China Central Television Research Articles

Breaking through the "Tower of Babel": Exploratory Research on the International Communication Practice of Artificial Intelligence Generating News

With the deepening influence of artificial intelligence on the production mode of news and the increasing application of technological innovation in cross-border communication, this study found that artificial intelligence can solve the communication dilemma of language in cross-cultural communication revealed in the myth of the Tower of Babel through language translation and empathetic communication strategies. The literature review section introduces the basic concepts of cross-cultural empathy communication and the practical application of artificial intelligence-generated news in international communication. Multiple case studies were used in the research method, based on the specific practices of major media outlets including Xinhua News Agency, People's Daily, China Central Television, Associated Press, New York Times, and CBS in the application of intelligent technology. The research results indicate that the application of intelligent technology in the news production process has significantly improved work efficiency and promoted innovation in news production models at three levels: technical logic, media logic, and capital logic. The conclusion drawn from this article is that the deep involvement of generative artificial intelligence technology in the news production process can help build a new production mechanism that balances efficiency and responsibility and promotes the comprehensive improvement of efficiency and quality in cross-cultural communication. Future research will continue to focus on the empirical application of intelligent technology in news production, further optimizing news production models, and providing new perspectives and methods for developing the media industry.

The digital transformation and future development trends of CCTV1 programs

As one of China's most authoritative and credible television media platforms, China Central Television (CCTV) has a long history and a vast audience base. However, facing the dual challenges of audience attrition and competition from emerging media, CCTV cannot afford to be complacent. Today, with the gradual maturation of digital technology, CCTV is actively promoting digital transformation to enhance media competitiveness and ensure it meets the ever-changing needs of its audience. This is not only a necessity for keeping pace with the times but also an important measure to gain the favor and recognition of the new era's audience. This article will showcase CCTV's significant achievements in cross-platform dissemination, program content diversification, enhancing program-audience interaction, and program personalization. The programs cover a wide range of themes and formats, catering to the needs and interests of different audience groups. Additionally, the article will analyze the development trends of CCTV programs in terms of diversification, interactivity, and personalization, as well as the future development directions of personalized content creation, audience interaction technology application, and the use of emerging technologies.

Communicating the authentic China: partnership agreements and the use of Chinese sources and voices by Brazilian media

This paper explores China’s public diplomacy in Brazil by focusing on the use of media partnership agreements that allow Beijing to gain greater agency in shaping the country’s image in the region. We examine the partnership between China Central Television and Brazil’s BandNews TV and the co-production of Mundo China, a short news segment solely focused on stories about China. By conducting quantitative content analyses, we assess the ways in which Chinese sources and voices are used on BandNews TV to communicate the authentic China to Brazilian audiences, and we seek to identify any possible correlation with the tone with which China is presented. The results show that Chinese sources and voices are a prominent feature on BandNews TV, and their use is accompanied by a more positive tone than in the way China is depicted on other channels. Additionally, the use of Chinese correspondents signals a partnership that exceeds the co-production of Mundo China. Finally, the data reveal that Chinese media engagement with other broadcasters is also bearing fruit.

Television documentaries of the People's Republic of China (using the example of CCTV)

Television documentaries in China, especially on the largest national television channel China Central Television (CCTV), is a unique object of research reflecting a wide range of socio-cultural, political and technological aspects of the development of Chinese society. CCTV is not only an important information and entertainment source, but also a powerful tool for influencing public opinion, forming national identity and promoting public policy. The analysis of the history of the development of television documentaries in China reflects the influence of political events and socio-cultural changes on its evolution. Starting from the early stages of the development of Chinese television, when it served as a tool of state propaganda, and up to the present, when new topics and genres appeared, the study will help to understand how television documentaries have become an important element of cultural heritage and a means of public communication. The organizational structure of CCTV, as a key player in the Chinese media space, plays a significant role in shaping content and influencing public opinion. The method or methodology of the study. The methodology of this study is devoted to a comprehensive analysis of television documentaries in China with an in-depth examination of the example of China Central Television (CCTV). This methodology is based on a comprehensive study of historical, cultural, political and technological aspects of the development of television documentaries in China. The study of television documentaries in China, with a focus on the example of China Central Television (CCTV), provides a significant contribution to understanding the diverse aspects of the formation and impact of this media format in the context of Chinese culture and society. The scientific novelty of this study is manifested in several key aspects. Firstly, an extensive historical analysis reveals the evolution of television documentaries in China over various periods, emphasizing the influence of political changes and socio-cultural factors on its development. Secondly, the structural analysis of CCTV reveals the organizational mechanisms that form documentary projects. Considering the interaction between the structure of the channel and the content of programs makes it possible to understand what factors influence the formation and implementation of documentary initiatives, as well as how these factors are related to public policy. The third important achievement is the thematic analysis, which highlights the main themes and directions of documentary on CCTV.

