Hostname: page-component-77c89778f8-m42fx Total loading time: 0 Render date: 2024-07-19T22:04:24.588Z Has data issue: false hasContentIssue false

A New Spectacle in China's Mediasphere: A Cultural Reading of a Web-Based Reality Show from Shanghai*

Published online by Cambridge University Press:  01 April 2011

Daria Berg
Affiliation:
University of Nottingham. Email: daria.berg@nottingham.ac.uk

Abstract

This study offers a cultural reading of the web-based reality show Soul Partners (2007) from Shanghai. Soul Partners serves as a case study to explore how 21st-century Chinese cultural discourse debates the transformation of urban society in China, providing insight into the Chinese cultural imagination, perceptions of the globalizing metropolis and the impact of consumer culture. This reading positions Soul Partners within the discursive context of Chinese popular, postmodern and post-socialist culture and in relation to the cultural import of the reality show genre into China's mediasphere. Analysis focuses on the quest for authenticity in the Chinese discourse on perceived reality and the way Soul Partners generates new urban dreams for China's Generation X. The analysis of Soul Partners sheds new light on the dynamics of transcultural appropriation in a globalizing China and the social and political implications.

Type
Articles
Copyright
Copyright © The China Quarterly 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Produced by “lvlvlvlv dianying gongzuoshi” (lvlvlvlv film studio).

2 Cf. Peijin Chen, “Friends – the Shanghai version,” 24 January 2007, http://www.shanghaiist.com/archives/2007/01/24/friendsthe_shan.php, accessed 7 September 2008.

3 Richard Spencer, “No Big Brother for Chinese viewers,” Telegraph, 24 January 2007, http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/01/23/wchina23.xml, accessed 1 May 2007; Sophie Taylor, “Chinese Friends highlights web freedoms,” 6 February 2007, http://uk.news.yahoo.com/05022007/80-91/china-s-friends-highlights-web-freedoms.html, accessed 5 May 2007.

4 Mofile website, http://www.mofile.com/about/media.do, accessed 4 April 2007.

5 Soul Partners (Xinling paidang) website, http://actor.mofile.com/index/htm, accessed 2 June 2007 (no longer accessible as of September 2008).

6 Braester, Yomi, “Chinese cinema in the age of advertisement: the filmmaker as a cultural broker,” The China Quarterly, No. 183 (2005), pp. 549–64CrossRefGoogle Scholar.

7 Keane, Michael, “Television drama in China: engineering souls for the market,” in Craig, Timothy J. and King, Richard (eds.), Global goes Local: Popular Culture in Asia (Honolulu: University of Hawai'i Press, 2002), pp. 120–37Google Scholar.

8 Cf. Guo, Zhenzhi and Wu, Mei, “Dancing thumbs: mobile telephony in contemporary China,” in Zhang, Xiaoling and Zheng, Yongnian (eds.), China's Information and Communications Technology Revolution (London: Routledge, 2009), pp. 4546Google Scholar.

9 Wang, Jing, Brand New China: Advertising, Media, and Commercial Culture (Cambridge, MA: Harvard University Press, 2008), pp. 282–87CrossRefGoogle Scholar.

10 Debray, Régis, Cours de Médiologie Générale (Paris: Gallimard, 1991)Google Scholar.

11 Forges, Alexander Des, Mediasphere Shanghai (Honolulu: University of Hawai'i Press, 2007)Google Scholar.

12 Yu Huang, “The Zhenrenxiu phenomenon in contemporary China,” http://www.hope.ac.uk/docman/cultures-in-transit-papers/yu-huang-the-zhenrenxiu-phenomenon-in-contemporary-china/details.html, accessed 6 October 2009, p. 12; Debord, Guy, La Societé du Spectacle (Paris: Buchet/Chastel, 1967)Google Scholar.

13 See Zheng, Yongnian, Technological Empowerment (Stanford, CA: Stanford University Press, 2008)Google Scholar.

14 DiNucci, Darcy, “Fragmented future,” Print, Vol. 53, No. 4 (1999), p. 32Google Scholar.

15 Tim O'Reilly, “What is Web 2.0,” http://oreilly.com/web2/archive/what-is-web-20.html, accessed 5 November 2009.

16 Luyi Chen, “Tudou launches new website skin: seven services compared,” China Web 2.0 Review, 25 November 2006, http://www.cwrblog.net/365/tudou-launches-new-website-skin-seven-services-compared.html, accessed 14 November 2009.

