The Revolutionary Narrative In Chinese Mainland TV Series In21st Century

My doctoral dissertation is a study on the revolutionary narrative in Chinesemainland TV series in the new century. The dissertation embark on from externalaspects of institutional environment, cultural ecology, to internal aspects of narrativediscourse features, the mode of meaning production, in order to obtain a thoroughinvestigation on the overall situation, detailed features and causes of the new centuryrevolutionary narrative in Chinese mainland TV series.Taking into account of the means of production and communication, textfeatures, and its audience characteristics, drama can be defined as Chinese NewPopular Narrative. Drama is a storyteller in our time with a strong popularity.Compared with traditional popular narrative and its modern changes in the20thcentury, the New of drama was determined by the development of the mass media.Drama is the product of human narrative behavior, which developed from oralcommunication to written dissemination and then the electronic media. Because ofits huge production and huge audiences since the new century, Chinese mainland TVseries become an integral part of contemporary Chinese cultural study. In China, theTV audience scale close to130million, in the choice of the audience on a variety oftelevision programs, drama primacy over the news and movies. On the economicbenefits of TV station, drama advertising revenue accounted for the lion’s share,when it comes to social benefits, the drama is not only enrich people’s leisure life,but also re-unite the focus of popular topics, especially when literature growingniche. Rather than Chinese film, Chinese mainland drama making people feel warmby the local characteristics and Chinese flavor, when it is strongly capable of socialintegration. Among these, revolutionary dramas began to break the rigid paradigm ofthe main theme in TV series in the beginning of new century, and have beenprosperous in the first decade of new century by a large number of excellent dramas, which shared officially and civilly. Therefore, it is not a bad idea to call this decadeis the decade of revolutionary drama.As an important part of the construction of Socialism culture In contemporaryChina, drama spreaded primarily through television media platform, which is aruling Party’s propaganda mouthpiece, that under the tight administrative control ofChinese government. The competent department in charge of the drama productionis the State Administration of Radio, Film and Television, which merged into theState Press and Publication Administration of Radio, Film and Television with theoriginal GAPP in March2013. Drama management division in the SARFT andChina Academy of Television Arts Commission manage TV series industry directly.For decades, the SARFT has been intervened in drama production throughadministrative means and awards, which involves all aspects of drama production,distribution and broadcasting. It is also a tradition which traced back to Yan’an Erathat the ruling Party master cultural hegemony through the mass media.In the existing management system, the prosperity of revolutionary drama isdecided by the unique course of Chinese Revolution on the one hand, on the otherhand, is by the officially actively advocacy, the identity demand in the era ofglobalization, the existence of domestic nationalist sentiment, etc. The mainmanifestations object of revolutionary drama is the revolution lead by CommunistParty of China, including both the positive war and the underground struggle,tocarry forward the doctrine of revolution in the level of state ideology, and formed itsown narrative features,such as the reset of revolutionary Other, recall of personalemotion, family narrative mode and new image of the heroes, all of which alsoreflected the displacement of the Watch Body. In addition to these,the changes indrama narrative are related to the narrative resources too, for the main way ofcontemporary Chinese drama script production is novel adaptation.The literatureresources in revolutionary dramas including the left-wing narrative works and valuesof the new-historical novel. The TV adaptation is a field where power discoursesstruggling, and reveals the dilemma of cultural hegemony building by the rulingparty in the new century. Some special works are even playing a positive role of civic identity in a modern state, in the process of adaptation and interpretation ofChinese revolutionary history.