Behind the Lens: Exploring the 'Frontline of China's Diplomacy’ Video Production Practice

The 'Frontline of China's Diplomacy' Vlog, produced by China Central Radio and Television (CCTV), has added a fresh viewpoint to news reporting in the mainstream media by providing first-person accounts of key events like visits by Chinese leaders. Although vlogs have been widely used in various fields, most of the existing literature on vlogs focuses on the characteristics, advantages, and challenges of this new form. Scant studies explore the advantages and disadvantages of vlogs on news reporting and audience perception. To this end, the effect of VLOG on news is investigated using in-depth interview. Findings conclude that vlogs in news reporting have some benefits, such as enhancing and expanding the mainstream media news exposure, making related news more accessible and interesting, and improving the user experience through interactive communication. The study does, however, note some difficulties, including the possibility for news information to become muddled as a result of strong personal influence, the usage of rotating anchors which may not align with traditional vlog creation, and the recognition that ‘Vlog+News Report’ cannot replace the strengths of in-depth reporting by mainstream media. As a result, this study suggests that the vlog format may not be suitable for regular use in in-depth news reporting in mainland China.

Study on the Influence of Games on the Communication of Regional Culture at Home and Abroad Taking Genshin Impact as an Example

China Central Television once claimed that game designing can be seemed as the ninth art since many game companies know how to show elements in reality to players and lead to discussion. The relationship between sender and receiver is an important way to spread and discuss the various kinds of regional cultures. Genshin Impact, which is an open-world adventure game designed by Mihoyo, is popular at home and abroad due to its presentation on different cultures. The paper explores three ways in Genshin Impact to spread and communicate different culture through a method of researching as much cultural communication-related paper as possible on China National Knowledge Infrastructure and summarizing into the three ways. The three ways are environment and plot designing, character designing and activity designing. Eventually, the paper finds that Genshin Impact using participatory culture to achieve cross-culture communication. Firstly, during the playing process, it can hold culture receivers and build community connections. Secondly, the interests and values it shows in the cultural presentation strengthen the meaning and value of cultural communication. Thirdly, Mihoyo company uses multi-channel and multi-form narratives across media, linking online and offline, to shape the communication environment of culture from the Internet to real life and encourage domestic and international players to develop multiple views and personalized thinking and create production and dissemination of new content related to the game on culture communication.

Rebranding China through facsimiles: A study of mubanshuiyin reproductions in PRC’s art diplomacy and soft power building, 1952–79

In September 2022, China Central Television released a five-episode documentary about Rongbaozhai, one of the oldest stationery companies and art galleries in China, to celebrate its 350th anniversary. This was part of the global propaganda aiming to reintroduce traditional Chinese cultural brands and their products under Xi’s art and culture policy of ‘telling China’s stories well’. One of the episodes is dedicated to the woodblock facsimiles of traditional Chinese paintings (mubanshuiyin) that Rongbaozhai produced in the 1950s and 1960s following Mao’s literature and art policy. However, the perspective of the storytelling is almost entirely focused on technical details. Little has been mentioned about these exquisitely crafted prints’ political function as specimens to demonstrate PRC’s cultural orthodoxy to traditional Chinese arts and crafts and its resolution of restoring Chinese cultural heritage. Drawing on archival materials, memoirs of former employees and a case study of the first mubanshuiyin reproduction – zanhua shinü tu (Court Ladies Wearing Flowered Headdresses) – this article traces the development of this unique art form during its golden age when it was marketed as both diplomatic gifts and souvenirs and a paradigm of collective craftsmanship by proletariat artisans. As a frequently used gift-giving practice for culture promotion, this article also unveils the contribution of mubanshuiyin reproductions to China’s soft power building and early art diplomacy from the 1950s to 1970s.