17 Episodes varied in length between seven and 16 minutes.

18 Taylor, “Chinese Friends.”

19 Personal email communication with Mofile CEO Jason Cai, 27 September 2008.

20 See also the online video “Bus uncle”; see Guo and Wu, “Thumbs,” pp. 43–45.

21 On the debate, see Dirlik, Arif and Zhang, Xudong (eds.), Postmodernism & China (Durham: Duke University Press, 2000)CrossRefGoogle Scholar.

22 Yang, Xiaobing, “Answering the question: what is Chinese postmodernism/post-Mao-Dengism?” in Chi, Pang-Yuan and Wang, David Der-Wei (eds.), Chinese Literature in the Second Half of a Modern Century (Bloomington: Indiana University Press, 2000), p. 201Google Scholar.

23 Ibid. p. 212.

24 Wang Ning, “The mapping of Chinese postmodernity,” in Dirlik and Zhang, Postmodernism, p. 25.

25 Ibid. p. 30.

26 See McGrath, Jason, Postsocialist Modernity (Stanford, CA: Stanford University Press, 2008)Google Scholar.

27 Dirlik, Arif and Meisner, Maurice (eds.), Marxism and the Chinese Experience (Armonk, NY: M.E. Sharpe, 1989), p. 364Google Scholar.

28 Berry, Chris, “Getting real: Chinese documentary, Chinese postsocialism,” in Zhen, Zhang (ed.), The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century (Durham, NC: Duke University Press, 2007), p. 116Google Scholar.

29 Lu, Sheldon H., Chinese Modernity and Global Biopolitics (Honolulu: University of Hawai'i Press, 2007), p. 208Google Scholar; see also Xudong, Zhang, Postsocialism and Cultural Politics (Durham, NC: Duke University Press, 2008)Google Scholar, pp. 10 and 13.

30 See Kilborn, Richard, Staging the Real (Manchester: Manchester University Press, 2003)Google Scholar; Holmes, Sue and Jermyn, Deborah, Understanding Reality Television (London: Routledge, 2004)Google Scholar.

31 Hill, Annette, Reality TV: Audiences and Popular Factual Television (London: Routledge, 2005), pp. 78CrossRefGoogle Scholar.

32 Keane, Michael, Fung, Anthony Y. H. and Moran, Albert, New Television, Globalisation, and the East Asian Cultural Imagination (Hong Kong: Hong Kong University Press, 2007), p. 145Google Scholar.

33 Andrejevic, Mark, Reality TV: The Work of Being Watched (Lanham: Rowman & Littlefield Publishers, 2004), p. 8Google Scholar.

34 Ibid.

35 Keane, Michael, “A revolution in television and a Great Leap Forward for innovation? China in the global television format business,” in Moran, Albert and Keane, Michael (eds.), Television across Asia (London: RoutledgeCurzon, 2003), p. 91Google Scholar; Keane et al., New Television, p. 154.

36 Yu Huang, “The Zhenrenxiu phenomenon,” p. 3.

37 Ibid. p. 6.

38 Hong, Yin, “Jiedu dianshi zhenrenxiu” (“Interpreting reality shows”), Jinchuanmei (Today's Media), No. 7 (2005), p. 17Google Scholar.

39 Hong, Yin, Hong, Lu and Ruxue, Ran, “Dianshi zhenrenxiu de jiemu yuansu fenxi” (“Analysing the elements of reality shows”), Xiandai chuanbo (Modern Media), Vol. 136, No. 5 (2005), pp. 4752Google Scholar.

