The past two decades witnessed the rise of television entertainment in China. Although television networks are still state-owned and Party-controlled in China, the ideological landscape of television programs has become increasingly diverse and even paradoxical, simultaneously subservient and defiant, nationalistic and cosmopolitan, moralistic and fun-loving, extravagant and mundane. Studying Chinese television as a key node in the network of power relationships, therefore, provides us with a unique opportunity to understand the tension-fraught and , paradox-permeated conditions of Chinese post-socialism. This book argues for a serious engagement with television entertainment. rethinking, It addresses the following questions. How is entertainment television politically and culturally significant in the Chinese context? How have political, industrial, and technological changes in the 2000s affected the way Chinese television relates to the state and society? How can we think of media regulation and censorship without perpetuating the myth of a self-serving authoritarian regime vs. a subdued cultural workforce? What do popular televisual texts tell us about the unsettled and reconfigured relations between commercial television and the state? The book presents a number of studies of popular television programs that are sensitive to the changing production and regulatory contexts for Chinese television in the twenty-first century. As an interdisciplinary study of the television industry, this book covers a number of important issues in China today, such as censorship, nationalism, consumerism, social justice, and the central and local authorities. As such, it will appeal to a broad audience including students and scholars of Chinese culture and society, media studies, television studies, and cultural studies.

Xi Jinping has made his ambitions for the People's Liberation Army (PLA) perfectly clear, there is no mystery what he wants, first, that China should become a "great maritime power" and secondly, that the PLA "become a world-class armed force by 2050." He wants this latter objective to be largely completed by 2035. China as a Twenty-First-Century Naval Power focuses on China's navy and how it is being transformed to satisfy the "world class" goal. Beginning with an exploration of why China is seeking to become such a major maritime power, author Michael McDevitt first explores the strategic rationale behind Xi's two objectives. China's reliance on foreign trade and overseas interests such as China's Belt and Road strategy. In turn this has created concerns within the senior levels of China's military about the vulnerability of its overseas interests and maritime life-lines. is a major theme. McDevitt dubs this China's "sea lane anxiety" and traces how this has required the PLA Navy to evolve from a "near seas"-focused navy to one that has global reach; a "blue water navy." He details how quickly this transformation has taken place, thanks to a patient step-by-step approach and abundant funding. The more than 10 years of anti-piracy patrols in the far reaches of the Indian Ocean has acted as a learning curve accelerator to "blue water" status. McDevitt then explores the PLA Navy's role in the South China Sea and the Indian Ocean. He provides a detailed assessment of what the PLAN will be expected to do if Beijing chooses to attack Taiwan potentially triggering combat with America's "first responders" in East Asia, especially the U.S. Seventh Fleet and U.S. Fifth Air Force. He conducts a close exploration of how the PLA Navy fits into China's campaign plan aimed at keeping reinforcing U.S. forces at arm's length (what the Pentagon calls anti-access and area denial [A2/AD]) if war has broken out over Taiwan, or because of attacks on U.S. allies and friends that live in the shadow of China. McDevitt does not know how Xi defines "world class" but the evidence from the past 15 years of building a blue water force has already made the PLA Navy the second largest globally capable navy in the world. This book concludes with a forecast of what Xi's vision of a "world-class navy" might look like in the next fifteen years when the 2035 deadline is reached.

This book explores how political, economic, social, cultural and technological forces are (re)shaping the meanings of love and intimacy in China's public culture. It focuses on a range of cultural and media forms including literature, film, television, music and new media, examines new cultural practices such as online activism, virtual intimacy and relationship counselling, and discusses how far love and romance have come to assume new shapes and forms in the twenty-first century. Love Stories in China offers deep insights into how the huge transformation of China over the last four decades has impacted the micro lives of ordinary Chinese people.

