| On July25th,2010, a talent show named “China’s Got Talent”—introduced fromthe United Kingdom, was premiered by Dragon TV. This led people to learn about amode of TV program production called “introducing the copyright of foreign TVshows”. Then in the year of2012, another talent show “The Voice of China” causedspectacular craze among Chinese audience. Such a great success made all other TVstations very interested in introducing foreign TV shows, and even brought about theboom of intermediaries that specialize in foreign copyright introduction. It wasreasonable to think that the following2013would be a year during which copyrightintroduction flourish everywhere—not just about the number, but the types of programsare getting more and more versatile, spreading from pure talent shows to life serviceunits and venture shows, covering all the possible aspects. However, due to thedifferences between national conditions, people’s values and life styles, directlyimplanting successful foreign TV shows onto China’s TV platform may not work outvery well. Consequently, it appears extremely important to tailor the imported programsto be more localized and at the same time to fit the narrow space assigned to them.Taking several popular imported programs as models, and making observationfrom the perspective of structuralism, this thesis aimed to carry out a detailed study ofthe inner structure of TV shows, so as to probe into the necessity, possibility andeffective methods of the localization of imported TV programs, trying to offersuggestions about future localization of introduced TV shows, and lay a solid basis forTV programs to realize self innovation and go international. |
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