Marx is indeed still relevant in China. R. D. Laing offered an elegant summary of his most pertinent doctrine:
Marx used the concept of mystification to mean a plausible misrepresentation of what is going on (process) or what is being done (praxis) in the service of the interests of one socioeconomic class (the exploiters) over or against another class (the exploited).
By representing forms of exploitation as forms of benevolence, the exploiters bemuse the exploited into feeling at one with their exploiters, or into feeling gratitude for what (unrealized by them) is their exploitation, and, not least, into feeling bad or mad even to think of rebellion.
“Marx Got It Right,” a new TV show, is among the Communist Party’s attempts to reach a younger audience.CreditChina Central Television
BEIJING — Regal orchestral music strikes up, a computer-animated train races by and an old man with a bushy white beard looms onto the television screen. Then the studio audience applauds as an effervescent host opens an episode of China’s latest prime-time entertainment.
It looks like another Chinese talk show, but the bearded man is Karl Marx. This is “Marx Got It Right,” a slickly produced program that is part talk show, part indoctrination session — and a vivid illustration of the quirky efforts that the Communist Party under Xi Jinping is making to win over China’s millennials. Continue reading →
Chinese sci-fi fans are bubbling over with excitement today following a report that beloved science fiction trilogy “The Three-Body Problem” may be made into a high-budget television series by Amazon.
The Financial Times reported yesterday that the American video subscription service will likely earmark $1 billion in order to acquire the rights to the extremely popular trilogy of novels written by Liu Cixin and produce three seasons of episodes. Continue reading →
As the annual meeting of the country’s legislature stretched into its second week, the event’s canned political pageantry and obsequious (and often scripted) media questions seemingly proved too much for one journalist on Tuesday.
With a fellow reporter’s fawning question to a Chinese official pushing past the 30-second mark, Liang Xiangyi, of the financial news site Yicai, began scoffing to herself. Then she turned to scrutinize the questioner in disbelief. Continue reading →
Fire and fury. (Youtube/Zhejiang TV official channel)
Almost two decades ago, Wang Xi, then a teenager living near the Chinese capital of Beijing, fell in love with an American robot combat TV show called BattleBots. One of the most-watched TV shows ever in the US, it got 1.5 million viewers per episode at its peak, and was syndicated around the world, including China.
Wang knew then that he wanted to one day make his own robot, and having it battle on TV in China. This year, Wang saw his dream realized on China’s first robot combat show, King of Bots (铁甲雄心), which debuted in January. It’s one of a series of robot combat shows that will air in the country this year, after China saw its first offline robot battle tournaments in recent years.
Wang’s robot, Greedy Snake, fought robots made by other teams from China, as well as from the UK and the US. The show, which aired on the widely-watched Zhejiang TV channel, quickly became popular. Its Feb. 26 episode ranked in the second spot for entertainment shows across 52 cities in its time slot, behind a Chinese remake of a trivia competition, according to research firm CSM (link in Chinese).
Wang, who was working as a game developer, is now a technical consultant to the show, said the show was inspired by the revival of BattleBots, starting in 2015. But China’s promotion of itself in recent years as a nation at the forefront of technology and innovation likely played a role too.
While King of Bots had its season finale Monday (March 5), later this month, iQiyi, a streaming-service giant backed by China’s search giant Baidu, is planning to air a similar show called Clash Bots on March 23. Youku, another online video platform backed by Alibaba, is also rolling out This is Bots later this year, though a date hasn’t been set yet. The companies didn’t reply to queries about the programs from Quartz.
In King of Bots, competitors pit remote-controlled bots against each other in a container made of bulletproof glass. During a three-minute fight, each team needs to try to paralyze the other’s machine in order to win the game. Participants also need to navigate their bots to dodge traps in the competition stadium, including rivets on the wall, flames that burst from the ground, serrated rollers, and flipping platforms.
The bots caught on fire during a competition. (Courtesy of The Makers)
Competing teams, including those from the UK, the US, and Australia, all received a handsome amount of financial support from the show. In Wang’s case, he received some 200,000 yuan ($32,000) to make his bot, a tanker-like 110-kilogram (242 lbs) machine (on left, photo below) that lifts its opponent and hurls it down. The team, which included his wife, spent six months designing the robot, which was manufactured in Shanghai.
A total of 48 teams (link in Chinese) participated. Wang said he found the foreign teams more experienced in combat strategy and design because countries like the UK and the US have a longer history in robot combat events than China. Wang’s bot lost in the competition for one of the top eight spots to another Chinese team.
A team from Britain’s Brentwood high school and Wang Xi, center, with two members of his team.(Courtesy of Wang Xi)
Yet, he notes, the show provided a platform for people obsessed with making robots, and a way to gauge their skill level. “If a country wants to rejuvenate and even lead the world, we should be counting on the attitude of pursuing knowledge and science,” Wang said.
Before the TV show, most teams were only competing offline, said Wang, who founded China’s biggest robot combat association in 2015. Now the group has more than 1,000 members. Wang estimates that there are around 300 people skilled enough to make a robot capable of competing and fighting.
One of them might be Yue Tan, an electronics engineering major in southern Guangdong province, who is making a 13.6-kilogram (30 lbs) bot that he hopes will compete in an offline competition hosted by the show’s co-producer, Shanghai-based video firm The Makers, starting in May. “Children can explore and build up confidence through making robots. Even if you fail, you will learn to improve during the process,” says Yue, who’s been discussing robot-making tips on Zhihu (link in Chinese), China’s answer to Quora.