The Chinese system is like no other known to man, now or in history. This book explains how the system works and where it may be moving. Drawing on Chinese and international sources, on extensive collaboration with Chinese scholars, and on the political science of state analysis, the author concludes that under the new leadership of Xi Jinping, the system of government has been transformed into a new regime radically harder and more ideological than the legacy of Deng Xiaoping. China is less strong economically and more dictatorial politically than the world has wanted to believe. By analysing the leadership of Xi Jinping, the meaning of ‘socialist market economy’, corruption, the party-state apparatus, the reach of the party, the mechanisms of repression, taxation and public services, and state-society relations, the book broadens the field of China studies, as well as the fields of political economy, comparative politics, development, and welfare state studies. ‘A new interpretation of the Chinese party-state—shows the advantage that derives from a comparative theorist looking at the Chinese system.’ —Tony Saich, Harvard University ‘This is an excellent book which asks important questions about China’s future. In a lively and persuasive manner, the author vividly analyses key data in a comparative and theoretical manner. Far and away the best introduction to how the CCP dictatorship works.’ —Edward Friedman, University of Wisconsin-Madison ‘There is no lack of scholars and pundits abroad who tell us that dictatorship in China is for the greater good. In a timely and engagingly written book, Stein Ringen systematically demolishes all the components of this claim.’ —Frank Dikötter, University of Hong Kong ‘Stein Ringen shows how the Chinese state has used both fear and material inducements to build a “controlocracy” of a size and complexity unprecedented in world history. Perfect as a dictatorship, but brutal, destructive, and wasteful. The author’s encyclopedic understanding of his topic is based on a mastery of relevant scholarship and is delivered in clear, no-nonsense prose that bows to no one. Ideal as a textbook.’ —Perry Link, University of California, Riverside ‘China is a complex country, and there is a range of reasonable interpretations of its political system. Professor Ringen’s interpretation is different than my own, but China watchers need to engage with his thought-provoking and carefully argued assessment. If current trends of repression intensify, less pessimistic analysts will need to recognise that Ringen’s analysis may have been prescient.’ —Daniel A. Bell, Tsinghua University ‘Inspirational and trenchant. Stein Ringen’s book is a must-read to understand China’s politics, economy, ideology and social control, and its adaptability and challenges under the CCP’s rule, especially in the 21st century.’ —Teng Biao, Harvard Law School and New York University ‘Stein Ringen’s insights as a prominent political scientist enable a powerful examination of the Chinese state in a penetrating analysis that reaches strong conclusions which some will see as controversial. The book is scholarly, objective, and free from ideological partiality or insider bias. Whether one ultimately wishes to challenge or embrace his findings, the book should be read.’ —Lina Song, University of Nottingham Click on these links for more information: Blog: https://thechinesestate.com/ Facebook: https://www.facebook.com/stein.ringen.7/about

Due to high audience numbers and the significant influence upon the opinions and values of viewers, the political leadership in China attributes great importance to the impact of television dramas. Many successful TV serials have served as useful conduits to disseminate official rhetoric and mainstream ideology, and they also offer a rich area of research by providing insight into the changing Chinese political, social and cultural context. This book examines a group of recently released TV drama serials in China which focus upon, and to various degrees represent, topical political, social and cultural phenomena. Some of the selected TV serials reflect the present ideological proclivities of the Chinese government, whilst others mirror social and cultural occurrences or provide coded and thought-provoking messages on China’s socio-economic and political reality. Through in-depth textual analysis of the plots, scenes and characters of these selected TV serials, the book provides timely interpretations of contemporary Chinese society, its political inclinations, social fashions and cultural tendencies. The book also demonstrates how popular media narratives of TV drama serials engage with sensitive civic issues and cultural phenomena of modern-day China, which in turn encourages a broader social imagination and potential for change. Advancing our understanding of contemporary China, this book will appeal to students and scholars of contemporary Chinese culture, society and politics, as well as those with research interests in television studies more generally.

