2018 and 2019, 42 out of 100 of the top television series were adapted from web fiction.[48]
Since the 2000s, celebrity-driven television dramas have allocated a significant portion of their production budgets to actor salaries in order to attract viewership. Hong Kong television producer Gary Yeung Siu-hung noted in a 2006 interview that mainland actors may command salaries 2 to 5 times higher than their Hong Kong or Taiwanese counterparts with comparable popularity.[49] In 2016, Shanghai Media Group executive Wang Leiqing acknowledged that up to 76% of production costs could be attributed to actor pay. For example, the two lead actors of the 2016 series Ruyi’s Royal Love in the Palace (2016) reportedly received a combined total of over 150 million yuan for the 87-episode series.[50] In 2020, the National Radio and Television Administration (NRTA) issued a notice stipulating that television actors' salaries must not surpass 40% of the total production cost. Furthermore, the pay for lead actor cannot exceed 70% of the total actors' salaries.[51]
2020s–present: Streaming dominance and rise of micro-dramas
During the initial outbreak of the COVID-19 pandemic in mainland China, all television productions were halted in February 2020,[52] and filming resumed 1 to 2 months later.[53] The number of application for distribution licenses of television drama in 2020 decreased by around 26% compared to 2019.[54]
By the early 2020s, streaming television services like iQiyi and Tencent Video had reached more than 100 million monthly paying subscribers respectively, with the market reaching saturation and fragmentation.[55][45] Monetization and profitability became paramount for the major tech-backed streamers as long-form videos is increasingly considered as part of their more mature business units.[56] In early 2024, Tencent CEO Ma Huateng expressed the corporation's focus on premium flagship dramas, which he identified as The Long Season, Three-Body and Blossoms Shanghai, in order to build brand reputation and draw user subscriptions, instead of having many smaller productions which provided little commercial and brand value.[57] After the massive success of its 2023 criminal drama series The Knockout,[58] iQiyi leaders also stated their focus on quality content instead of celebrity star power in their drama series, with a focus on genre series and high investment epic drama series.[59]
Television productions also had to compete with short video and live-streaming social media like Bytedance's Douyin and Tencent's Kuaishou for user screen time.[45] Short web dramas, also known as mini-dramas or micro-dramas (Chinese: 微短剧), became increasingly popular on Douyin, Wechat and Kuaishou. According to iiMedia Research, revenue of Chinese mini dramas reached 37.39 billion yuan in 2023, an increase of 267.65% from the previous year.[60] Each episode of a mini series lasts from seconds to several minutes and are also subject to regulatory scrutiny of the NRTA.[61][62][63]
Characteristics
Other Chinese-language dramas such as Taiwanese dramas, Hong Kong dramas, and Singaporean dramas may sometimes be attributed as Chinese dramas, although each region has a distinctly different filming style, editing format and colloquial terms.
Long-form Chinese television series vary in quality, although since the mid to late 2010s, observers have noted an increase in production values and script quality in some series.[64]
Many Chinese television series end each episode in a cliffhanger.[citation needed] Also, a number of Chinese television series used music from Hollywood movies as incidental music.[citation needed] The channel CCTV-8 airs TV series around the clock. Episodes usually begin with opening theme music over credits as well as an ending theme music with additional credits.[citation needed]
Format
Chinese television series can be in the forms of anthology series, serial, mini-series and micro-series.
Anthology series such as Strange Tales of Liao Zhai (2005) and Medal of the Republic (2021) feature multiple standalone stories and with a different set of characters,[65] while long-form serials tell a story with an overarching plot over many episodes. The average episode per drama series is around 30-40 episodes, which each episode lasting between 40 and 60 minutes. Prior to 2020, some non-sitcom Chinese television serials such as Empresses in the Palace could go up to 76 episodes and more.[66][67] Some screenwriters have admitted to increasing episode count by dozens at the request of investors, incorporating unnecessary padding to the story. In February 2020, regulators have imposed a maximum limit of 40 episodes for show length, with a recommendation for producers to aim for no more than 30 episodes to maintain production quality.[51]
Mini-series in China such as crime drama The Bad Kids (2020) and The Long Season (2023) tell a more concise story over 10 to 24 episodes and usually conclude within a season.[66]
Micro-dramas, also known as mini-dramas, are serialized dramas minutes in length per episode. These shows are meant to be watched on mobile devices on Douyin and WeChat. These series utilize a hybrid monetization model, combining subscription-based access with pay-per-view options for individual episodes.[68]
Genres
Chinese drama genres range from romance, comedy, horror, family drama, sports, thriller, wuxia, xianxia, nationalist, political or a mixture of these in the form of ancient, historical, Republican era or modern contemporary settings.
