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The Comparison of Television Dramas Production and Broadcast between Korea and China : 중한 드라마의 제작 과 방송 비교

DC Field Value Language
dc.contributor.advisorJeong, Jong-Ho-
dc.contributor.authorSheng Tingyin-
dc.date.accessioned2019-10-18T16:03:52Z-
dc.date.available2019-10-18T16:03:52Z-
dc.date.issued2019-08-
dc.identifier.other000000158189-
dc.identifier.urihttps://hdl.handle.net/10371/161141-
dc.identifier.urihttp://dcollection.snu.ac.kr/common/orgView/000000158189ko_KR
dc.description학위논문(석사)--서울대학교 대학원 :국제대학원 국제학과(국제지역학전공),2019. 8. Jeong, Jong-Ho.-
dc.description.abstractKorean TV dramas, as important parts of the Korean Wave (Hallyu), are famous all over the world. China produces most TV dramas in the world. Both countries TV drama industries have their own advantages. In order to provide meaningful recommendations for drama production companies and TV stations, this paper analyzes, determines, and compares the characteristics of Korean and Chinese TV drama production and broadcasting.
Korea enjoys a higher degree of marketization than China, and the Korean TV drama industry enjoys the Korean governments great support. During the production process, the screenwriter is at the center position and has great influence over the whole production team. The producer is also the director in order to ensure that the dramas quality meets expectations. In broadcasting, the three main TV stations – SBS, KBS, and MBC – hold dominant positions. In addition, there are different types of broadcasting models according to broadcasting time and frequency. Further, the main types of dramas are family dramas and romantic dramas, and are based on the contemporary period.
In China, the importance of the SARFT cannot be ignored. On one hand, the SARFT regulates the whole production process through strict censorship and regulation. Further, the SARFT also regulates dramas broadcasting model, broadcasting time, broadcasting players, and broadcasting content. Besides that, the SARFT also regulates broadcasting content by encouraging the broadcast of realistic dramas based on the contemporary period, and by requiring TV stations to broadcast Red TV dramas.
By comparing the drama production and broadcasting characteristics of Korea and China, we observe several differences and similarities. The greatest difference in production is that Korean production is more efficient than Chinese production. As for broadcasting, the primary difference between the two countries dramas is in diversity. Korean broadcasting models are more varied, but Chinas broadcasting content is more diversified. The two countries also are similar across three main characteristics. First, both countries realize the importance of communication with audiences. This is reflected in Koreas shooting-while-broadcasting model and Chinas production and broadcasting of more IP TV dramas. Second, both countries have their own main TV stations with dominant market positions. In Korea, these are SBS, KBS, and MBC. In China, they are the Five Star TV stations. As a result, access to audiences is important when broadcasting TV dramas. Last but not least, both countries mainly broadcast romantic dramas and family dramas set in the contemporary period.
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dc.description.tableofcontentsChapter 1. Introduction 1
1.1 Research Question 1
1.2 Literature Review 6
1.2.1 Previous Studies About Television and Audiences 6
1.2.2 Previous Studies about Korean Dramas 7
1.2.3 Previous Studies about Chinese Dramas 9
1.3 Research Methodology 11
Chapter 2. Analysis of Korean TV Dramas 14
2.1. History 14
2.1.1 The Beginning (1961-1989): drama as social control 14
2.1.2 Rapid Development(1990-1999): intense competition 16
2.1.3 The Golden Age (2000-present): the co-production system 18
2.2. The K-Drama Production System 21
2.2.1 No Full Pre-Production 21
2.2.2 The Central Role of Screenwriters 23
2.2.3 The PD: The Combination of the Producer and the Director 25
2.3. The K-drama Broadcasting system 26
2.3.1 Broadcasting Platforms: TV Stations 29
2.3.2 Broadcasting Models 31
2.3.3 Broadcasting Content: TV Dramas 32
Chapter 3. Analysis of Chinese TV Dramas 37
3.1 History 37
3.1.1 Slow Development (1958-1978): Drama as a Political Tool 37
3.1.2 The Recovery (1979-1989): The Transformation into Mass Communications 38
3.1.3 Rapid Development (1900-2003): Gradual Marketization 39
3.1.4 Industry Expansion: The Oversupply of Dramas (2004-2011) 41
3.1.5 The Revolution: Stricter SARFT Regulation (2012-present) 42
3.2 Chinese TV Drama Production 43
3.2.1 The Strict Regulations and Censorship of the SARFT 43
3.2.2 The Oversupply of TV Drama Productions 44
3.2.3 Great Investment in Actors 45
3.3 Chinese Drama Broadcasting 48
3.3.1 The SARFTs Influence on Broadcasting Models 48
3.3.2 The SARFTs Influence on TV Stations 49
3.3.3 The SARFTs Influence on Broadcasting Content 50
Chapter 4. Comparison between Korea and Chinas Production and Broadcasting Characteristics 60
4.1 Differences of Production and Broadcasting 60
4.1.1 Different Degrees of Censorship and Regulation 60
4.1.2 Different Important Roles in Production 61
4.1.3 Different Broadcasting Models and Broadcasting Content 62
4.2 Similarities of Production and Broadcasting 63
4.2.1 Communication with Audiences 63
4.2.2 Dominant TV Stations 64
4.2.3 Main Broadcasting Content 64
Conclusion 66
Bibliography 69
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dc.language.isoeng-
dc.publisher서울대학교 대학원-
dc.subjectKorean Television dramas-
dc.subjectChinese Television dramas-
dc.subjectTelevision drama's production-
dc.subjectTelevision drama's broadcast-
dc.subject.ddc307-
dc.titleThe Comparison of Television Dramas Production and Broadcast between Korea and China-
dc.title.alternative중한 드라마의 제작 과 방송 비교-
dc.typeThesis-
dc.typeDissertation-
dc.contributor.AlternativeAuthor셩팅인-
dc.contributor.department국제대학원 국제학과(국제지역학전공)-
dc.description.degreeMaster-
dc.date.awarded2019-08-
dc.identifier.uciI804:11032-000000158189-
dc.identifier.holdings000000000040▲000000000041▲000000158189▲-
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