This collection of essays brings together the first comprehensive study of TV drama in China. Examining in depth the production, distribution and consumption of TV drama, the international team of experts demonstrate why it remains the pre-eminent media form in China. The examples are diverse, highlighting the complexity of producing narrative content in a rapidly changing political and social environment. Genres examined include the revisionist Qing drama, historical and contemporary domestic dramas, anti-corruption dramas, "pink" dramas, Red Classics, stories from the Diaspora, and sit-coms. In addition to genres, the collection explores industry dynamics: how TV dramas are marketed and consumed on DVD, and China's aspirations to export its television drama rights. The book provides an international and cross-cultural perspective with chapters on Taiwanese TV drama in China, the impact of South Korean drama, and trans-border production between the Mainland and Hong Kong.

This book surveys the explosive youth culture in twenty-first century China, an active and powerful force catalysing cultural innovations, social changes, and collective efforts, re-inventing a pluralistic and multivalent youth (qingnian) in an age of enormous change, division and uncertainty. Providing a comprehensive analysis of literary, cinematic, musical, televisual, and social media representations about, for and by disparate youth groups, this book seeks to offer a systematic investigation of a trans-medial and multi-locale youth culture. In so doing, it examines contributions from high school dropouts, industrial workers, migrant laborers and "leftover women", as well as best-selling writers and filmmakers, cultural entrepreneurs, queer idols and fans, and young feminist activists. Observing the Chinese youths’ deployment of "small" genres, such as light novels and short videos, in addition to digital media, this book ultimately demonstrates the renewal of cultural forms and the transformative power of networked "small" atomized individuals in reinventing a youthful coalition of silenced, belittled, and marginalized groups. A thoroughly interdisciplinary study, Youth Economy, Crisis, and Reinvention in Twenty-First-Century China will be useful to students and scholars of Chinese culture and society, as well as Literary Studies, Cultural Studies, Gender Studies and Media Studies.

How are different groups of people such as sex workers, migrant workers, rural cadres and homosexuals represented in China’s media? How accurately do representations created by the media reflect the lived experiences of Chinese people? Do Chinese people accept the representations and messages disseminated by the media? Can they use the media to portray their own interests? How are media practices in China changing? Have new technologies and increased access to international media opened up new spaces for struggle in China? The essays in this volume address these questions by using a combination of ethnography and textual analysis and by exploring representation in and usage of a range of media including instant messaging, the internet, television, films, magazines and newspapers. The essays highlight highlights the richness, diversity, and sometimes contradictory tendencies of the meanings and consequences of media representations in China. The volume cautions against approaches that take the representations created by the media in China at face value and against oversimplified assumptions about the motivations and agency of players in the complex struggles that occur between the media, the Chinese state, and Chinese citizens.

Television is a massive industry in China, yet fewer people are watching television screens. This ground-breaking study explores how television content is changing, how the Chinese government is responding to the challenges presented by digital media, and how businesses are brokering alliances in both traditional and new media sectors.

This book examines Chinese film in the twenty-first century. Organized around the themes "movements," "genres," and "intermedia," it reflects on how Chinese cinema has changed, adapted, and evolved over past decades and prognosticates as to its future trajectories. It considers how established film genres in China have adapted and transformed themselves, and discusses current shifts in documentary filmmaking, the ethos and practices of "grassroots intellectual" independent filmmakers, and the adaption of foreign film genres to serve the ideological and political needs of the present. It also explores how film is drawing on the socio-historical and political contexts of the past to create new cinematic discourses and the ways film is providing a voice to previously marginalised ethnic groups. In addition, the book analyses the influences of past aesthetic traditions on the creative and artistic expressions of twenty-first-century films and cinema’s relation to other media forms, including folktales, moving image installations, architecture, and painting. Throughout, the book assesses how Chinese films have been conceptualized, examined, and communicated domestically and abroad and emphasizes the importance of new directions in Chinese film, thus highlighting the plurality, vitality, and hybridity of Chinese cinema in the twenty-first century. Chapter 10 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.