Tv Entertainment Industry Strategy Development

This dissertation is dedicated to discuss the current situation and future trends of Chinese television entertainment industry. Started with an all-inclusive illustration of every correlative sector in the entertainment economy and entertainment industry, this dissertation argues that the biggest contradiction of the development of Chinese media economy lies within its ambiguous media policies and sluggish market. The author proposes a primary attempt to solve such problem, that is, China's media industry should relinquish its grip over the entertainment programming so that the entertainment industry can demonstrate its independence as a genuine social and market force in order to establish a complete industry chain.This dissertation is divided into three chapters.The first chapter defines the topic: television entertainment industry, and demonstrates the necessity to develop television entertainment programming in China.The entertainment industry enjoys a long history. Most of the entertainment activities appeared before the invention of television, like sports competitions, musical performances and gambling games. The advent of television gives rise to certain amount of entertainment activities, such as MTV, television dramas and entertainment programs. Moreover, most of entertainment activities have had great success since they were televised, although initially such entertainment activities were marked by their independence on television industry, yet the truth reveals that television will bring them more audience and much considerable profits.The second chapter presents four phenomenon: an increasing interest of Chinese audience in better-quality entertainment, renovation of digital television techniques, the profitable aspect of television entertainment programming and the significance of entertainment culture as a symbol of national comprehensive power, which leads to the conclusion that entertainment has become an indispensable factor in the shaping of television programming schedules in China.The second part begins with the illumination of China's current situation and problems in developing television entertainment industry. Then, it probes into the obstacles that hinder the path of development. The author therefore provides a feasible perspective on dealing with current obstacles.The author argues that it is the lack of productivity of production intellectuals, together with their limitation in creative representation and vulgarity in program quality that puts sand in the wheel of the development of television entertainment industry in China. From the government's point of view, the vexing problem is how to remove the institutional hindrances and establish a set of media policies to sustain national culture. So far, the major obstacle confronting Chinesetelevision entertainment industry is its root in the propaganda past, as well as stressing traditional Chinese values and morals, while the entertainment nature was much devalued. Such functional deviation is a matter of fundamental importance, projecting a miserable predicament at Chinese television entertainment industry. As such, substantial and thoroughgoing changes in basic structures are expected to occur. The call for adjusting policies for television entertainment industry and reorienting its goal is urgent. Mass entertainment spectacles have a social function as well as a commercial drive. The industry in China needs to gear up for competition and shake down its excessive propaganda obligations. In other words, Chinese television entertainment programs are obliged to stretch ideological limits by loading entertainment and commercial elements. Such breakthrough also involves the transformation of the holistic policy atmosphere and the authorization of performance companies and so on and so forth.The third part offers suggestions in operations.The vitality of television content as the first subject matter is of great importance. The fourth chapter of this dissertation argues from two perspectives: the quality (elite and vulgar) and connotation (oriental and occidental). Today the ever-changing communication technology such as satellite television and internet joins discretionary time and disposable income in creating a global marketplace eager to consume entertainment products; it elicits both hope and anxiety, primarily in the cultural sector. The positive aspect is that they enable technology transfer, recourses sharing and cultural hybridization. For China, how to find a suitable position during the clash and communication between the oriental heritage and occidental legacy, the traditional values and modern standards is a matter at stake.The second is about the production. The television entertainment industry covers a wide range of contents, among which the sectors of production, broadcasting and advertising become the core. Each operation involves more than one economic unit. Today, as the trend is toward greater specialization through division of labor, the sector of entertainment programming needs to be separated from other normal productions. Specialized and professional entertainment production is but the most appropriate outlet for entertainment industry to reach target publics and maximize capital, resources and profits. Besides, other related institutional transformations, such as the separation of production and broadcasting sections, the establishment of investment system, need to be completed as well.The third deals with the market. From content production to product consumption, the whole process forms a chain of production, broadcasting channel and audience consumption. On the basis of such three key areas of concerns, the television industry can expand into all sectors related with entertainment industry, such as brokerage, program producer, viewership records ranking aswell as advertising agency. Aside from the lack of a regulated program trading market, there is also the vexing question of copyright, made even more complex by the pandemic of intellectual property piracy in China.The last point is about the platform. As our nation's television program market is far from fully developed, for many years the production of television programs has undergone a depressingly uninspiring development, moreover, the executive production team has never been fully recognized as a market force. Thus, during the trading of television programs, the productionand the broadcasting platform—television stations at all levels, have disagreements in definingeach other's rights, responsibilities and risks, which leads to a waste of resources, lack of efficiency and a sluggish reform. The seven chapter starts from the changing policies of Chinese television program production market and attempts to provide the solution to such dilemma in order to establish a more mature program market.In the homogenizing process of mediated global culture, the content of media produced by more developed countries are distributed around the world, along with the sheer volume of global media products flowing from wealthy countries to developing countries. There are issues that confront China's media industries as they enter a new competitive phase against the backdrop of globalization of mass media. In view of the emphasis paid to television entertainment industry, this dissertation endeavors to find measures to ensure that Chinese television entertainment industry adapts to the global versions of standards and keeps moving towards the fully mature and competitive stage.