The Transformation Of Chinese TV Cultural Identity In The New Century

Cultural identity is an important proposition in the era of globalization. Under theinfluence of the postmodern culture, the Chinese TV programs have encountered withsymptoms of the time, like the fuzzy cultural identity and anxiety of identity that areboth in deviation of their own cultural orientation and value orientation, which has ledto Chinese TV programs falling into the irrationality of the “pan-entertainment” trapsat the beginning of the new century. This dissertation has researched the problems ofChinese TV programs cultural phenomenon as well as the transformation of ChineseTV cultural identity since the new century, extracted the cultural characteristics ofChinese TV programs from the dimension of cultural identity theory, which hasbroken through the field of vision of the original TV cultural theory. In addition, thisdissertation will focus on the time node of the new century, fully considering that thisperiod is the most typical and controversial one in the development of Chinese TVprograms. With abundant TV culture resources available for analysis andinterpretation, the rise of grass-roots culture, the emergence of mass entertainment,the both demands of tradition and modern as well as the resetting Chinese flavor ofcultural phenomenon, those mixture has made the modern TV culture more complexand diverse, and then put forward a huge challenge about the cognition of culturalidentity. This dissertation is divided into six parts:Chapter1introduced the problem of cultural identity in the era of globalizationas a guide, create the identity theory and the connotation of the theory of culturalidentity and its enlightening significance of television culture research.Chapter2used the media ecology theory to interpret the social ecologicalenvironment on the influence of TV media, therefore to tease out the formation of TV cultural identity and the external forces for the transformation, such as the social andpolitical ecology, economy ecology, cultural ecological technology and ecologicalfactors, and those factors make an important impact on cultural identity identificationof Chinese TV programs. What’s more, the interaction among these ecologicalsystems is independently, together they constitute the current TV cognitive social andcultural context of cultural identity.Chapter3used questions to deduce the cultural identity theory, to find out theconfusion and cognitive difficulties of Chinese TV programs cultural identity in theera of globalization, and to propose the reasons for symptoms of Chinese TVprograms cultural identity construction in the new century, that is on the one handstemming from the aggression of western TV shows’ form and concepts as the resultof globalization, which leads to aphasia of China’s TV culture; On the other hand,under the influence of both Chinese traditional culture through the one hundred years’fracture and inheritance affects and the containment of market logic making theaudience rating into highly position, the confirmation of China’s TV culture valueshas more and more difficult.Chapter4explored the realistic way of China’s TV culture identity construction,to put forward the logic of China’s TV culture identity construction of "the other".Through this "the other", such as the traditional and western orientation and decoding,we can explore more cultural differences between the self and the others, which canprovide references for cognition of China’s TV culture identity. The increase ofcultural flows in context of "glocalization", the break of the boundaries of culturalidentity, the multicultural mix of harmony are all to force China’s TV programsshould seek spirit from traditional culture, stick to the core value of Chinese culture inboth the traditional and modern aspects, and to complete the modernization oftraditional culture. TV culture expression is the incarnation of TV culture orientationand value pursuit, the aesthetic interpretation of TV culture expression help tofacilitate cultural image force shaping, as well as TV brand identity formation.Chapter5based on the transformation of Chinese TV cultural identity in the newcentury, explaining problems by inducing the phenomenon, replacing the static analysis with dynamic analysis, giving us a comprehensive combing of Chinese TVprograms’ cultural mutation since the new century. The cultural identity of TVprograms in the new century happened to mainly reflected in four aspects: First, thesame pattern is broken, which has turned to meet individual needs. The developmentof TV programs cultural values changed more civilian and humanism, the forms ofTV programs are more diverse, the ideas and patterns of spreading news have a verybig innovation, which reflect the cultural diversity and personality traits. Second, thedigestion of supreme and the rise of populism culture have appeared. The loftyaesthetic definition in the TV culture system was redefined by the common people;the parts which conform to the public identity and value of aesthetic psychology areextracted, manifesting the grassroots culture with the new counter attack of thecivilian consciousness. Third, the trend of “pan-entertainment” and the reconstructionof content value are becoming popular.“Pan-entertainment” has became the mainrepresentation of the TV programs, such as news, variety shows, and TV shows, theyare all reflecting the post-modern society deconstruction of rationalism to varyingdegrees. This shift has interference and impact to the cognition of TV culture identity.Fourth, Chinese flavor of natural regression. This is a significative attempt in ChineseTV programs in the new century aiming to explore cultural identity positioning. TVprograms with Chinese style characteristics and originals appeared, local languagesymbols came back, the TV channel packaging and promotional video can tell thatChinese TV program is to regain our cultural self-confidence, with rich culture andthe cultural implication of program, making it successful to breakthrough in themingling of western culture, and to reconstruct the connotation of TV culture identityin the new century.Chapter6extended the TV culture identity research to all media, thedevelopment of new media culture promoted that the development of Chinese TVprograms can’t stuck in the past, but should actively integrate into the construction ofall media context in both the interaction and competition pattern, concentrate spiritvalue, optimize the allocation of resources, the television art and technologycommunion, which reflect the culture value of Chinese TV programs in the new century, this is the value and significance of the study of Chinese TV programs’cultural identity.All in all, cultural identity is the basis of the TV programs to make sure the valueorientation and cultural orientation. In this paper, the author works out the fourchangings in cultural identity of the development of Chinese TV programs in the newcentury, and view these changings on the deep cognition, putting forward effectivecountermeasures and ways to help Chinese TV programs get rid of the plight ofhomogeneity and entertainment, to develop with local cultural characteristics andbroad competitiveness of TV program content and modes.