40 Yin Hong, “Interpreting reality shows,” p. 14.

41 Yu Huang, “The Zhenrenxiu phenomenon,” p. 6.

42 See Yin Hong, “Interpreting reality shows,” p. 16.

43 See, for example, Xueqin, Cao, Hongloumeng (Beijing: Renmin wenxue, 1957), Vol. 1, p. 5Google Scholar.

44 Keane et al., New Television, pp. 123–39.

45 See Xi, Wang and Yuan, Zhang, “‘Jiaoyu zhenrenxiu’ jiemu de tansuo yu maodun: yi Tianjin weishi ‘Chenglong jihua’ jiemu weilie” (“Exploration and contradiction of educational reality shows: a case study of Tianjin Satellite's Dragon Dream,” Xinwenjie (Realm of Journalism), Vol. 4. (2006), pp. 7273Google Scholar.

46 Keane et al., New Television, p. 156.

47 See Keane, “Revolution,” pp. 90–91.

48 Xinhua, “China moves to clean up TV screens,” China Daily, 12 January 2007, http://www.chinadaily.cn/china/2007-01/12/content_782593.htm, accessed 3 March 2007.

49 Yanhong, Liu, “Zhenrenxiu jiemu de bentuhua jincheng” (“The localization of reality TV”), Shitingjie (Broadcasting Realm), No. 1 (2009), pp. 8284Google Scholar.

50 Yu Huang, “The Zhenrenxiu phenomenon,” p. 7. On Perfect Holiday, see Yuying, Liu, “Zhenren zuo xiu” (“Real people make a show”), Xinwen zhoukan (News Weekly), No. 37 (2002), pp. 4345Google Scholar.

51 Xiaoxuan, Cheng, “Nüxing xingxiang: ziwo chengxian yu meijie chengxian” (“The woman phenomenon: self-presentation and media-presentation”), Xinwen zhishi (Journalism Knowledge), No. 2 (2009), pp. 5860Google Scholar.

52 See Roland Soong, “Bloody television,” EastSouthWestNorth, http://www.zonaeuropa.com/200509brief.htm, accessed 20 September 2009.

53 “Shaolin facaijing” (“Shaolin temple commercialized”), Epoch Times, 15 April 2006, http://www.epochtimes.com/gb/6/4/15/n1287881.htm, accessed 21 October 2009.

54 See Hong, Yin and Qingsheng, Yan, “Chuangxin yule” (“Innovative entertainment”), Zhongguo guangbo dianshi xuekan (Chinese Media Journal), No. 10 (2006), pp. 3940Google Scholar.

55 Yanyan, Bai, “Zhenrenxiu Ying zai Zhongguo jiemu yuansu fenxi” (“Analysing the reality show Win in China”), Dongnan chuanbo (Southeast Media), Vol. 42, No. 2 (2008), pp. 12Google Scholar.

56 Michael Keane, Created in China (London: Routledge, 2007), p. 124.

57 See Liu, Xi, ‘Bianliang de shiyan haishi yanyi de xiuchang: cong ‘Bianxingji’ yu ‘Wife Swap’ de duibi kan zhenrenxiu dianshi jiemu” (“Experience of the variable or showground of deduction: comparing Life Swap and Wife Swap for a study of reality TV”), Kejiao wenhui (Science Education Journal), No. 5 (2008), p. 165Google Scholar.

58 “Big Brother the Chinese way with real monkeys,” Telegraph, 9 February 2007, http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/02/09/wmonk09.xml, accessed 11 February 2007.

59 Wenwen, Hu, “Meili mofang: xuanxiu jiemu xinfengshang” (“China's Next Top Model: new trends in talent shows”), Guanggao daguan (Advertising Survey), No. 5 (2009), pp. 119–20Google Scholar.

60 CMM-I, Zhongguo meiti nianjian: 2008 China Media Yearbook & Directory (Beijing: CMM-I, 2008)Google Scholar.

61 Xiaofeng, Wang, “Xuanxiu de zhongjie: quanmin yule yundong shiheng” (“The demise of talent shows: imbalances in mass entertainment”), Sanlian shenghuo zhoukan (Sanlian Life Weekly), No. 34 (2007), pp. 3638Google Scholar; Yu Huang, “The Zhenrenxiu phenomenon,” p. 17.

62 Foucault, Michel, The History of Sexuality, Vol. 2, The Use of Pleasure (London: Viking, 1986), pp. 67Google Scholar.

63 Duara, Prasenjit, “The regime of authenticity: timelessness, gender, and national history in modern China,” History and Theory, Vol. 37, No. 3 (1998), pp. 287308CrossRefGoogle Scholar, esp. p. 295; Chow, Rey, Primitive Passions (New York: Columbia University Press, 1995), pp. 2123Google Scholar.

