In late 1995, the drama Heaven Above (Cangtian zaishang) debuted on Chinese TV. Featuring a villainous high-ranking government official, it was the first in a series of wildly popular corruption dramas that riveted the nation. In Staging Corruption, Ruoyun Bai looks at the rise, fall, and reincarnation of these dramas and the ways in which they express the collective dreams and nightmares of China in the market-reform era. She also considers how these dramas – as products of the interplay between television stations, production companies, media regulation, and political censorship – unveil complicated relationships between power, media, and society. Her book will be essential reading for those following China's ongoing struggles with the highly volatile issue of political and social nepotism.
In late 1995, the drama Heaven Above (Cangtian zaishang) debuted on Chinese TV. Featuring a villainous high-ranking government official, it was the first in a series of wildly popular corruption dramas that riveted the nation. Staging Corruption looks at the rise, fall, and reincarnation of corruption dramas and the ways in which they express the collective dreams and nightmares of China in the market-reform era. It also considers how these dramas - as products of the interplay between television stations, production companies, media regulation, and political censorship - unveil complicated relationships between power, media, and society. This book will be essential reading for those following China's ongoing struggles with the highly volatile socio-political issue of corruption.
Focusing on anticorruption television dramas that first appeared in China in the mid-1990s, this dissertation seeks to understand what commercializing television means to the Chinese Communist Party's attempt to reestablish legitimacy in face of rampant political corruption. By interviewing twenty or so Chinese producers, writers, and broadcast officials, scrutinizing trade journals as well as mainstream newspapers, and analyzing more than a dozen of anticorruption dramas, I have tried to grasp this phenomenon using a multiperspectival approach, integrating an examination of the political, economic and social conditions that gave rise to this development with an analysis of the range of cultural meanings of corruption promoted by anticorruption dramas.
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