胡智锋：面对亿万观众：中国电视的历史进程、现状问题与未来发展展望 - 传媒教育网

Good afternoon, everyone! I am very glad to be here. This university is one of the most famous universities in the world. I have been to this country for many times , but I did not have chance to be here. So today I am very pleased to visit the university.

There are 2 reasons why I would like to talk about this topic. The first is that from the perspective of media development, Chinese media is unique, and it takes a different path from media in other countries; therefore, we can study the media and better understand different paths of world’s media development as well. The second reason is that from the perspective of China itself, Chinese media has important influence on China’s politics, society and culture ; therefore, we can have deeper understanding about China.

It is impossible talk into every detail about the 60 years’ development of Chinese TV, so I picked out some stories, phenomenon and landscape to express my thoughts on Chinese TV’s past, present and future.

I divided these 60 years into 3 periods, each 20 years in each period. The first period is from 1958 to 1978, the second is 1978-1998, the third is 1990 to present. And each period shows its time feature in terms of content production. Namely, the first period is dominated by “propaganda materials”, the second one is dominated by “works”, and the third one was dominated by “products”. The so-called “propaganda materials” refer to the TV contents based on ideology, “works” refer to TV contents based on professionalism, “products” refer to TV contents driven by the market. So let’s taste the evolution of the 3 types of contents.

In 1958, China was recovering from The Korean War, and finished its socialist transformation on capitalist industry and commerce. Though China was still in poverty, compared to the days in 1949 when we just finished our civil war, it has been much better. In that relatively enclosed environment, leaders of China started to fancy about “catching up with UK and US” and achieve communism, so “Great Leap Forward” became the catchword and characteristic of those years. Then television programs stared to appear in China.

Mr. Zhao Zhongxiang was the first male announcer in China, also the most influential announcer and host in the history of China’s television. He was still a senior in high school when he was selected among Beijing students. At that time, there were just 300 TVs in China, so his family couldn’t understand what the boy was doing, and they though he was engaged in confidential works.

Mr. Chen Hanyuan was one of the earliest TV documentary producers. He was temporarily transferred to Beijing TV station, the same TV station that Mr. Zhao Zhongxiang worked in, and also the only TV station in China at that time. In 1978, Beijing TV station was changed to China Central Television. When his family asked him about what Beijing TV station was, he initially thought this was a power plant.

A Bite of Vegetable Cake was the first teleplay in China. It described the miserable experience an elder sister shared with the younger ones that their mother got a bite of vegetable cake and left the cake to children, then died herself. This teleplay echoed with the education of “recalling sufferings of the old society”.

Rent Collecting Yard was the most influential documentary of the first period. It fit the Class Struggle education and triggered new generation’s hostility on landlord class by telling the story of landlord Liu Wencai who cruelly exploited and prosecuted local peasants. The commentary of this documentary was also included into Chinese textbooks; therefore, it influenced several generations afterwards.

China was going through Cultural Revolution during those years, so China’s television was mostly influenced by left-wing trend. There was strong educational signs on the promotion of propaganda materials. From the perspective of form, we can see that Chinese television was imitating other media and art which had longer history, such as imitation of newsreel on shooting, imitation of broadcast on reporting, imitation of news agency on the classification of form, imitation of newspaper on text comments. Overall, Chinese television had not formed its own media and art characteristics. (PICTURE)

1978 was the turning point in China’s development. In 1978, the Third Session of the Eleventh Central Committee of the CPC was held, on which Cultural Revolution was announced end, and China stared to enter the time of economic development centric period named “Reform and Opening-up”. Chinese television also entered a new era. I divide this period into 2 stages, 1980s focused on form innovation and 1990s focused on idea innovation.

Two important events happened in 1980s. The first one happened in 1982 when the “broadcast television” ministerial organization can be found in the cabin list of China’s central government. This represented the rising of Chinese television. The second event happened in 1983 when the first Minister of that department Mr. Wu Lengxi, who used to be Chairman Mao’s secretary, put forward the idea that television development should take its own path in the 11th National TV & Broadcasting Conference. This idea strongly encouraged people in TV industry not to follow the step of other types of media; instead, they should explore the unique media and art features of television. So in these innovative 20 years, the core of Chinese television contents changed from propaganda materials to works, namely creative contents presenting creator’s characteristics.

First innovation: from non-serial teleplay to serial teleplay. People used to regard teleplay as the TV version of stage play and feature film, at least from its length. However, when Chinese teleplay producers went abroad, they got influenced by overseas teleplays, most of which were serial plays, and they started to change. The first serial teleplay was 18 Years in Enemy’s Camp (1981).

Second innovation: from enclosed stage to open life. Teleplays went from telling stories about ordinary people’s life to showing the presence and history of society. For example, New Star (1985) used Li Xiangnan, the head of a county facing reforming challenges, as the main character; The Last Emperor (1987) pictured the life of China’s last emperor in Qing Dynasty Pu Yi.

