The Origin And Development Of Copycatting Spring Festival Gala

This paper is to explain the origin and development of Copycatting Spring Festival Gala by using sociological and communication theories. There are rare academic theses to explain Copycatting Spring Festival Gala from this perspective. First of all, the author will answer the question—'Why Copycatting culture reached its peak in 2008?' which has plagued the Academia for so long, from the angle of how the changing mode of administrative control affect the popularity of mobile phone as a combination of socialized media and "we media". On the basis of this interpretation, the author will answer a controversial issue, that is 'the origin of Copycatting Spring Festival Gala' , combining with the rise of civil society and the forming of media civil society. When we turn the perspective to the development of Copycatting Spring Festival Gala, we find that it is above all a "media event" rather than a mere entertainment variety show. Analyzing it as a "media event" with the characteristics, we find that it has the resistance. Connecting to the media events which have occurred in transition of China, we can better understand the Spring Festival Gala has its true meaning: it is an entertainment, but also a kind of resistance----after that, it is about the rights to appeal, and also a resistance performance. As an entertainment event, it is the vent for the public to perform; as a resistance, it expresses the dissatisfaction with the way of output of mainstream ideology. When the SARFT and the Ministry of Culture intervene in, the spearhead of resistance turns to the government----object of the most political struggle. As a performance, it is a new form of resistance. In a so-call modern society, where the traditional civil rights, such as marches and demonstrations, are difficult to be protected effectively by the law, this new form of struggle has blazing significance: it activates the new boundaries, provides further and possible new space for resistance.