There is a significant preference for romance television series in Asia. According to a 2019 study, 14% of the Chinese series in production were romance-themed, compared to 6% in United States. Conversely, crime and thriller genres are underrepresented in China.[69]
Since the 1990s, main melody (Chinese: 主旋律; pinyin: zhǔxuánlǜ) and tribute dramas (Chinese: 献礼剧; pinyin: xiànlǐ jù) have become common. Main melody dramas are television series with patriotic and propagandist undertones, while tribute dramas are shows that are partially commissioned or subsidized by CCTV (or other government entities) to celebrate and mark major milestones of the Chinese Communist Party (CCP).[70][71][72][73] These series are usually aired on free-to-air satellite channels CCTV-1 or CCTV-8. In 2018, the National Radio and Television Administration (or NRTA, previously known as the State Administration of Radio, Film, and Television) came up with an overall planning guide to select 100 tribute dramas to be aired between 2018 and 2022, series under the selection should be guided by the Xi Jinping Thought, with storylines that are realistic, moralistic and promoting Chinese nationalism and Core Socialist Values.[74] In 2019, China banned historical dramas and idol dramas in the period leading up to the 70th anniversary of the founding of the People's Republic of China. The state censorship regulator announced that television channels should only broadcast programs that focus "on different historical aspects that show the great struggle of the Chinese nation as its people have stood up and become richer and stronger".[75] Audience reaction to some of the government-approved shows are mixed, some examples of those with higher ratings and critical review include Perfect Youth (2018) and Like a Flowing River (2021).[76] Other popular commercial thrillers such as the 2017 hit series In the Name of the People, and the 2023 series The Knockout, focus on the heroic story of the protagonists fighting against corruption under the CCP's auspices.[77] These shows have become more sophisticated as the industry adopts more nuanced plots and higher production standards.[78]
Chinese television dramas such as Ashes of Love, Story of Yanxi Palace, Nirvana in Fire, The Journey of Flower, Eternal Love, The Princess Weiyoung, Love O2O, Empresses in the Palace, Scarlet Heart, The Mystic Nine and The Untamed have garnered billions of views among streaming websites, iQiyi, Youku and Tencent Video.[citation needed] Some dramas were remade in other languages, or were spun off into a sequel.
Censorship
Mainland-produced dramas have also been the targets of censorship, either explicitly with directives from the National Radio and Television Administration,[3] or implicitly due to self-censorship from the production companies and streamers.[79]
There is no content rating system for television dramas in China.[80] Creatives are often required to adhere to explicit directives from the NRTA, in order to pass the government review process. The guidelines do not have judicial validity, and sometimes changes over the years,[81] but members of the television association follow them as a form of "self regulation".[82]
Moral and cultural
In many cases, scriptwriters and producers have followed regulatory guidelines by "adopting a positive ending where the good triumphs over evils and making the protagonist a morally good person".[83] Shows can also be censored after airing. In mid-2015, the Chinese regulators criticized several shows for promoting ‘Western lifestyles,’ cleavage,[84][85] smoking, drinking, adultery or themes such as time travel and reincarnation.[86] Period drama series such as Story of Yanxi Palace and Ruyi's Royal Love in the Palace were pulled from streaming services after a direct reprimand from a party-aligned newspaper, the Beijing Daily, for not promoting socialist values, as they "propagated a luxurious and hedonistic lifestyle, encouraging admiration for imperial life and a glorification of emperors overshadowing the heroes of today".[87]
In 2022, the NRTA called for an end to the wildly-popular dangai (Chinese: 耽改) television genre, which consisted of television adaptations of gay-themed online novels; male actors were also discouraged from looking "effeminate".[88][89][90]
Political
