3,217 research outputs found
Chinese media
No full textFrom an area of specialist research a decade ago China’s media has become now an important element of research and teaching worldwide, not only in specific Chinese cultural studies courses at the university level but increasingly in post-graduate research and in the domain of business consultancy.\ud
\ud
Edited by Michael Keane and Wanning Sun, leading experts in the field, this new title is a ‘mini library’ of the foundational and the very best cutting-edge scholarship on Chinese medi
The QUT creative industries experience
No full textThis publication assembles essays by people\ud
who are leading voices and practitioners in the\ud
creative industries, writing from the perspectives\ud
of education, research and business development.\ud
The idea for the publication arose from a request\ud
in 2007 from key Chinese policy academics for\ud
information on what they called ‘The Queensland\ud
model’. Apart from a co-authored article published\ud
in Chinese in that year by three of the contributors\ud
to this publication, there was little assembled\ud
evidence of the model.\ud
The interest from China culminated in requests to\ud
visit and see the Queensland model first hand. Since\ud
2007, there have been many visitors to the Creative\ud
Industries Precinct and the Kelvin Grove Urban\ud
Village. The tours have generally taken people to\ud
different organisational units within the larger\ud
complex. This publication follows this approach but\ud
also shows how the various organisational units are\ud
integrated
Joining the circle
No full textArts, Education & Law Group, School of Humanities, Languages and Social SciencesNo Full Tex
From National Preoccupation to Overseas Aspiration
No full textDramatic content, including imported drama, comprises almost half of the broadcast time on Chinese television. The considerable viewer appetite for TV drama on the mainland, however, does not necessarily translate into high quality output that captures export markets. In fact, the apparent advantage of large numbers is undermined by market fragmentation and lack of rights-consciousness. As I will suggest, these institutional imbroglios lead to cost-cutting in so far as producers are unwilling to take risks. Censorship at the pre-production stage further weakens the vitality of Chinese dramas. When finished dramas look for audiences in overseas markets, ideological emphasis militates against reception. Due to the pedagogical role of Chinese TV drama within the nation-state, moreover, there has until recently been no concerted push to internationalize. In turn, the predisposition to concentrate on the domestic market, combined with a lack of export consciousness among producers, has impeded innovation. As Taiwan, Hong Kong, and Korea have found out, selling content in multiple markets pushes producers to create new trends and genres, in this way taking more risks
- …