Re-conceptualizing cultural dissemination in the lens of translational spaces: a case of the English dubbed Journey to the West

ABSTRACT The Chinese classic TV series Journey to the West was dubbed into English by China Central Television in 2020. While it enjoys some popularity in the English-speaking world, many Chinese viewers learn English from this dubbed drama, aided by timely danmu dictionaries and back translations. This article delves into the directions of this dubbing’s dissemination by utilizing translational spaces, a conceptual tool substantiated by incorporating the concept of diaspora. It contends that the dubbing possesses a diasporic nature and is somewhat situated in the ‘third space’ through intercultural adjustments. There is no contradiction between the ‘outgoing’ of Chinese culture and the ‘inward’ flow for Chinese viewers learning English or seeking entertainment. The dichotomous ‘in-and-out’ mindset might be discarded, given the reality of multi-/non-/anti-directional dissemination. The perspective of translational spaces allows us to witness a collective online carnival sparked by cultural untranslatability, where multiple purposes and pursuits are celebrated. This challenges the notion of translation as a straightforward, single-directed practice and illuminates the mechanism of cross-cultural exchange through audiovisual translation in the current digital age.

Presentation of Chinese Rural Society in Documentary Films on Rural Revitalization: An Analysis

On January 1, 2011, in order to promote a better global understanding of China, China Central Television’s Documentary Channel began broadcasting 24 hours a day worldwide. With the launch of the documentary channel, documentaries officially entered the field of vision of ordinary Chinese citizens, serving as a medium to record the lives of the Chinese populace and presenting their authentic everyday lives and personal stories to the world. This also left behind precious social memories in the rapidly developing China (Wu Haili, 2013). As an agricultural powerhouse, rural areas constitute a significant component of Chinese society, retaining rich historical and cultural traditions. Farmers carry immense spiritual strength and touching narratives, prompting numerous socially responsible documentary filmmakers to turn their cameras towards China’s countryside and its people. This effort has led to the creation of a substantial number of outstanding documentary films centered on Chinese rural themes. Chinese rural-themed documentary films have emerged as prime artistic samples reflecting rural societal conditions and transformations. This paper focuses on the rural society portrayed in documentary films with rural themes and analyzes how these films depict various aspects of China’s rural society, such as economic production, living environment, education, and employment, within the context of rural revitalization documentaries. Through the analysis and examination of this theme, the paper elucidates the genuine face of China’s rural society and its monumental changes depicted in these documentary films, providing a comprehensive perspective and a macroscopic view for the creation of related documentary works (Mao Yurong, 2022).

How Has Online Digital Technology Influenced the On-Site Visitation Behavior of Tourists during the COVID-19 Pandemic? A Case Study of Online Digital Art Exhibitions in China

The COVID-19 pandemic has had a significant impact on the global tourism industry, leading to a decrease in peoples’ willingness to travel and a sense of insecurity regarding tourist destinations. Therefore, restoring people’s willingness to travel is the greatest challenge faced by this industry in the post-pandemic era. The tourism industry requires innovative solutions to achieve sustainable recovery. While there is a considerable amount of research on its recovery during the pandemic, there are few studies exploring people’s willingness to travel to encourage sustainable and resilient recovery in the post-pandemic era. This study employed a quality model to examine the satisfaction and intention of tourists towards the application of online digital art exhibitions under the influence of COVID-19. The aim was to investigate the promoting role of online digital art exhibitions in the sustainability and resilient recovery of the tourism industry. To achieve these objectives, this study focuses on the online digital art exhibition of Song Dynasty figure paintings launched by China Central Television (CCTV), with post-exhibition surveys conducted and 512 valid questionnaires collected. The research model and hypotheses are tested using structural equation modeling. The results of this study indicate that travelers’ intentions to engage in on-site visits through online digital exhibitions are determined by three factors: perceived value, satisfaction, and art therapy. Furthermore, online digital art exhibitions not only represented the most important form of tourism during the pandemic, but they also provided significant psychological healing. They have become a driving force for the transformation of the current culture and tourism industry and the promotion of its sustainable development. This research provides a benchmark for future research on the tourism industry, and it offers new research directions in the field of sustainable tourism.