Others also believe that the TV shows can encourage innovation. Chen Wei, the producer of iQiyi’s upcoming Clash Bots, expects that the show will boost young people’s aspirations for Chinese manufacturing and technology.“China is still lagging in some industry sectors,” Chen told news portal Chinanews. “If the game becomes popular and more people get inspired by it, our technology will probably also improve.”
The Chinese robot makers may have a ways to go. While two Chinese teamsmade it to the quarter-finals, a team from the UK (link in Chinese) eventually won the competition and half a million yuan (nearly $79,000) in prize money in the season finale.
Beijing on Thursday said it was against any form of racism but dismissed widespread criticism of state broadcaster CCTV’s annual holiday variety show as an attempt to drive a wedge between China and African nations.
We need to talk about that Africa skit. You know the one.
Let me say up front that it’s dangerous and somewhat irresponsible to analyze a Chinese production — particularly one intended solely for a Chinese audience, whose understanding of ethnicity and race is filtered through a complicated and unique culture and history — through a purely American lens. I’ve watched this skit carefully, and I can’t find any intent to offend. Which is to say, there’s no real need to call it racist.
But this skit is clearly offensive — to sensibility, to foreigners, to intelligence, to one’s self-respect. To theater. To creativity. It is condescending, and willfully so, making it all the more offensive. It is arrogant and tone-deaf and shallow. It’s hard not to be embarrassed. Continue reading →
Second-century military strategist Zhuge Liang has been depicted as being “so wise that he was practically a demon”, at least according to writer Lu Xun. Fictionalized in the 14th-century novel The Romance of the Three Kingdoms, one of China’s “Four Classics,” “Zhuge” has since become a byword for wisdom in China.
Given the renown of the character, it’s a tall order for any actor to play Zhuge without fans criticizing one detail or another. A recent TV series may have found the answer—with a Zhuge who happens to know English. Continue reading →
From historical dramas to military series – a list of the latest, most-watched television dramas in China shows that Chinese television dramas are not just hot & happening – they are also diverse when it comes to themes and genres.
It has been over 27 years since China’s first television drama aired and caused a national craze. Although China’s media industry has greatly changed through the times, one thing has remained the same: Chinese TV viewers still love watching television dramas – a dominant form of media entertainment. In fact, the Chinese TV drama industry is booming and among the most vibrant in the world, with no signs of slowing down. Continue reading →
Day and Night, an online crime drama, broadcast the finale on Oct 11. [Photo provided to chinadaily.com.cn]
As Chinese viewers spend more time on video websites, network dramas are booming both in quantity and in quality.
The year looks like the golden time for domestic crime shows. Audience taste has shifted from time-travelling heroines with embroidered garments to rigorous-thinking detectives tracking serial killers.
Well-made internet series sprung up like mushrooms after the screening of summer blockbusters. Day and Night, Burning Ice, Line Walker II are three of the most popular ones recently released on video sites Youku, iQiyi, and QQ Live respectively.
Audience-oriented scripts, broad online exposure, and handpicked cast help network crime shows gain a strong viewership.
Day and Night, widely reckoned as the best crime drama of the year, got a total of 24.6 billion hits online by this Thursday. Continue reading →
The popular Chinese talk show “Behind the Headlines” (锵锵三人行), that was broadcasted by Phoenix TV since 1998, has been suddenly terminated. The name of the show itself has become a ‘sensitive’ and censored term on Weibo since September 12.
One of China’s most successful and long-lasting talk shows has suddenly been canceled after nearly 20 years.
Without further official statements, the TV show announced its termination on its Weibo channel on September 12: Continue reading →
Source: Sup China (9/1/17)
Hunan TV slammed for chasing ratings
By Jiayun Feng
“Too many Korean pop stars are featured in shows produced by Hunan TV. It’s time for it to make some changes!”
“Since when did ‘mouthpiece of the Party’ (党的喉舌 dǎngdehóushé) become a good word?”
These two comments demonstrate how public opinion differed (in Chinese) on the rectification notice (in Chinese) released by the Communist Party’s Hunan provincial committee after an inspection of Hunan Television from February to April this year. In the notice, Hunan TV, the provincial satellite TV station, is criticized for lacking a sense of political responsibility, an excessive focus on high ratings, and spending too little effort on Party construction.
“For a long time, some leaders in Hunan TV deeply believed that ‘Entertainment is the foundation of a television station’ [娱乐立台 yúlèlìtái], and that ‘High ratings are the only criteria on whether a television station is successful or not’ [以收视率论英雄 yǐ shōushìlǜ lùn yīngxióng],” the notice says. “Some channels have been swinging between social benefits and economic benefits. They have failed to fulfill the mission of being a mouthpiece of the Party.” The notice also asserts that on the surface, the problem with Hunan TV seems to be its loose control of several channels and shows, but in fact it reflects the lack of political sensitivity among the TV Party committee. Continue reading →
Poster of TV drama The First Half of My Life [Photo/Mtime]
Adapted from popular Hong Kong writer Isabel Nee Yeh-su’s novel The First Half of My Life, the 42-episode TV drama of the same title stands as a dark horse amid fierce TV competition during the summer holiday.
Gathering a cast full of veteran and renowned actors including Chen Daoming, Mei Ting, Ma Yili and Yuan Quan, the drama mainly tells the inspirational story of a housewife-turned-career woman.
In the drama, lead actress Ma Yili stars as Luo Zijun, a simple-minded and dubious housewife.
However, her carefree life encounters misfortune after an unexpected divorce. Continue reading →