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A Study on Characteristics of Chinese Localization of a Korean Reality Show: Focused on the Chinese Reality Show Dad! Where Are We Going?

  • Studies in Humanities and Social Sciences
  • Abbr :
  • 2018, (61), pp.1-28
  • DOI : 10.17939/hushss.2018..61.001
  • Publisher : Institute of Humanities and Social Sciences
  • Research Area : Interdisciplinary Studies > Interdisciplinary Research
  • Received : September 12, 2018
  • Accepted : October 23, 2018
  • Published : November 30, 2018

Liu, Jia 1 Sangho Seo 2 Wonjoo Choi 2

1건국대학교 신문방송학과
2건국대학교

Accredited

ABSTRACT

This article aims to compare the objectives and localization processes of the program Dad! Where Are We Going?, hoping to understand the characteristics of Chinese reality show localization and the reasons for localization. Through analysis, it can be seen that the localized Dad! Where Are We Going? mainly retains the advantages of intimacy, guest composition, classic moments, and production results from the original program. It has been adjusted in terms of personnel composition, production content, strengthening of the father-son relationship, increasing contradictions, and special effects. The changes can be explained from three perspectives: policy system, audience market, and cultural field. The conclusions drawn from the analysis of these reasons are of great significance for Korean programs entering the Chinese market in the future, and for the joint development of new variety shows by South Korea and China. Successful localized works will not reproduce the original program. Based on local traditions and assumptions, targeted adjustments and innovations will be necessary based on China’s national conditions and viewing habits. This article aims to compare the objectives and localization processes of the program Dad! Where Are We Going?, hoping to understand the characteristics of Chinese reality show localization and the reasons for localization. Through analysis, it can be seen that the localized Dad! Where Are We Going? mainly retains the advantages of intimacy, guest composition, classic moments, and production results from the original program. It has been adjusted in terms of personnel composition, production content, strengthening of the father-son relationship, increasing contradictions, and special effects. The changes can be explained from three perspectives: policy system, audience market, and cultural field. The conclusions drawn from the analysis of these reasons are of great significance for Korean programs entering the Chinese market in the future, and for the joint development of new variety shows by South Korea and China. Successful localized works will not reproduce the original program. Based on local traditions and assumptions, targeted adjustments and innovations will be necessary based on China’s national conditions and viewing habits.

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