Politically sensitive dramas such as Towards the Republic (2003) were either heavily censored or outright banned from reruns and on-demand streaming services, as they portrayed historical characters like Empress Cixi and Nationalist leaders in a sympathetic and complex manner, and political ideologies that are not aligned with the Communist Party movement.[91]
Blacklisted talent
Some television dramas are also banned or heavily cut due to the behavior of their cast and crew. In 2014, the SAPPRFT (now NRTA) specifically put out a statement banning celebrities who have used drugs or visited prostitutes (Chinese: 劣迹艺人) from state television and other media outlets. Television actors such as Huang Haibo and Gao Hu's productions were immediately dropped from broadcast.[92][93]
Celebrities that were blacklisted by the China Association of Performing Arts and other government bodies due to scandals involving tax evasion, sexual assault and unpatriotic behavior may have their scenes cut,[94] obfuscated,[95] their faces swapped digitally by AI,[96] or have their entire filmography pulled from syndication and streaming services.[97][98]
Production companies
Since the 2010s, several production companies have emerged as the main drama production and distribution companies for the major streaming networks and the largest state-run channels, often representing industry interests and setting TV production standards as a collective.[99] The six major television drama companies in mainland China include Daylight Entertainment (Chinese: 正午阳光), Huace Media (Chinese: 华策影视), New Classics Media (Chinese: 新丽传媒), Linmon Media (Chinese: 柠萌影视), Ciwen Media (Chinese: 慈文传媒) and Shanghai Youhug Media (Chinese: 耀客传媒).[100]
Dubbing
Chinese dramas are often dubbed by professional voice actors. This is due to the fact that almost all mainland dramas are required to be aired using putonghua, the standard Mandarin dialect, and many Mandarin-speaking actors may have regional accents. To standardize the pronunciation throughout the production, voice actors trained in standard Mandarin are employed in post-production. Subpar filming conditions may also result in poor audio quality and ambient noises, which requires post-production editing. Voice acting is also sometimes used to improve an actor's otherwise poor performance. Censorship may also require changing some lines in post-production.[101]
It usually takes one month to do the dubbing for 30 to 40 episodes in post-production. Popular voice actors may dub several series a year and are well-known figures to fans.[102] There are actors who are usually not dubbed, including Hu Ge, Wang Kai, Jin Dong, Jiang Xin and Deng Chao.[103][104]
See also
- List of Chinese television series
- Television in China
- Taiwanese drama
- Hong Kong television drama
- Cinema of China
- C-pop
- Mandopop
References
- ^ Xu, Fan (2017-04-13). "Spy stories get new lease of life on the small screen". China Daily. Archived from the original on 2023-06-10. Retrieved 2024-04-16.
- ^ "2021 中国网络视听发展研究报告" (PDF). China Netcasting Services Association. 2021-06-05. p. 85. Archived (PDF) from the original on 2024-01-18. Retrieved 2024-01-25.
- ^ a b Chow, Vivienne (2020-07-13). "Chinese TV Regulators Appear to Increase Story Supervision". Variety. Archived from the original on 2024-01-19. Retrieved 2024-01-19.
- ^ CNTV (June 12, 2015). "Chinese TV Producers Look to Foreign Markets". english.entgroup.cn. Archived from the original on June 14, 2015. Retrieved June 12, 2015.
- ^ "SVOD subscriptions to grow by 321 million". Digital TV Research. 2023-11-23. Archived from the original on 2024-01-25. Retrieved 2024-01-25.
- ^ Zhao, Orina (2023-06-14). "China becomes the second country to generate $10bn in annual SVoD revenue". Ampere Analysis. Archived from the original on 2024-01-25. Retrieved 2024-01-25.
- ^ Cox, Jonathan (2015-09-12). "On Cambodian TV, a Buffet of Foreign Options but Little Local Fare". Khmer Times. Archived from the original on 2024-02-12. Retrieved 2024-02-12.
- ^ Ransirilal, Athula (2016). "The Current Situation of Sri lanka TV Media and the Challenges Ahead - 24th JAMCO Online International Symposium". Jamco.or.jp. Archived from the original on 2017-08-05. Retrieved 2019-12-02.
- ^ "Chinese Dramas Reach Thailand | China-Thailand – China Report ASEAN". Chinareportasean.com. 2017-04-13. Archived from the original on 2020-03-28. Retrieved 2019-12-02.
