published_or_final_version / Business Administration / Master / Master of Business Administration

This thesis analyses the television program known as 'Super Girls', which aired on Hunan Satellite Television from 2004-2006 in the Peoples' Republic of China. In the West, this program is sometimes referred to as 'Chinese Idol' because of its similarities to the globally popular television format, 'Idol'. Although 'Super Girls' shares many similarities with 'Idol' there are also equally important differences. This thesis examines these differences as a way of theorising the how the program negotiates the localisation of a Western television format. First, the program is placed in the broader context of the increased liberalisation and commercialisation of the Chinese television industry. Secondly, the thesis analyses the concept of format television and presents the logic behind the global shift toward producing this type of programming. Next, specific aspects of Super Girls are analysed in detail to bring out how the program functioned culturally in the context of China. These aspects of Super Girls include, the way the program represents the changing role and potential of television from the PRC to contribute to negotiations on Chinese identity that take place among the various symbolic universes of Cultural China, including the global Chinese Diaspora. The thesis also explores the nature of the celebrities produced by the contest through isolating their meaning and significance within the Chinese context. The thesis argues that the contest winners are celebrated for their individuality and come to stand for the rise of 'ordinary power'. The thesis also examines the ways in which Super Girls embraces its audience through new modes of address and offering new types of agency for its audience. As a result, Super Girls offers insight into how Chinese culture is now shaped by a rise of 'ordinary empowerment' where the bottom-up cultures are hybridised with the traditional high culture in television broadcasting.

This thesis analyses the television program known as 'Super Girls', which aired on Hunan Satellite Television from 2004-2006 in the Peoples' Republic of China. In the West, this program is sometimes referred to as 'Chinese Idol' because of its similarities to the globally popular television format, 'Idol'. Although 'Super Girls' shares many similarities with 'Idol' there are also equally important differences. This thesis examines these differences as a way of theorising the how the program negotiates the localisation of a Western television format. First, the program is placed in the broader context of the increased liberalisation and commercialisation of the Chinese television industry. Secondly, the thesis analyses the concept of format television and presents the logic behind the global shift toward producing this type of programming. Next, specific aspects of Super Girls are analysed in detail to bring out how the program functioned culturally in the context of China. These aspects of Super Girls include, the way the program represents the changing role and potential of television from the PRC to contribute to negotiations on Chinese identity that take place among the various symbolic universes of Cultural China, including the global Chinese Diaspora. The thesis also explores the nature of the celebrities produced by the contest through isolating their meaning and significance within the Chinese context. The thesis argues that the contest winners are celebrated for their individuality and come to stand for the rise of 'ordinary power'. The thesis also examines the ways in which Super Girls embraces its audience through new modes of address and offering new types of agency for its audience. As a result, Super Girls offers insight into how Chinese culture is now shaped by a rise of 'ordinary empowerment' where the bottom-up cultures are hybridised with the traditional high culture in television broadcasting.

The pattern of specific examples of the processes of globalization is described. The examples all concern information f lows, which are illustrated through a comparative study of three television case histories in Asia. Also illustrated are the three different approaches to providing television services: public service (NHK in Japan), state (CCTV in China) and commercial (STAR TV, based in Hong Kong). Information flows are seen as global forces, constituted at a distance, and the focus is on the ways in which they are resisted or negotiated. NHK and CCTV are depicted as "front line" organizations which are forced to deal with globalization forces in the first instance, while the state may be slow to comprehend or react to the new realities facing it. The case histories show how television is becoming global. From that perspective, the condition of the television industry, of the production of news, and in particular of the public service broadcaster appear in a symbolic role, metaphors for the reconfiguration of relationships between the global and the local. Conclusions on the nature of globalization are linked directly to the research findings. All three case histories are based on interviews with leading participants in exemplar events: the attempts to set up GNN, and to internationalize' NHK; CCTV's defense of its dominant position, under pressure from upheavals both in Chinese society and the government bureaucracy, at the same time as it has itself become a major revenue earner and its role has changed as China enters the WTO; and the establishment, sale and erratic progress of STAR TV. This is contextualized through a broader discussion about the role of public service broadcasters, and of information and communication generally. A causal layered analysis is applied, with a concluding argument in favor of public service television. Several models are suggested, and four scenarios offered, to indicate how public service television could develop. / Thesis (Ph. D.)--University of Hawaii at Manoa, 2003. / Includes bibliographical references (leaves 319-353). / Mode of access: World Wide Web. / Also available by subscription via World Wide Web / x, 353 leaves, bound ill. 29 cm

Summary in Chinese. / Thesis (M.B.A.)--Chinese University of Hong Kong. / Bibliography: leaves 111-114.

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by Ip Hak-shiu. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1991. / Bibliography: leaves 54-55. / PROLOGUE --- p.ii / TABLE OF CONTENTS --- p.iv / LIST OF TABLES --- p.vi / Chapter I. --- INTRODUCTION --- p.1 / Chapter 1.1 --- Background --- p.1 / Chapter 1.2 --- Development of the TV Industry --- p.3 / Chapter 1.3 --- History of ATV --- p.8 / Chapter II. --- LITERATURE REVIEW --- p.10 / Chapter 2.1 --- Analytical Framework for Marketing --- p.10 / Chapter 2.2 --- Background to Warfare: Positioning --- p.13 / Chapter 2.3 --- Marketing as Warfare --- p.15 / Bibliography --- p.19 / Chapter III. --- ATV'S APRIL 1990 LAUNCH --- p.20 / Chapter 3.1 --- Basis for the Launch --- p.20 / Chapter 3.2 --- Assessment of the Market --- p.22 / Chapter 3.3 --- Launch Strategy --- p.25 / Chapter 3.4 --- Anticipation of Competitor's Moves --- p.28 / Chapter 3.5 --- Intrinsic Weaknesses --- p.29 / Chapter 3.6 --- TVB's Moves --- p.31 / Chapter 3.7 --- Results of ATV's Launch --- p.32 / Chapter IV. --- EVALUATION OF ATV'S APRIL 1990 LAUNCH --- p.35 / Chapter 4.1 --- Theoretical Options for ATV's Attack --- p.35 / Chapter 4.2 --- Corresponding Response to TVB's Moves --- p.39 / Chapter 4.3 --- Applications of Marketing Warfare Theory --- p.41 / Chapter 4.4 --- ATV's New Direction: Looking for a way to Survive ？ --- p.44 / EPILOGUE --- p.46 / APPENDICES --- p.47

This study focuses on the relationship between Western transnational broadcasters and East Asian media. It analyzes 1) the processes through which Western media players are localized and 2) the impact of media globalization on local broadcasters in East Asia. Recent developments in the People's Republic of China are the primary focus in the discussion of local media.

This study compares the impact of media ownership, regulation and policy, and technology adoption on the introduction of digital terrestrial television in the United States and Mainland China. Through the use of a case study approach, a qualitative and quantitative examination is given. The results indicate that private group ownership throughout the U.S. digital terrestrial television industry and state ownership in China's television industry lead to the different paths to digital transition. Both governments, however, are deeply involved in respective digital initiatives and play an important role in the implementation from analog to digital. The technical standard adoption in the two countries places the underpinning for the future development of digital television (DTV), which also results in China lagging behind the United States by almost ten years. The differences of technological environments in households and income among consumers in the two countries further predict the intention to DTV adoption.