State Administration Of Radio , Film And Television Research Articles

When a beautiful daughter-in-law meets Africa: Translating Chinese films and television programmes for the African market

There has been a long-standing cooperative relationship between the Chinese film industry and African film industries since the 1950s. In recent years, more and more Chinese film and television studios have sought to sell their products abroad, which has meant investing in translation. In order to project the image of a modern China with a rich cultural heritage, the State Administration of Radio, Film and Television (SARFT) launched the ‘Sino-Africa Film and Television Cooperation Project’ to promote the translation and dissemination of Chinese films and television products in Africa. As a result, two models for this translation process have emerged: one government sponsored and one commercial. This article will use the translation of Chinese film and television programmes for Tanzania as a case study to analyse how each model is institutionally organized, their target audiences and approaches to distribution and the content of the resulting translations.

Post-Socialist Femininity Unleashed/Restrained: Reconfigurations of Gender in Chinese Television Dramas

In post-socialist China, gender norms are marked by rising divorce rates (Kleinman et al.), shifting attitudes towards sex (Farrer; Yan), and a growing commercialisation of sex (Zheng). These phenomena have been understood as indicative of market reforms unhinging past gender norms. In the socialist period, the radical politics of the time moulded women as gender neutral even as state policies emphasised their feminine roles in maintaining marital harmony and stability(Evans). These ideas around domesticity bear strong resemblance to pre-socialist understandings of womanhood and family that anchored Chinese society before the Communists took power in 1949. In this pre-socialist understanding, women were categorised into a hierarchy that defined their rights as wives, mothers, concubines, and servants (Ebrey and Watson; Wolf and Witke). Women who transgressed these categories were regarded as potentially dangerous and powerfulenough to break up families and shake the foundations of Chinese society (Ahern). This paper explores the extent to which understandings of Chinese femininity have been reconfigured in the context of China’s post-1979 development, particularly after the 2000s.

Low-complexity soft-decision parallel equaliser algorithms for Chinese next-generation-high-performance AV

ABSTRACTThe goals of the Chinese next-generation-high-performance AV (C-NGHPAV) system are to efficiently utilise the precious last 100 m of the coaxial cable of China’s state administration of radio film and television (SARFT) to achieve a gigabit transmission rate. This target demands higher requirements regarding the physical layer (PHY) throughput. The key to high throughput is to devise an effective method for increasing the execution speed of the demodulated soft decision and the adaptive equalisation algorithm. In this paper, the C-NGHPAV system architecture is introduced and the technical details of the key features are described. Firstly, quadrature amplitude modulation (QAM) and the binary phase shift keying (BPSK) soft-decision algorithm known as the max-log-maximum a posteriori (MAP) algorithm with logarithmic complexity (max-log-map-lc) are realised. The algorithm is less complex than other soft-decision algorithms. Secondly, a parallel architecture of adaptive quadrature rectangle-decomposit...

The need for a film rating system in China: the case of Ang Lee's Lust, Caution (2007)

This paper examines the bureaucratic processes that govern film censorship in China, including SARFT (State Administration of Radio, Film and Television) and the Movie Promotion Law. It then considers arguments for replacing censorship with a rating system, which would benefit both domestic films as well as imports. As a case study, this paper briefly considers the censoring of Ang Lee's film Lust, Caution on the Chinese Mainland in 2007.

Development of Pay Television Channels in China

In 2003, the State Administration of Radio, Film and Television (SARFT) determine those network development years and released a policy document. This indicates that management is aware of the importance of pay TV and digital TV and hoping to promote the development of network services and system integration, and change the business model of the radio and television industry has long rely solely on advertising. As of July 2009, approved by the State Administration of Radio, Film and Television to set up a pay TV channel has 142 units, divided into two categories broadcast on nationwide broadcast and province. In 7 years, the national digital pay TV channels from scratch, from small to large, from more than 20 of the initial development to the current level of 142, the number increased by 7 times. Judging from the number of digital pay channels have begun to take shape, the categories covered very rich. But from the overall development situation of Chinese digital TV, pay-TV channels, the number of users is far less than the (wired) digital TV subscribers, the development is very optimistic. 2010 cable industry revenues constitute the revenue of the premium channels is also very small. At present, China has a number of pay-TV channels integrated operating agencies, the premium channels transmission operators institutions user access and pay channels, operations, CCTV and local TV stations to form a pay channels.

The State and the Market: Chinese TV Serials and the Case of Woju (Dwelling Narrowness)

The production, consumption, and state control of Chinese TV serial drama can be seen as an instrument of power and profit maximization as well as a medium for mass education and homogenization in the form of popular culture. The serial drama Woju 蜗居 (Dwelling narrowness) (2009) exemplifies the ways in which a prime-time TV serial in twenty-first-century China is a politically, socially, and commercially significant enterprise. Since the 1980s, prime-time serials have emerged as a distinctly successful medium with and through which the Chinese party-state exercises ideological control by entertainment rather than oppression. Indeed, not only did Woju enjoy huge audience popularity, it also benefited from considerable tolerance of the State Administration of Radio, Film, and Television (SARFT), which, according to the website Danwai, allowed the drama to “slip” through its guidelines.

The issues and challenges facing three-network convergence in the Chinese media landscape

On 1 July 2010, twelve cities and regions were finally selected by the Chinese government after several rounds of debates and delays to take part in the country’s three-network convergence trials. The planned network convergence project will enable telecoms and broadcasting companies to deliver Internet Protocol Television, mobile TV, and telephone and Internet services over a unified network. This statelevel push is seen as the beginning of the breakthrough of barriers between industry- specific regulators. The aim of avoiding overlapped investments, innovating the media industry and providing cheaper service to customers is certainly feasible, but the difficulties facing the two most vibrant competitors in China – telecoms players under the supervision of the Ministry of Industrial and Information Technology (MIIT) and broadcasters under the State Administration of Radio Film and Television (SARFT) – are mounting. China has the world’s largest number of network users (on the basis of government figures for the end of 2009, Internet 384 million, mobile 747 million, fixed line 313 million and cable TV 174 million), making it an attractive media market for all industry players aiming for their piece of the action. This article aims to give a general account of the background of three-network convergence in China, the current advances pushed by the authorities and the industry at different levels, as well as the implicit policy approaches for the near future.

Two into one may not go [mobile TV standard

The paper discusses how two organizations are competing to set the standard for mobile television in China. The prize at stake is control of an emerging market of handsets that is expected to grow very rapidly ahead of the 2008 Beijing Olympic Games. China's State Administration of Radio, Film and Television (SARFT), which runs the country's broadcasting, announced the China Mobile Multimedia Broadcasting (CMMB) standard, a satellite-based mobile TV system. However, at the end of 2006, the Standardisation Administration of the People's Republic of China (SAPRC) asked the Ministry of Information Industry (MII) to set a national standard for mobile TV, in order to create some competition.

SARFT Regulation 17 and China's Beer Market

China's State Administration of Radio, Film, and Television (SARFT) Regulation 17 took effect on New Year's Day, 2004. Regulation 17 comprehensively governs China's 25.3 billion yuan radio and television advertising market. It prohibits misleading advertising, requires advertising to be consistent with socialist principles, and prohibits the use of traditional Chinese characters. This case discusses the impact of Regulation 17 on the markets for advertising and beer.