- ^ "Chinese TV dramas and movies thrill Vietnamese - Culture". Chinadaily.com.cn. Archived from the original on 2019-12-02. Retrieved 2019-12-02.
- ^ Flores, Wilson Lee (2003-06-29). "After Jackie Chan and Jet Li, are we ready for the F4 boys?". Philstar.com. Archived from the original on 2020-03-28. Retrieved 2019-12-02.
- ^ Dai, Tao Jiang (2018-06-12). "纪念中国电视剧诞生60周年:平凡中的不平凡". The Paper. Archived from the original on 2024-01-18. Retrieved 2024-01-18.
- ^ Zhang, Bin. "TV Series in China". China Federation of Literary and Arts Circles. Archived from the original on 2022-08-10. Retrieved 2024-01-18.
- ^ a b c d Zhu, Ying (2013-01-11). Television in Post-Reform China. Routledge. pp. 5–10. doi:10.4324/9780203930663. ISBN 978-0-203-93066-3. Archived from the original on 2024-03-01. Retrieved 2024-01-22.
- ^ Ren, Yuan (2009-09-10). "任远:中国电视50年的风风雨雨". news.sina.com.cn. People's Daily Online. Archived from the original on 2024-02-13. Retrieved 2024-02-12 – via Sina News.
- ^ Liu, Jung-Ning (2018-04-30). "《台灣無線電視史》連載3". Medium. 公視《開鏡》季刊. Archived from the original on 2023-07-08. Retrieved 2024-01-22.
- ^ Xiaoping, Li (1991). "The Chinese Television System and Television News". The China Quarterly (126): 342. ISSN 0305-7410. JSTOR 654521. Archived from the original on 2024-01-24. Retrieved 2024-01-24.
- ^ "两岸合拍剧将死? 柴智屏呼吁放松限制整合资源". Sohu. Nanfang Daily. 2010-11-03. Archived from the original on 2024-01-25. Retrieved 2024-01-25.
- ^ Li, Peipei (2008-12-02). "湖南制造(图)". Shanxi Evening Newspaper. Archived from the original on 2014-02-26.
- ^ Zhu, Ying; Berry, Chris, eds. (2009). TV China. Bloomington: Indiana University Press. pp. 43–45. ISBN 978-0-253-22026-4.
- ^ Bai, Ruoyun; Song, Geng, eds. (2015). Chinese television in the twenty-first century: entertaining the nation. Routledge contemporary China series. London New York: Routledge. p. 71. ISBN 978-0-415-74512-3.
- ^ "中国电视剧的30年:平实的故事方式影响人们生活". Yangcheng Evening News. 2008-10-05. Archived from the original on 2023-04-14. Retrieved 2024-02-12 – via www.chinanews.com.cn.
- ^ Kong, Li (2017-09-17). "想当年|陈道明这部《围城》,许知远们可以常看". The Paper. Archived from the original on 2023-11-20. Retrieved 2024-02-15.
- ^ Xu, Yang (2018-03-02). "陈道明差点辞演,葛优妈捎话,英达爸客串,真·神剧还有更令人叫绝的地方". Wenhui Bao. Archived from the original on 2022-07-04. Retrieved 2024-02-15.
- ^ a b "电视剧,家庭中的戏剧". Beijing Times. 2008-11-21. Archived from the original on 2024-02-13. Retrieved 2024-02-12 – via Sina.
- ^ Zhu, Ying (2005). ""Yongzheng Dynasty" and Chinese Primetime Television Drama". Cinema Journal. 44 (4): 3–17. doi:10.1353/cj.2005.0038. JSTOR 3661122. S2CID 193204472.
- ^ Jin, Meng (2023-05-29). "侠影已往,江湖依旧,金庸作品影视化改编小史". Beijing Evening News. Archived from the original on 2024-04-02. Retrieved 2024-04-02.
- ^ Zhou, Hao (2020-01-19). "绝代双骄》从来不缺高质量的影视改编". The Paper. Archived from the original on 2024-04-02. Retrieved 2024-04-02.
- ^ Li, Li (2020-05-10). "王晶翻拍"倚天",观众却说"拒绝"". Yangcheng Evening News. Archived from the original on 2023-03-23. Retrieved 2024-04-02.