Effective regulatory frameworks for constructive journalism: a study of China’s media systems

Journalism practice in China is unique and different from the rest of the other countries in the world. Many scholars have attributed this to the effective regulatory systems and the structure of the media system thus the six forces controlling media space in China. This study adopted a qualitative condensed thematic analysis technique through in-depth interviews to examine how the regulatory framework in China affects the media ecosystem and constructive journalism practice. Through the snowball technique of sampling, the researchers collected data from fifteen (N=15) senior media professionals working within private and state-owned news outlets in China, to find answers to the nature of the media system in China and how this system has influenced and shaped constructive journalism practice during the COVID-19 pandemic between November and December 2021. One of the key findings of this study indicates that the robust media regulatory system practice in China has resulted in effective interactions among stakeholders, media houses, and journalists within the Chinese media system, which has significantly contributed to attaining effective constructive journalism practices. Again, our findings suggest that the effectiveness and constant interactions of the six forces of the Chinese media system have also helped enforce professionalism, dedication to duty, and patriotism among journalists and different media outlets in China. Finally, our study reveals that the Chinese Media giants such as China Global Television Network (CGTN), China Central Television (CCTV), and China Radio International (CRI) which serve millions of global audiences are very factual in their reportage. To avoid fake news in their reportage, CGTN and China Radio International, for instance, have designed specialized fact-checking programs for their news stories before airing them for public consumption.

“Re-stratifying” women: female images in China’s state media from the perspective of social stratification (2011–2020)

In the 2010s, feminism thrived in China amid a transformation in social stratification and a rise in women’s social status. The focus of this study is on the representation of the images of women of various social strata in national news reports. Taking Xinwen Lianbo, a national news program produced by China Central Television, as an example, we analyzed visual representations of 360 female figures from 2011 to 2020. The findings revealed that, rather than reflecting China’s Tǔ-shaped stratification structure, the program depicted an “olive-shaped” pseudo-society in which women of what we term the “middle” stratum constituted the largest portion and served as multifaceted role models, women of the “prominent” stratum served as bellwethers of socioeconomic development, and women of the “ordinary” stratum did not participate in social development. The program’s imagery also created a double standard for domestic duties: Women of the prominent stratum were depicted as disembedded from the social role of housewife and breaking through the career “glass ceiling,” though not achieving equality with men in terms of their positions in society or politics, while women of the ordinary stratum as bearing the ideological reshuffle of conservative gender values. This study suggests a fresh perspective on the great disparities in the representation of women in different strata, which differs from the status of gender and stratum in real society.

Food media in China’s convergence culture: A Bite of China and digital poaching

Since its debut on China Central Television (CCTV), Shejian shang de Zhongguo (舌尖上的中国, known as ‘ A Bite of China’, hereinafter Shejian) has met with great fanfare, home and abroad, and become a celebrated geographical brand name of Chinese culinary culture. Shejian marks a distinctive attribute of China’s contemporary food media, which deploys glamourized food images, from ordinary staple food to lavish celebratory meals, to reify social prosperity and personal happiness. This article aims to demonstrate how despite its state-sponsored production and distribution, Shejian is more than an ideological artefact. The cultural phenomenon has thrived at the intersection of China’s media convergence and participatory culture. On the one side, Shejian’s unprecedented success and influence should be attributed to CCTV’s convergence strategies against the backdrop of media reforms. On the other, audience participation and re-creation on the Internet have invigorated the formation and spread of the Shejian phenomenon while problematizing the official interpretation and ideological construction of the documentary. Shejian’s savvy viewers and cynical imitators poach the florid documentary script to write their versions of reality, albeit disguised with profanity and laughter. How the widespread egao practices play with the establishment culture and how such online expressions are tolerated by the authorities shed new light on China’s Internet culture and censorship.

CCTV-“China in the Canon” Program Strategy Study

“China in the Canon” is a large-scale cultural program jointly presented by CCTV General Channel of China Central Radio and Television and CCTV Creation Media, with eleven episodes by Sabine as a contemporary reader, and Wang Jianing is the host of the program. The program has been well received by the audience since its broadcast, and it is a model of cultural program. It focuses on the excellent Chinese cultural texts, and through the innovative form of space-time dialogue and the performance method of “drama + film and television”, it tells the origin and flow of the texts in the 5000 years of history and the shining stories in the books. The main purpose of this paper is to analyze the form, content and value of the program, and to sort out the program strategy of “China in the Canon”, so as to provide a reference for the development of cultural programs.

The national hero, the supercrip, and the self-reliant figure: Paralympic champions on China Central Television’s sports channel

Within the sociocultural context of China, this study applies a textual analysis to the coverage of Paralympic champions on China Central Television’s sports channel from 2008 to 2019. Three discursive themes through which Paralympic champions are portrayed are identified. When viewing Paralympic sports through the lens of social model and critical perspectives, the portrayal of para-athletes as national heroes represents Paralympic champions as a commendable group that contributes to the establishment of the national identity and reputation, while the supercrip portrayal of these champions as superhumans connects them to non-disabled society. Their depiction as self-reliant figures establishes a role model for retired athletes in the Chinese context, meanwhile also advocating a logic of independence from state-sponsored welfare across divergent fields related to disability. Thus, disabled persons are incorporated into discursive systems directed by the state, media, and society in the interactions among politics, social norms, and the economy.

