Academic literature on the topic 'Chinese Central Television'

Kwan Mun Hau, an original village and research focus, was re-sited in 1964, as the villagers could no longer tolerate the flooding in the old village resulting from unplanned development of surrounding areas, and government hopes to rationalize the development of the central area where the village had been located. This sealed the villagers’ move to a cash economy, a mixed benefit, with many employed in industry and some receiving rents from tenants of diverse origins, many of whom ran small factories. The lineage trusts were also converted to rent-yielding urban property. Families were still large, with many children, but their structures were limited by the configuration of the new houses. Interest in birth control was high. All children now went to school, studying in Cantonese, the lingua franca, which was also promoted by the increasing presence of television. Western medicine was readily available, but the very old were still cared for at home.

This chapter investigates how music acts performed at China Central Television's (CCTV) annual variety show, Chunwan, are used as an ideological package for political communications in China. The authors argue that the Communist Party of China uses songs as the medium for the grand narrative of a shared identity. Chunwan, this televised event, helps construct an imagined community of mainlanders of different social backgrounds, Chinese from Hong Kong, Macao, and Taiwan, and overseas Chinese. Music, disseminated via China's national TV broadcaster, serves as an ideological state apparatus that consolidates the legitimacy of the Party.

Since the 1990s, there has been dense traffic of pop culture routinely crossing the national and cultural boundaries of East Asian countries of Japan, Korea, China, Taiwan, Hong Kong and Singapore. The unequal traffic is predominantly from Japan and Korea into ethnic-Chinese dominant locations, which has a historically long and well established production, distribution and exhibition network; Japan and Korea are primarily production-exporting nations, while China and Singapore as primarily importing-consumption ones, with Taiwan emerging as the production centre in Mandarin pop music and Hong Kong remaining as the primary production location of Chinese languages cinemas. Japanese and Korean pop culture are translated, dubbed or subtitled into a Chinese language in one of the ethnic-Chinese importing locations and then re-exported and circulated within the entire Chinese ‘diaspora’. The structures and processes that engender this transnational flow are the foundational to the emergence of an East Asian regional media cultural economy that increasingly see co-production of films and television dramas.

In April 2010 China Central Television’s international English-language channel (Channel Nine) broadcast a six-episode documentary in its series ‘New Frontiers’ hosted by Ji Xiaojun on the 130,000-plus Chinese workers recruited by the French and British governments during World War One. In portentous tones Ji Xiaojun boldly announced in the first episode that the World War One Chinese workers ‘stood shoulder to shoulder’ with British and French troops to combat German military aggression, and that in the process 20,000 of them were killed. Such a valuable contribution to the Allied victory, Ji continued, was not fully acknowledged by France and Britain until fifty years after the end of the war. Overall, the programme depicted the episode as a shining example of China’s positive and beneficial interaction with the world ...