- ^ Aldama, Zigor (2017-02-25). "Lights, camera, action in the Hollywood of China". South China Morning Post. Archived from the original on 2022-06-21. Retrieved 2024-01-20.
- ^ "Chasing celluloid dreams at China's Tinseltown". AsiaOne. 2019-03-20. Archived from the original on 2024-01-20. Retrieved 2024-01-20.
- ^ "Theme Scenic Areas". Hengdian World Studios. Archived from the original on 2023-05-29. Retrieved 2024-01-20.
- ^ Johnson, Ian (2013-04-15). "Studio City". The New Yorker. ISSN 0028-792X. Archived from the original on 2022-05-24. Retrieved 2024-01-20.
- ^ Cai, Yiwen (2023-01-20). "How China's Favorite Fantasy Realm Faded Into the Background". Sixth Tone. Archived from the original on 2023-09-23. Retrieved 2024-01-21.
- ^ "揭秘:香港导演为何成为内地古装爆款剧制造者?" [Revealed: How did Hong Kong directors become creators of hit mainland costume dramas?]. China News. The Beijing News. 2022-07-07. Archived from the original on 2024-02-13. Retrieved 2024-01-21.
- ^ Zhang, Yiping. "《仙剑》二十七年的叙事与审美转向" [Twenty-seven years of narrative and aesthetic changes in "Sword and Fairy"]. The Paper. Archived from the original on 2022-09-01. Retrieved 2024-01-21.
- ^ Kong, Degang (2021-11-20). "How Video Games Fueled the Rise of Chinese Fantasy". Sixth Tone. Archived from the original on 2024-01-21. Retrieved 2024-01-21.
- ^ "The charms of Qing TV". The Economist. 2012-06-20. ISSN 0013-0613. Archived from the original on 2024-02-02. Retrieved 2024-02-02.
- ^ Chen, Laurie; Wong, Michelle (2019-01-28). "Yanxi Palace lavish and nasty: state media goes to war against period dramas". South China Morning Post. Archived from the original on 2024-02-02. Retrieved 2024-02-02.
- ^ Tartaglione, Nancy (2014-09-05). "China Watchdog Will Require Streaming Licenses For Foreign TV Shows; Are Quotas Next?". Deadline. Archived from the original on 2024-01-18. Retrieved 2024-01-18.
- ^ Shackleton, Liz (2021-03-14). "Is China finally opening to Korean content as political relations improve?". Screen Daily. Archived from the original on 2023-12-01. Retrieved 2024-02-19.
- ^ Frater, Patrick (2016-08-04). "China Reportedly Bans Korean TV Content, Talent". Variety. Archived from the original on 2017-09-06. Retrieved 2024-02-19.
- ^ Brzeski, Patrick (2018-09-21). "China to Ban Foreign TV During Primetime". The Hollywood Reporter. Archived from the original on 2022-10-05. Retrieved 2024-02-19.
- ^ Shackleton, Liz (2018-09-24). "China extends restrictions on foreign content on TV and online". Screen Daily. Archived from the original on 2023-10-03. Retrieved 2024-02-19.
- ^ a b c Shackleton, Liz (2019-10-18). "The challenges faced by China's streaming giants in their efforts to grow subscriptions". Screen Daily. Archived from the original on 2024-03-01. Retrieved 2024-01-30.
- ^ a b Wu, Changchang (2023-03-01). "How Streaming Went Mainstream in China". Sixth Tone. Archived from the original on 2024-01-18. Retrieved 2024-01-18.
- ^ Shi, Rui; Qu, Yunxu; Teng, Jingxuan. "From Internet Novel to Screen: Are Adaptations Becoming Hot in China?". Caixin Media. Archived from the original on 2024-01-20. Retrieved 2024-01-20.
- ^ Zhao, Jin (2022-08-17). "China's sprawling world of web fiction". The China Project. Archived from the original on 2024-02-13. Retrieved 2024-01-20.
- ^ Zong, Shan (2006-02-06). "内地电视剧8成亏 支付演员片酬是最大成本支出". finance.sina.cn. Beijing Star Daily. Archived from the original on 2024-02-13. Retrieved 2024-02-13.