During this period, a very important TV show was produced, which was broadcast at Chinese Spring Festival, named Spring Festival Gala. The first Spring Festival Gala in 1983 was around 5-6 hours, made up of singing, dancing, comic talk, sketch, acrobatics, Chinese opera, to name but a few. That gala show adapted to the tasted of Chinese people in various age groups, ethnic groups and regions. It has been the most influential show in China’s TV history with the rating above 90%. Perhaps, this is the most watched program in the world.

The first time the title “host” was shown on TV was in a news program called Observing and Thinking (1980). And “host” became to be accepted by audience when Mr. Chen Duo and Ms. Hong Yun (both were China’s respectful hosts) in Discovering the Yangtze River and Discovering the Canal used recitation plus narration to impress audience.

The most influential hosts during this period were Zhao Zhongxiang, Song Shixiong and Ni Ping. In the dubbing for documentary Animal World, Zhao added humanized content and changed the rigid style. Song devoted passion into the sports commentary and strongly triggered audience’s enthusiasm. Ni had the style of casual talks and used words from oral language rather than the formal and official expression used in the past. All these made “host” approachable for audience.

Odyssey Of The Great Wall (1991) marked the start of TV documenting. It changed conventional enclosing creation to open creation, specifically from theme leading to theme following, from set-up shooting to on-the-spot shooting. The wide use of actual sound and full-length shot became key technical features for maintaining the originality.

At 7:00, April 1st, 1993, a new program named Oriental Horizon was launched, making it the first big program under the TV producer mechanism. It has fixed content form and airtime. At that time, this kind of program was rare as most programs were single TV program with unfixed airtime and duration; for example, a serial teleplay had 10 episodes, but due to different directors, each episode might have different duration. Oriental Horizon was no longer a program with director at the center of production, instead it was producer-centric no matter in topic selection, detailed production, lighting, setting or host’s time limit on asking questions. This standard production made it possible to achieve mass production as it had unified technical standard, and laid foundation for marketization and industrialization of TV program. Since then, China’s TV industry entered program-centric era. Another contribution of Oriental Horizon was its incubation of excellent producers and hosts for China’s TV industry.

In 1996, Tell It Like It Is was produced as a Chinese styled talk show. It changed people’s conventional idea about TV program as they always thought program was shot out not spoken out. While Tell It Like It Is was mostly based on talking. It involved ordinary people to be the speaker so that this move was considered as “discourse democracy” for Chinese audience.

Since 1958 when TV program appeared in China, programs were mostly live broadcast. After 1978, recorded broadcast was born with development of technology, and quality of programs got much better after editing. However, in the following 20 years, when significant news occurred, TV media’s influence would be greatly reduced without live broadcast. 1997 was called the “Year of Live Broadcast” with 3 major live broadcast: the closure of Xiaolangdi Dam of The Yellow River, the orificing of Three Gorges of the Yangtze River and the return of Hong Kong to China. These helped Chinese TV programs find the keys to release their media influence.

In 1998, Happy Camp from Hunan Province kicked off the entertainment trend in China. This show had no educational purpose, but just was star reality show which made audience relaxed and laugh. Since then, this type of program turned to be really popular.

After the rise of entertaining programs in 1998, many reality shows were then introduced from foreign countries, and China’s TV content producing entered the product dominating period. The 3 most representative types were: livelihood news program , entertainment program and Genre teleplay.

It is the opposite of political news program. This program reports on the livelihood problems of ordinary residents, such as problems on employment, housing, education, medical treatment, marriage, legal issues. Because it is close to daily life, this type of program is highly welcomed by audience and hundreds of TV stations launched it. It started in 1999 with Night News in Heilongjiang province, the northernmost one in China and On the Spot in Fujian province, the most southeast province, and got to the climax in 2001 with Deep Touch of Nanjing in Jiangsu Province which generated revenue of 2 billion RMB, the record in programs of this type.

It all started with programs like Happy Camp, and the introduction of overseas program made talent shows won the highest ratings and revenue. Quiz shows like Happy Dictionary, Lucky 52, 6+1, talent shows like CCTV avenue of star, Super Girl (derived from American Idol) created miracle in ratings. In recent years, the most popular ones have been The Voice of China and China’s Dream Show.

Teleplay started to get separated from media in the late 1980s, and became marketized. The exploration and accumulation of genres have helped teleplay grow its own industrialization model. The most influential ones are：

China’s TV content producing has been developing along the path of “propaganda material”, “works” and “products” for 60 years. Today’s China is faced with the impact of Internet and media convergence. I personally cannot predict where China’s TV industry is going to, but what can be foreseen is that there might be 2 directions to choose: one is to be captured by Internet, however this is not easy though many TV professionals have jumped to new media industry; the other is the development of new media inside the TV itself and blend new media into TV, which turns to be the most pervasive choice by TV stations.