β Scribed by Lauren Gorfinkel
No coin nor oath required. For personal study only.
This book examines music entertainment programmes on China Central Television, Chinaβs only national level television network, as well as on nationally-available provincial channels, exploring how such programmes project a nuanced image of Chinaβs identity and position in the world. It shows how the images presented - primarily to domestic audiences - are in step with Chinaβs party-state nationalism, and at the same time flexible and open to change as Chinaβs circumstances change. The book contextualises identity construction in the media by examining the development of television in China and the political struggles between provincial and national television stations, as well as by foregrounding the historical and contemporary role of musical culture in China's nation-building project. It discusses the portrayal of the majority Han Chinese, and of ethnic minorities and their music, which, the author argues, are shown as fitting with the party-state rhetoric of βa unitary multi-ethnic stateβ. It also outlines how the Chinese of Greater China β Hong Kong, Taiwan, Macao and the overseas Chinese β are incorporated into a mainland centred Chinese identity. In addition, it shows how the performances of foreign personalities on the Chinese television stage emphasise foreigners' attraction to China, the uniqueness of the Chinese nation and Chinese civilisation, and the revitalised role of China in the world. Overall, the book demonstrates how the variations of Chinese identity fit with prevailing political ideologies in China and with the emerging theme of a China-centred world.
Cover
Half Title
Series Information
Title Page
Copyright Page
Table of contents
Foreword
Preface
Note on Romanization and Chinese names
Acknowledgements
Epigraph
1 Introduction: National identity in the Chinese context
Media and the making of a nation
Multiethnic Chinese
Cultural China: re-centring the PRC
Civilizational China: the attraction of foreigners
Notes
References
2 Music-entertainment culture under the Chinese Communist Party
Notes
References
3 Overview of music-entertainment television in China
History of Chinese television
The music-entertainment genre
Music-entertainment programmes on CCTV
Music-entertainment programmes on provincial satellite channels
Music-entertainment programmes on city and county television
Music-entertainment on foreign-owned TV stations in China
Competition and collaboration in the music-entertainment industry
Regulations affecting music-entertainment programming
Conclusion
Notes
References
4 Multiethnic China
The orthodox style: a CCP-led multiethnic China
Fifty-six colourful peripheries, one central red China
Hand in hand, striding towards the future
Yuanshengtai folk songs and authentic minority culture bearers
The CCTV Youth Singing Competition
Folk Songs China
Ethno-pop stars: celebrating hybrid ethnic creativity
Performing Uyghur-Chinese
Performing Korean-Chinese
Performing Han-Chinese
Conclusion
Notes
References
5 Greater China
Global ethnic Chineseness and the re-centring of China
Celebrating the return of Hong Kong
From βMy Chinese Heartβ to βMy Chinese Dreamβ: Zhang Mingmin
Hong Kong pop starsβ co-option of Chinese nationalism
The Same Song in Hong Kong
Celebrating Macauβs return
A child returning to her mother
Happy in China β Charming Macau
Celebrating cultural hybridity
Imagining unification/unity with Taiwan
Re-uniting separated brothers and sisters
Taiwanese pop starsβ co-option of Chinese nationalism
Embracing racial hybridity: Fei Xiang (Kris Phillips)
Performing solidarity with overseas Chinese
The Same Song overseas
Overseas Chinese and the China Dream
Conclusion
Notes
References
6 Foreign identities
Sinophiliac and foreignersβ obsessions with China
Theme songs for Chinaβs international events
Rediscovering exotic China
Marrying China
Internationalizing China with stars from abroad
Red and Black: African Star Hao Ge
Red and White: Russian star Vitas
Learning from the Korean Wave
Cautious nostalgia with Japan
Conclusion
Notes
References
7 Conclusion
References
8 Glossary
Chapter 1 β Introduction
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Index
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