- ^ Shi, Rui; Liao, Yongqi; Teng, Jing Xuan (2017-04-05). "Mounting Costs Pressure China's Entertainment Industry". Caixin. Archived from the original on 2022-07-08. Retrieved 2024-02-13.
- ^ a b Au, Lavender (2020-02-21). "Regulators unveil rules for TV shows, aiming to lift industry". TechNode. Archived from the original on 2023-09-24. Retrieved 2024-02-13.
- ^ Li, Danyu (2020-02-03). "疫情下影视剧组全面叫停 华谊兄弟等公司扭亏难度加大" [With the pandemic, film and television productions are being completely halted, posing increased challenges for companies like Huayi Brothers to reverse their losses.]. Cailian Press. Archived from the original on 2024-03-12. Retrieved 2024-03-12.
- ^ "影视行业渐次复工,大小荧屏共逐春光" [As the film and television industry gradually resumes work, both big and small screens embracing recovery]. Guangming Daily. 2020-04-22. Archived from the original on 2024-03-12. Retrieved 2024-03-12.
- ^ Wu, Zhi (2022-01-12). "电视剧备案数下降 发行周期缩短" [Decrease in TV drama distribution license applications; shorter release cycle]. Securities Times. Archived from the original on 2024-03-12. Retrieved 2024-03-12.
- ^ "China's Internet Content Kings Struggle to Keep Users Paying". Sixth Tone. Caixin Global. 2023-12-15. Archived from the original on 2024-02-13. Retrieved 2024-01-30.
- ^ Frater, Patrick (2023-12-10). "IQiyi's Yang Xianghua Talks Global Rollout, Profitability and How AI Is Improving the Chinese Streamer's Hit Rate: 'Smart Controls Cover Our Entire Content Lifecycle' (EXCLUSIVE)". Variety. Archived from the original on 2024-03-01. Retrieved 2024-02-29.
- ^ He, Chang; Hua, Zijian (2024-01-29). "马化腾2023年年会演讲:点评业务板块,重点提到了信心" [Ma Huateng’s speech at the 2023 annual meeting: Commenting on the business sector, focusing on confidence]. Jiemian News. Archived from the original on 2024-02-01. Retrieved 2024-02-01.
- ^ "QuestMobile 2023年剧综影市场洞察:用户同质化,内容成突围关键,移动端商业化进入丰收期" [QuestMobile’s 2023 TV drama market insights: Users are homogenized, content is the key to breakthrough, and mobile commercialization has entered a harvest period]. QuestMobile. 2024-01-23. Archived from the original on 2024-02-02. Retrieved 2024-02-02.
- ^ Hu, Yujing (2023-05-11). "爱奇艺不急了,长视频竞争下半场"唯一比第一重要"" [IQIYI is not in a hurry. In the second half of the long-form video competition, "the only thing is more important than first place"]. Jiemian News. Archived from the original on 2024-02-02. Retrieved 2024-02-02.
- ^ "2023-2024年中国微短剧市场研究报告" [2023-2024 China Micro-Short Drama Market Research Report]. iiMedia Research. 2023-11-22. Archived from the original on 2024-01-30. Retrieved 2024-01-30.
- ^ Dong, Cheyenne (2022-11-28). "More Chinese tech majors invest in short video series". TechNode. Archived from the original on 2023-06-02. Retrieved 2024-01-30.
- ^ Zhang, Long (2023-11-17). "Micro-dramas boom at home and overseas as authorities rein in vulgar content". SHINE. Shanghai Daily. Archived from the original on 2023-11-17. Retrieved 2024-01-30.
- ^ Jiang, Ben (2023-11-19). "China's broadcasting regulator tightens control over short web drama market". South China Morning Post. Archived from the original on 2024-01-09. Retrieved 2024-01-30.
- ^ Xu, Wei (2020-07-04). "Chinese productions attract global fanbase". SHINE. Archived from the original on 2020-10-09. Retrieved 2020-10-09.
- ^ "单元剧遍地开花,而国产单元剧或许正迎来春天". Sspai (in Chinese (China)). 2023-09-20. Archived from the original on 2024-02-29. Retrieved 2024-02-29.
