Abstract
In recent years, the Chinese media has grown vastly with the country’s interest in the investment in the developing countries. As the relationship with these countries become, so as the influence of Chinese culture towards the nations through the ever-growing Chinese media. Since the implementation of significant projects in Africa, Caribbean and Asia countries by Chinese government, the Chinese media have been characterized in localizing their TV contents to compete with the host countries and stretching their sense of soft power to these nations. Although they have faced significant challenges in terms of cultural difference, and technological development, the Chinese reality TV shows have continued to be part of the regular host countries' TV program diet while facing fierce standpoint from the initial global dominant media in these markets. This paper analyses these trends in focus on the Chinese reality TV shows that have hit the host countries' market as well as the motivation of their evolution. The article traces the extent of these strategies to be leveraged by states to balance their local production and foster cordial relation with China in a context of edutainment. It is imperative to analyze the development of this crucial phenomenon in the ontological perspective of the internationalization and marketization of products. The article addresses these issues by drawing attention from different players in this conspicuous field.
Highlights
The trend of glocalization of reality TV shows is becoming increasingly prominent recently in the context of edutainment
This article explores the extent of the Chinese reality TV shows on its inception to what it could be termed as the transformation to the outside world with the marketization characteristics
It is worth noting that the significant trend of the development of the reality shows by the Chinese is skewed to the adaptation of the western and European paradigm of infotainment
Summary
The trend of glocalization of reality TV shows is becoming increasingly prominent recently in the context of edutainment. Zhang and Guo, (2012) argue that the Reality TV shows in China are imported goods which is the continuous introduction and research of the country, that has taken root and gradually the country has begun to form its brand. Due to the characteristics of the novel form, China's reality TV program in recent years has shown a blowout type of development (Richeri, 2016). The performance environment for these reality TV shows has transformed from the initial field to the indoor, studio and concert-style of the giant stage. The audience is directly addicted to the colorful style of these TV shows (Takahashi et al, 2015; Zhang & Guo, 2012), making them accessible in the technological age in China
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