64 On authenticity in Chinese reality TV, see Keane et al., New Television, pp. 72, 141–57.

65 Terry Eagleton, “Forgive me, Big Brother, I have sinned,” The Sunday Times, 8 June 2008, sec. 5, p. 3.

66 Anon., Wangluo zhenrenxiu: Women hai you mimi ma?” (“Web-based reality shows: do we still have secrets?”), Jisuanji jiaoyu xue (Computer Pedagogy), No. 1 (2002), p. 73Google Scholar.

67 Silin, Shang, “Tefulong ‘zhudong chuji’” (“Teflon attacks first in cooking”), Shangwu zhoukan (Business Weekly), No. 8 (2007), pp. 7879Google Scholar.

68 Soul Partners, http://actor.mofile.com/index/htm, accessed 2 June 2007.

69 Soul Partners, “Zhaomu guize” (“Rule”), http://actor.mofile.com/index/rule.do, accessed 4 May 2007.

70 Soul Partners, “Huodong xiangqing” (“Detail”), http://actor.mofile.com/index/detail.do, accessed 5 May 2007.

71 Andrejevic, Reality, p. 12.

72 ITN, “Viewers call shots on China show,” 3 March 2007, http://itn.co.uk/news/db78f9dde38f3bc62d329617322a25be.html, accessed 7 April 2007.

73 Andrejevic, Reality, p. 9.

74 Bradley Clissold, “Candid Camera and the origins of reality TV,” in Holmes and Jermyn, Understanding, p. 33.

75 See Lu, Modernity, p. 185–86.

76 “Cui Xiuwen zuopin ‘Xishoujian’,” blog sina, http://blog.sina.com.cn/s/blog_47633a370100f3qf.html, accessed 16 October 2009.

77 Keane, “Revolution,” p. 101.

78 Berry, “Getting real,” p. 123.

79 Ibid. pp. 122ff.

80 Zhang Zhen, Urban Generation, p. 363.

81 Berry, “Getting real,” pp. 115–16.

82 The Soul Partners website also describes the show as a “reality soap comedy” (zhenren feizao xiju).

83 Berry, “Getting real,” pp. 117–22.

84 On Jia Zhangke, see Lu, Modernity, pp. 152–55.

85 Hong, Yin, “Meaning, production, consumption: the history and reality of television drama in China,” in Donald, Stephanie Hemelryk, Keane, Michael and Hong, Yin (eds.), Media in China (London: Routledge, 2002), p. 30Google Scholar.

86 Ibid. p. 32.

87 Miao, Di, “A brief history of Chinese situation comedy,” in Zhu, Ying, Keane, Michael and Bai, Ruoyun (eds.), TV Drama in China (Hong Kong: Hong Kong University Press, 2008), pp. 117–28Google Scholar.

88 Zhang Xudong, Postsocialism, p. 15.

89 Eagleton, “Forgive,” p. 3.

90 Han Tianxing and Xun Xiang are also Beijing Broadcasting Institute graduates.

91 Jing Wang, Brand New China, pp. 19–20, 180–210.

92 Lu, Modernity, p. 53.

93 Jing Wang, Brand New China, p. 142.

94 Reality TV's unscripted characters are “subtly scripted” through “pre-selection of stereotypes.” Keane et al., New Television, p. 72.

95 Yin Hong, “Meaning,” p. 33.

96 Andrejevic, Reality, pp. 3 and 14.

97 See the discussion of Lyotard in Lu, Sheldon, China, Transnational Visuality, Global Postmodernity (Stanford, CA: Stanford University Press, 2001), p. 65Google Scholar.

98 Edwards, Louise and Jeffreys, Elaine (eds.), Celebrity in China (Hong Kong: Hong Kong University Press, 2009)Google Scholar.

99 Soul Partners website.

100 Ibid.

101 Taylor, “Chinese Friends.”

102 Ibid.

103 Soul Partners website.

104 See Jing Wang, Brand New China, pp. 185–86.

105 Ibid. pp. 228ff.

106 Ibid. p. 203.

107 Lu, Modernity, p. 169.

108 Franklin, Jade, “The art of imitation: Thames Town and the copy in China,” Dameishu (Fine Arts), No. 6 (2007), pp. 153–56Google Scholar.

