![]() ![]() Keane (Ed.), Handbook of the cultural and creative industries in China (pp. ![]() From ‘nothing to my name’ to ‘I am a singer’: Market, capital, and politics in the Chinese music industry. International Journal of Cultural Policy, 22, 481–496. Soft power, global governance of cultural industries and rising powers: The case of China. Hybridity and the rise of Korean popular culture in Asia. Mackintosh (Eds.), Cultural studies and cultural industries in northeast Asia (pp. Five Korean producers take careers to China. Bound to lead: The changing nature of American power. Chinese Journal of Communication, 2(3), 257–272. Who needs democracy if we can pick our favorite girl? Super Girl as media spectacle. Iwabuchi (Eds.), East Asian pop culture: Analysing the Korean Wave (pp. Mediating nationalism and modernity: The transnationalization of Korean dramas on Chinese satellite TV. Cultural policies in East Asia: Dynamics between the state, arts and creative industries. Keane (Eds.), Television across Asia: Television industries, programme formats and globalisation (pp. A local mode of programme adaptation: South Korea in the global television format business. New television, globalisation and the East Asian cultural imagination. ![]() Where are we going? Parent-child television reality programmes in China. Rogue flows: Trans-Asian cultural traffic. Keane (Eds.), Television across Asia: Television industries, programme formats and globalization (pp. Feeling glocal: Japan in the global television format business. From ‘talent show’ to ‘circuses’: Chinese youth resistant acts and strategies in the super girl voice phenomenon. On comprehensive national power (zonghe guoli lun). Harvey (Ed.), Trading culture: Global traffic and local cultures in film and television (pp. Trading cultural commodities or promoting cultural diversity? UNESCO’s new convention. Go with your feelings: Hong Kong and Taiwan popular culture in China. Asian popular culture: The global (dis)continuity. Entertainment media, cultural power, and post-globalization: The case of China’s international media expansion and the discourse of soft power. Berkeley: University of California Press.įlew, T. Playing to the world’s biggest audience: The globalization of Chinese film and TV. South Korea, China sign landmark co-production pact. Hong Kong: Hong Kong University Press.Ĭoonan, C. East Asian pop culture: Analysing the Korean Wave. Hong Kong: Hong Kong University Press.Ĭhua, B. Structure, audience and soft power in East Asian popular culture. International Journal of Communication, 11, 2332–2349.Ĭhua, B. Interpreting the television format phenomenon between South Korea and China through Inter-Asian frameworks. The format age: Television’s entertainment revolution. Durham: Duke University Press.Ĭhalaby, J. Melbourne: Monash University E-Press.Ĭaldwell, J. Complicated currents: Media production, the Korean Wave, and soft power in East Asia. Hong Kong: Hong Kong University Press.īlack, D., Epstein, S., & Tokita, A. Cultural studies and cultural industries in Northeast Asia. Asian Journal of Social Science, 41(5), 453–470.īerry, C., Liscutin, N., & McIntosh, A. Transnational culture in East Asia and the logic of assemblage. The question that arises is: will such East Asian collaboration efforts enable or impede China’s media dream of reaching out to the world stage? Keywordsīerry, C. We then examine some examples of television collaboration and how this is helping to raise China’s profile in East Asia, where it is inevitably tarred with the negative image of the Chinese Communist Party. The next section looks at the Chinese government’s ‘going out’ strategy through the 2014 film co-production agreement with South Korea, and the post-production collaboration that followed it. Whereas the generic term ‘flows’ applies to finished content, an increase in film co-production and formatting activity in the television industry between the two nations leads us to examine other factors including professional relationships and the exchange of creative ideas and technology. The first part of the chapter challenges the concept of cultural and media ‘flows’, arguing that processes and technologies have probably been more instrumental in transforming the Chinese media industries. ![]() The authors examine how Chinese film and television companies have collaborated with their counterparts in South Korea during the past decade. ![]()
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