Chinese TV Drama Production Mechanism and Mainstream Drama

Ko Yoonsil

doi:10.18212/cccs.2018..41.016

After China’s economic reform, in order to meet the needs of the times, that is, promotion of economic recovery and modernization, the West that had been the enemy was changed to the object of learning and imitating, and thus the necessity of ideological security came to the fore. In addition, in order to adjust the various contradictions in the national policies, institutional arrangements came to be made. After the basis of China’s establishment, its socialism ideology and economic reform, the censorship regulation was formed in the middle of conflicts and contradictions between modernization and market ideology as well as various political and structural competences including maintenance of social orders and ideological security. Especially, in this age of post-socialism when it is certain that revolution idealism would vanish, the censorship regulation is working as the mechanism of regulations and prohibitions to conceal the ideological vacuum of drama contents, establish ideological security, and maintain social orders. The drama censorship regulation is at the core of the drama production system in China. As the influence of capital increased in the period of economic transition, Chinese officials have tried to protect mainstream ideology and give ideological identity to cultural contents. The formation and enhancement of the censorship regulation could be considered to be an ideological reaction against the fact that market ideology would dominate mainstream ideology in the period of economic transition. All the drama contents in China are adjusted by Chinese officials’ ideology through this censorship regulation. Particularly, as the example of standardization in the period of economic transition, mainstream dramas started to suggest the ideological standard of drama contents depending on the censorship regulation. Since the decline of revolution idealism, mainstream dramas have played the role of producing ‘universal ideology’ to conceal ideological vacuum, establish ideological security, and maintain social orders. The purpose of this study is, targeting the 1980s when the drama system started to be organized in earnest, to examine the process of the formation of the censorship regulation and grasp the ideological strained relations depending on the political and social changes in the contemporary society of China. Then, this study tries to analyze the narrations of typical mainstream dramas to examine how mainstream ideology would change and operate, because mainstream dramas are important in grasping the ideological effects and operating ways as they are important means of propagating ideology and are typically influenced by the regulatory mechanism of the censorship regulation in the whole stages of planning and production. Lastly, this study intends to examine how mainstream dramas would function ideologically. Although mainstream dramas are producing universal ideology for maintenance of social orders, they are also clearly concealing the functional vacuum of mainstream ideology, simultaneously.

Citation status

KCI Citation Counts (3)
열림/닫힘 버튼
REFERENCES (23)
열림/닫힘 버튼
* 2021년 이후 발행 논문의 참고문헌은 현재 구축 중입니다.

[thesis] 杜芳 / 2015 / 主旋律影視劇表達主流意識形態硏究 / 博士 / 大連理工大學

[journal] 孫家正 / 1997 / 關於重大革命歷史題材影視創作的幾個問題 / 中國電視 (9)

[thesis] 汪洋 / 2011 / 新世紀主旋律電視劇的嬗變與類型 / 碩士 / 上海戲劇學院

[journal] 謝貝玲 / 1989 / 重大革命歷史題材影視創作的思考 / 電影通訊 (12)

[thesis] 楊旦修 / 2011 / 規制與發展-中國電視劇産業化進程硏究 / 博士 / 南京大學

[thesis] 張永峰 / 2011 / 中國電視劇的生產體制與人格形象(1979-1993) / 博士 / 上海大學

[journal] 張永峰 / 2014 / 中國電視劇審査制度的形成 / 新聞大學 (1)

[book] 가라타니 고진 / 2007 / 세계공화국으로 / 도서출판b

[book] 조르조 아감벤 / 2009 / 예외상태 / 새물결

[book] 슬라보예 지젝 / 2015 / 까다로운주체 / 도서출판b : 305~

[journal] 고윤실 / 2016 / A Look into a Media Landscape Created by the Official Discourse and Civil Sentiment of Contemporary China: With a Focus on Dramas Weizhuangzhe and Langyabang / 중국현대문학 / 한국중국현대문학학회 (79) : 57~82

[journal] 고윤실 / 2016 / A Flow of Generative Change and Ideological Convergence in Chinese Media Policies / 비교문화연구 / 비교문화연구소 44 : 123~145 / 10.21049/ccs.2016.44..123

[web] / http://cpc.people.com.cn/GB/64162/64168/64563/65374/4526454.html / http://cpc.people.com.cn/GB/64162/64168/64563/65374/4526454.html

[web] / http://cpc.people.com.cn/GB/64162/64165/74856/74964/5150950.html / http://cpc.people.com.cn/GB/64162/64165/74856/74964/5150950.html

[other] / 2001 / 激情燃燒的歲月 / 康洪雷導演, 陳枰編劇, 22集

[other] / 2005 / 亮劍 / 都梁、江奇濤導演，都梁、江奇濤，30集

[other] / 2006 / 闖關東 / 張新建⋅孔笙導演，高滿堂、孫建業編劇，52集

[other] / 2009 / 我的團長我的團 / 康洪雷導演，蘭曉龍編劇，43集

[other] / 2011 / 我是特種兵 / 劉猛導演⋅編劇，25集 (網絡小說『最後壹顆子彈留給我』改編)

[other] / 2012 / 懸崖 / 劉進導演，全勇先編劇，40集

[other] / 2015 / 僞裝者 / 李雪导演，张勇编剧，48集

[other] / 2017 / 人民的名義 / 李路導演，周梅森編劇，52集

[other] / 2006 / 士兵突擊 / 康洪雷导演，兰晓龙编剧，30集

이 논문은 한국연구재단의 지원을 받아 작성되었습니다.

KJC Korea
Journal Central

Statistics

Tools

Sharing

Issue List

Citation status