- ^ a b Han, Fanghang (2020-10-19). "Shorter, Better, Faster: Can Miniseries Rescue the C-Drama?". Sixth Tone. Archived from the original on 2024-01-18. Retrieved 2024-02-29.
- ^ "配角戏份超主角 热播剧《香蜜》"注水"谁之过?". People's Daily Online. 2018-08-29. Archived from the original on 2018-08-29. Retrieved 2024-02-29.
- ^ Zhou, Cissy; Zhou, Marrian (2024-03-01). "China's minidrama producers set their sights on challenging Netflix". Nikkei Asia. Archived from the original on 2024-03-01. Retrieved 2024-03-01.
- ^ Davis, Rebecca (2019-10-22). "More Than Half of the World's New TV Dramas Hail From China". Variety. Archived from the original on 2024-02-29. Retrieved 2024-02-29.
- ^ Ma, Weijun (2013-01-14). "Chinese Main Melody TV Drama: Hollywoodization and Ideological Persuasion". Television & New Media. 15 (6): 523–537. doi:10.1177/1527476412471436. ISSN 1527-4764. Archived from the original on 2023-10-31. Retrieved 2024-02-15 – via Sage Journals.
- ^ "How Chinese propaganda films became watchable". The Economist. ISSN 0013-0613. Archived from the original on 2023-12-23. Retrieved 2024-01-19.
- ^ "What a new drama series reveals about China". The Economist. ISSN 0013-0613. Archived from the original on 2024-01-19. Retrieved 2024-01-19.
- ^ "献礼剧播放量突破30亿大关,背后出品公司过百谁是最大赢家?". Jiemian News. 2019-09-29. Archived from the original on 2024-02-28. Retrieved 2024-02-28.
- ^ Liu, Miao. "国家广播电视总局电视剧司关于继续做好2018-2022年重点电视剧选题规划工作的通知_部门政务" [Notice from the TV Drama Department of the State Administration of Radio and Television on continuing to plan the topic selection of key TV dramas from 2018 to 2022]. www.gov.cn. Archived from the original on 2021-05-18. Retrieved 2024-01-20.
- ^ "China bans historical TV dramas ahead of important anniversary". Reuters. 2019-08-01.
- ^ "300部献礼剧扎堆,为何爆款寥寥?". The Paper. Archived from the original on 2024-01-31. Retrieved 2024-01-31.
- ^ He, Tianping (July 14, 2022). "Can China's 'Positive Dramas' Take a Joke?". Sixth Tone. Archived from the original on 2024-01-17. Retrieved 2024-01-18.
- ^ Leahy, Joe; Waluszewski, Kai (2023-02-17). "Chinese TV series shines light on Xi Jinping's anti-corruption crusade". Financial Times. Archived from the original on 2024-01-17. Retrieved 2024-01-18.
- ^ Wang, Xiangwei (2012-01-09). "Mainland television land in a world all of its own". South China Morning Post. Archived from the original on 2024-01-30. Retrieved 2024-01-19.
- ^ Coonan, Clifford (2015-01-28). "China Media Watchdog Examining Ratings System for TV Shows". The Hollywood Reporter. Archived from the original on 2024-04-04. Retrieved 2024-04-04.
- ^ Ni, Dandan (2016-04-25). "Anti-Graft TV Dramas Return to Prime Time". The Sixth Tone. Archived from the original on 2024-04-04. Retrieved 2024-04-04.
- ^ Yang, Siting (2016-04-14). "Q&A with TV Association Director You Xiaogang on Censorship". The Sixth Tone. Archived from the original on 2024-04-04. Retrieved 2024-04-04.
- ^ Zhang, Wanqing (January 26, 2022). "Viewers Complain Over Hit Chinese Thriller's 'Positive' Ending". Sixth Tone. Archived from the original on 2024-01-18. Retrieved 2024-01-18.
- ^ Griffiths, James (2016-08-31). "Banned on Chinese TV: 'Western lifestyles,' cleavage and time travel". CNN. Archived from the original on 2023-06-01. Retrieved 2024-01-21.
- ^ Zhou, Laura (2015-01-07). "Censor's cleavage cuts in Chinese TV costume drama spark calls for rating system". South China Morning Post. Archived from the original on 2022-10-01. Retrieved 2024-01-21.