109 Fraser, David, “Inventing oasis: luxury housing advertisements and reconfiguring domestic space in Shanghai,” in Davis, Deborah S., The Consumer Revolution in Urban China (Berkeley: University of California Press, 2000) p. 30Google Scholar.

110 Xiangming, Chen and Xiaoyuan, Gao, “Urban economic reform and public housing investment in China,” Urban Affairs Quarterly, Vol. 29, No. 1 (1993), p. 120Google Scholar.

111 Wang, Ya Ping and Murie, Alan, “The process of commercialisation of urban housing in China,” Urban Studies, Vol. 33, No. 6 (1996), pp. 973, 980, 987Google Scholar.

112 National Bureau of Statistics, China Statistics 2005, 26 April 2006, http://www.allcountries.org/china_statistics/10_1_people_s_life.html, accessed 8 August 2009.

113 Shanghaishi tongjiju (Shanghai Statistics Bureau), “2006 nian Shanghaishi guomin jingji he shehui fazhan tongji gongbao” (“Statistical report of Shanghai citizens' economic and social developments in 2006”), 7 February 2007, http://210.72.32.6/cgi-bin/bigate.cgi/b/g/g/http@www.stats.gov.cn/tjgb/ndtjgb/dfndtjgb/t20070420_402400624.htm, accessed 8 August 2009.

114 Hannah Beech, “Ye olde Shanghai time,” Time, 7 February 2005, http://www.time.com/time/printout/0,8816,1025219,00.html, accessed 2 August 2009.

115 Jing Wang, Brand New China, p. 11.

116 Ibid. p. 12.

117 Thames Town website, http://www.thamestown.com/culture3_2.htm, accessed 10 October 2009.

118 On apartment buildings as metaphors of modernity, see Anthony D. King and Abidin Kusno, “On Be(ij)ing in the world: ‘postmodernism,’ ‘globalization,’ and the making of transnational space in China,” in Dirlik and Zhang, Postmodernism, pp. 50–55.

119 Fraser, “Oasis,” p. 29.

120 Thames Town website.

121 See Davis, Deborah, “Urban consumer culture,” The China Quarterly, No. 183 (2005), p. 703CrossRefGoogle Scholar.

122 Ibid.

123 Taylor, “Chinese Friends.”

124 See e.g. Hui, Wei, Shanghai baobei (Shanghai Baby) (Hong Kong: Tiandi tushu, 2000)Google Scholar, p. 1.6.

125 Davis, “Urban consumer culture,” p. 699.

126 Mofile website, http://tv.mofile.com/user/soulpartners, accessed 7 September 2008.

127 CNNIC Survey Report (CSR), No. 26 (July 2010); http://research.cnnic.cn/html/1279171593d2348.html, accessed 7 January 2011.

128 CSR, Nos. 20, 25, 26.

129 CSR, No. 22.

130 CSR, No. 19.

131 Comments dated 16–21 January 2007; http://tv.mofile.com/ECKNU7E8/1, accessed 22 May 2007 (no longer accessible as of 2008).

132 Xinhua, “China moves to clean up TV screens.”

133 Jeremy Goldkorn, “SARFT attacks internet video,” 15 August 2006, http://www.danwei.org/danwei_noon_report/danwei_noon_8_12.php, accessed 3 October 2009.

134 Kaiser Kuo, “56.com incurs wrath of SARFT?” 4 June 2008, http://digitalwatch.ogilvy.com.cn/en/?p=268, accessed 20 September 2009.

135 Peter Feuilherade, “China threatens reality TV crackdown,” 16 January 2007, http://news.bbc.co.uk/1/hi/world/asia-pacific/6263285.stm, accessed 4 May 2007.

136 Wang Xiaofeng, “Guangdian zongji” (“The General Administration of Anxiety about Radio, Film and Television”), 15 August 2006, http://www.wangxiaofeng.net/?p=319, accessed 20 June 2007.

137 Yongnian Zheng, Technological Empowerment.