National media and investor sentiment dynamics: evidence from China central television using a wavelet approach

ABSTRACT This paper investigates the multiscale dynamic relations between China Central Television News (CCTV News) and investor sentiment in China by employing the wavelet method. We document significant positive correlations between CCTV News’s economic focus/economic tone and investor sentiment at the raw and high-frequency levels using the wavelet DCC-GARCH model. Wavelet Granger causality tests and wavelet coherence analysis confirm that the economic focus/economic tone of CCTV News is dominant and leads investor sentiment for short-term investors. At the same time, investor sentiment can conversely affect CCTV News’s economic focus/economic tone for medium-term investors. There is a long-term interdependence between CCTV News’s economic focus/tone and investor sentiment. Furthermore, the interaction between CCTV News and investor sentiment increases in turbulent periods compared with relatively calm periods. Finally, we find that CCTV News’s economic focus and tone positively affect the stock market returns. The influence seems to be an overreaction in the short term and an underreaction in the long term.

‘Love with Less Salt’: evaluation of a sodium reduction mass media campaign in China

ObjectiveThis study examines the impact of a salt reduction campaign on knowledge, attitudes, intentions, behaviours and barriers to behaviour change relating to salt consumption in two provinces of China.MethodsIn 2019,...

How official TV news affect public inflation expectations? Evidence from the Chinese national broadcaster China Central Television

AbstractA burgeoning literature supports the effect of media coverage on public inflation expectations but ignores televised reports, particularly official TV news. Using bootstrap Granger non‐causality tests, this study demonstrates time‐varying causalities from the Chinese national broadcaster China Central Television (CCTV) reports to households' inflation expectations during 2014Q1–2015Q4 and 2017Q1–2018Q4 with positive effects. This indicates that official TV news leads inflation expectations. Furthermore, positive causalities from CCTV reports to the expectation heterogeneity also exist, thus meaning that more official reports may exacerbate the disagreement among households' expectations, thereby contributing to the macroeconomic instability. The content conflict is a possible reason for the positive effect of CCTV reports on the inflation expectation disagreement of households.

Effects of entrepreneur passion on persuasion: Study of venture capitalist funding decisions toward hospitality and tourism business plan presentation

This study investigates the effects of entrepreneurs' passion on persuasion by focusing on venture capitalist funding decisions toward hospitality and tourism business plan presentation. To this end, we conducted two studies. In study 1, we collected evidence from 13 hospitality and tourism start-up financing projects broadcasted on China Central Television Channel 2 by utilizing a Linguistic csQCA. In study 2, we conducted an experimental analysis of entrepreneur passion and venture capitalists'(VCs') funding decisions via the causality test of 277 participants. Our findings indicate that both cognitive and affective passion have significantly positive effects on VCs' funding decisions and that VCs' involvement moderates the effects of cognitive passion and affective passion on VCs' funding decisions. The established integrative model has important implications for research on entrepreneur passion and investment decisions in entrepreneurial pitches from an involvement perspective, and the impact of entrepreneur passion on persuasion in hospitality and tourism entrepreneurship.

The Evolution of the New Year's Gala Concert in Chinese Media

In 2023, the world's largest broadcast by the number of viewers of China Central Television "New Year's Gala Concert", timed to coincide with the Spring Festival, will celebrate its 40th anniversary. Since its launch in 1983 The "New Year's Gala Concert" has undergone many changes reflecting the global transformations of Chinese media and Chinese society as a whole. The object of our research was chosen by the PRC television, and the subject was the "New Year's Gala Concert", on the example of the evolution of which we analyze the formation and development of modern Chinese media in the context of national and global media processes. The author's main contribution to the study of the chosen topic is a unique selection of key events defining the history of the "New Year's Gala Concert", on the basis of which the main stages of the modernization of Chinese television were determined: the Taiwanese pop wave, the "cultural thaw" and the crisis of censorship of the CPC in the mid-1980s; the advent of the era of advertisers and the rapid commercialization of Chinese media of the 90s-00s; strengthening the role of the state and the activation of ordinary viewers in the formation of a nationwide media campaign of the 2010s. The stages of the evolution of the "New Year's Gala Concert" highlighted in the article characterize the historical process of development not only of Chinese television, but of the whole country as a whole.