- ^ Huang, Josh Horwitz, Zheping (2016-03-03). "China's new television rules ban homosexuality, drinking, and vengeance". Quartz. Archived from the original on 2023-08-04. Retrieved 2024-01-21.
{{cite web}}
: CS1 maint: multiple names: authors list (link) - ^ Illmer, Andreas (2019-02-08). "Yanxi Palace: Why China turned against its most popular show". BBC News. Archived from the original on 2020-10-14. Retrieved 2020-10-09.
- ^ Schiefelbein, Mark (2021-09-02). "China Bans Effeminate Men From TV". The Associated Press. Archived from the original on 2024-01-19. Retrieved 2024-01-19.
Broadcasters must "resolutely put an end to sissy men and other abnormal esthetics," the TV regulator said, using an insulting slang term for effeminate men — niang pao, or literally, "girlie guns."
- ^ Romano, Aja (2022-10-17). "Xi Jinping vs fandom". Vox. Archived from the original on 2022-10-28. Retrieved 2024-01-18.
- ^ Zuo, Mandy (2022-02-02). "'Boys' love' dramas that took China by storm come into Beijing's crosshairs". South China Morning Post. Archived from the original on 2024-01-18. Retrieved 2024-01-18.
- ^ "从禁播《走向共和》看中国权力斗争". 美国之音 (in Chinese). 2003-06-29. Archived from the original on 2020-07-25. Retrieved 2024-01-19.
- ^ "广电总局封杀"劣迹艺人" 吸毒嫖娼被点名出轨待定". CNTV. Beijing Times. 2014-10-09. Archived from the original on 2015-03-19. Retrieved 2024-03-01.
- ^ "China bans stars who have used drugs from national media". BBC News. 2014-10-09. Archived from the original on 2023-11-05. Retrieved 2024-03-01.
- ^ Davis, Kenrick (2019-10-09). "A Chinese Drama Is Digitally Erasing Its Scandal-Plagued Actors". Sixth Tone. Archived from the original on 2024-01-04. Retrieved 2024-03-01.
- ^ Chan, Gloria (2016-01-11). "Hong Kong star's face blurred out on Chinese state TV show after he shared news report suggesting former premier Zhou Enlai was gay". South China Morning Post. Archived from the original on 2024-01-04. Retrieved 2024-03-01.
- ^ Li, Xiazhi (2023-02-22). "电视剧《风雨送春归》压了5年终于播出!劣质"换脸"再现引来吐槽一片". Beijing Daily. Beijing Evening News. Archived from the original on 2024-03-01. Retrieved 2024-03-01.
- ^ Zhang, Phoebe (2021-11-24). "Zheng Shuang, Kris Wu and Zhang Zhehan on new China celebrity blacklist". South China Morning Post. Archived from the original on 2024-01-21. Retrieved 2024-01-20.
- ^ Rahman, Abid (2021-08-27). "China Removes Actress Zhao Wei From Streaming Sites and Social Media". The Hollywood Reporter. Archived from the original on 2021-08-27. Retrieved 2024-01-20.
- ^ "9家影视公司发行业自救倡议:反对内容注水,抵制攀比". Wenhui Bao. 2020-05-07. Archived from the original on 2024-03-13. Retrieved 2024-03-13.
- ^ Tan, Jason; Liu, Shuangshuang; Shi, Rui (2018-08-13). "Studios Cut Stars' Pay After Tax Scandal". Caixin. Archived from the original on 2024-03-13. Retrieved 2024-03-13.
- ^ Jubb, Nathan (21 January 2017). "Q&A With Voice Artist on Why Dubbing Will Never Die". Sixth Tone. Archived from the original on 2019-12-23. Retrieved 2019-12-23.
- ^ "Over the top". China Daily. Archived from the original on 2020-03-15. Retrieved 2020-12-20.
- ^ "演戏不用配音的四位男星,胡歌和靳东榜上有名,你最喜欢谁?" (in Chinese). Sina. Archived from the original on 2022-04-07. Retrieved 2020-12-30.
- ^ "拍戏从不用配音的5位演员,王凯蒋欣上榜,配音员:幸亏人不多!" (in Chinese). Sina. 9 May 2018. Archived from the original on 2022-04-07. Retrieved 2020-12-30.