Research On The Path Of Traditional Culture’s Participation In The Construction Of Chinese TV Cultural Identity

Mcluhan predicted that the earth would be a village in twentieth Century, and that has been the reality. The global close compact is not only reflected in the exchange of material goods, but also reflected in the rapid spread of information. The speed of information dissemination is almost incredible nowadays when the digital technology is so developed. As a video spreading media, TV plays an irreplaceable role in the dissemination of information with the assistance of digital technology. As a result, its spreading speed is shrunk and its advantage will naturally be strengthened further.Just as economic exchanges were accompanied by inevitably cultural exchange in human history, increasingly frequent cultural communication is accompanied by information transmission based on the digital technology now. A country’s unique identity and status in the cultural exchange potentially affects economic and political interests though cultural exchange seemingly has no direct economic and political purposes. Today, consumption has become an important driving force to stimulate economic development. Just as Jean Baudrillard said, consumption is not only simple consumption, it is also the symbol’s possession and accept. So the influence of culture on economy and politics is undoubtedly unquestionable. American scholars put forward the concept of "cultural soft power" in the late last century, it says about the ever closer relationship between culture and the economy, politics. When the TV media becomes ubiquitous with the dependence on digital technology, it is so easy for culture expansion. People in one place can learn a different kind of culture by only copying the image transfer with no need of the transportation of material products. So TV is very valuable to cultural exchange.Cultural expansion on the basis of digital television has inherent advantages to the developed country with advanced technology and economy. High-tech products are envied enough by underdeveloped countries, not to mention that the technology itself is a culture. Even so, in the 21st century every developed country tries its best to establish its own cultural image and plays the cultural influence as far as possible. It is apparent that underdeveloped countries tend to pay greater efforts, because they first must be faced with the invasion or colonization of the cultural products in developed countries. People even feel shamed and doubted about their own cultural traditions and want to abandon them thoroughly. As a result, this will make their economy and politics fall into a passive situation.China has also been coerced into the whirlpool of global culture integration in the tide of globalization. Chinese people broaden cultural door to welcome visitors and this kind of open mind can be understandable because Chinese cultural formation history has been constantly absorbing foreign culture. However, due to the modern China’s backward economy, Chinese people were not confident in its own culture. They denied their own culture completely when they faced the exotic western culture. So Chinese culture gradually lost its position on the world stage in the cultural exchanges with other countries.Chinese television has also experienced such a process from the end of twentieth Century to the beginning of this century. They imitated the west in the form, bought copyright, directly imported western TV programs; avoided many problems in reality and focused on the exciting life in the metropolis. In order to pursue the ratings, there appeared a lot of so-called ’Sansu Programs’ which were about shallow thinking, lack of content, entertainment first. TV’s function of supervision and ideological education were completely neglected, resulting in a phenomenon that many people rarely turned on the TV which was thought to be a tool only for bored people to kill the time. Under this circumstance, China’s television gradually lost its own identity and couldn’t find their foothold in the global platform.Entering into the 21st century, core layer’s leaders and the mainstream ideology were paying more and more attention to ’cultural soft power’, cultural prosperity was enhanced to the height of affecting the great rejuvenation of the Chinese nation. China’s TV industry began to review and seek to explore on their own culture and construction path. So a group of TV programs with distinctive ethnic characteristics appeared on the TV screen which included TV programs with the symbol of traditional culture, such as "100 Forum", "The Chinese Character Dictation Conference",’Inheritors’; TV plays which carried forward excellent traditional Chinese thought, such as ’Kangxi Emperor’,’Rushing to The Northeast’,’The Qin Empire’; TV variety evening partis, such as CCTV holographic landscape show-CCTV Mid-Autumn Festival. These TV programs made an exploration of ’Chinese characteristics’ respectively from many aspects of content, ideology and aesthetics. Chinese television people know Chinese TV identity construction must look for the content and form of performance from the Chinese traditional culture.The paper analyzes the path of traditional culture’s participation in the construction of Chinese TV cultural identity on the basis of TV media environment. It starts from the realistic problem of China’s TV culture identity construction and considers the combination of traditional culture and contemporary Chinese TV. The full paper is made up of five chapters.The first chapter analyzes the necessity and feasibility of the combination of traditional culture and contemporary television. On the one hand, to construct its independent cultural identity, China’s TV must seek for the supporting resources from traditional culture, which is the pillar to maintain China TV’s nationality and the inevitable choice of constructing the ’imagined community’. On the other hand, the existing soil and ecological environment for traditional culture is subjected to great impact today, the traditional culture will be forced to change their mode of inheritance. As the most popular mass media, TV has great spreading power and influence. Therefore, the television media has a huge appeal to the traditional culture, which provides the possibility for the traditional culture’s participation in the television identity construction. So no matter from the point of view of the television, or from the perspective of traditional culture, the combination of two are inevitable.The second chapter analyzes China TV’s macro political environment, economic environment, cultural environment, technical environment and micro environment of TV itself on the basis of media environment. It draws the following conclusions:the political environment for the cultural development that government attaches great importance to, the cultural environment in which mainstream culture and elite culture are fit perfectly, the fast development of TV industry, technology’s maturity and perfection, all of which provides a favorable environment for the traditional culture’s participation in Chinese TV identity. However, it is not optimistic that, from the micro level, there are still a lot of problems, such as excessive reliance on the introduction of copyright, the scarcity of original programs, clear entertainment tendency. The macroscopic favorable environment background and the unsatisfactory performance of the television make the construction of China’s television identity necessary and urgent.By using TV programs which directly presented the excellent traditional culture as carrier, the third chapter focuses on the analysis of’100 Forum’,’The Characters Stuff’ and "Inheritors". It analyzes the path of traditional culture’s participation in the construction of Chinese TV cultural identity and points out that the construction of content is the basis of the construction of Chinese TV culture identity.By the analysis of a number of excellent TV series, the fourth chapter, sums up TV play’s inheritance way to traditional culture, such as patriotism, vigorous and self-improvement, ethical harmony and other outstanding thoughts since the 21st century. At the same time, it makes a detailed analysis of some problems, such as crude making, low style, value of distortion and orientation errors, ethics losing. It points out that the ideological construction is the core of the construction of Chinese TV culture identity.The fifth chapter is about Television Live Broadcast about CCTV Mid-Autumn Festival party and the Beijing Olympic Games. It discusses aesthetic innovation of CCTV’s holographic landscape show in Mid-Autumn Festival party by the selection of party location, exquisite stage design and the analysis of Chinese-styled party arrangement. It also discusses aesthetic construction which was used in the live broadcast of Beijing Olympic Games opening ceremony by the contained traditional aesthetics, traditional aesthetic imagery of combination of poetry, music, dance and painting, the analysis to modern technology’s express of traditional aesthetics. Finally, it concludes that the construction of Chinese TV aesthetics must rely on Chinese traditional aesthetic thoughts and the specific paths and pointed out that the aesthetic construction is the key to the construction of Chinese TV culture identity.