Abstract
This chapter explores foreign markets and media professionals as the cultural intermediaries and the gatekeepers in importing countries. The embrace of television series—a soft power medium—by media practitioners is conditioned not only by the market structures of the potential importing countries, but also by the practitioners’ and buyers’ actions. Their actions in South Korean and Japanese media markets also reflect their evaluations of the impact of Chinese television series on potential values for audience ratings, economic capital, and consumption by local audiences in the importing countries. These actors are rarely the focus of empirical investigation, as previous research on soft power often implicitly considers the importing countries and domestic institutions. Addressing this gap in the body of literature can generate a clearer understanding of the conditions under which soft power policies either facilitate or discourage foreign television programs’ successful importation into the receiving countries.
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Notes
- 1.
- 2.
It is formerly known as the State Administration of Radio, Film, and Television (SARFT ). It is under the State Council and to administer and supervise the state-owned enterprises engaged in the television, radio, and film industries.
- 3.
CM20, interview with a Chinese academic, February 28, 2012, Shenzhen, China.
- 4.
CM36, interview with a Chinese academic, August 4, 2013, Beijing, China.
- 5.
Such events held in China include Beijing International TV Week, Shanghai TV Festival, Sichuan TV Festival, and Quanguo guochan dianshijiemu zhanshi jiaoyihui (Domestic TV Programs Exchange). Venues outside of China include Asia TV Forum & Market in Singapore, Tokyo International Film Festival in Japan, Banff World Media Festival (formerly, Banff World Television Festival) in Canada, BRITDOC Foundation (formerly Channel 4 BRITDOC Foundation), Celtic Media Festival (Celtic Film Media Festival) in the United Kingdom, DISCOP, Burgh International Television Festival, Festival International de Programmes Audiovisuals, FesTVal in Spain, ITVFest (Independent Television Festival), Monte-Carlo Television Festival, New York Television Festival, MIPTV & MIPCOM in France.
- 6.
Details of the products include the number of episodes , featured actors or actresses, similar products that were on the market, and potentially attractive sales points.
- 7.
CM21, interview with a Chinese media professional February 28, 2012, Shenzhen, China.
- 8.
JM5, interview with a Nippon TV producer, May 10, 2013, Tokyo, Japan.
- 9.
This related matter is often handled by the Global Business Department, although the actual name can vary.
- 10.
A “broker” or an “agent” is junggaein in Korean and chukajin in Japanese.
- 11.
KM1, interview with a South Korean producer, December 20, 2011, Seoul, South Korea.
- 12.
- 13.
Here television channels that are available in South Korea through a linear method are not included. A linear service is one in which program providers determine the program scheduling. A non-linear service is one where program providers provide catalogues and viewers decide viewing time based on the catalogues. A linear method prevails on satellite or foreign channels , which directly broadcast from a source country to other countries. CCTV and TVB are the examples of a linear service.
- 14.
KM4, interview with a Korean television producer, January 19, 2012, Seoul, South Korea.
- 15.
If viewers want to watch Western channels such as HBO and Discovery, they need to subscribe to an extra service that includes these channels.
- 16.
Korean-related programs not only include dramas, movies, and variety shows from South Korea, but also entertainment and variety programs that are made in Japan.
- 17.
KM9, interview with a South Korean producer, March 17, 2012, Seoul, South Korea.
- 18.
This is a prevailing idea among both producers and audiences in South Korea.
- 19.
KM4, interview with a South Korean TV producer, January 19, 2012, Seoul, South Korea.
- 20.
See for the phenomenon of Three Kingdoms (Samgukji) in South Korea in Chapter 3. Three Kingdoms, Huangbihong and Shuihuji are examples.
- 21.
See the phenomenon of muhyeop novels in South Korea. Jin Yong’s novels are famous in South Korea.
- 22.
KM1, interview with a South Korean producer, December 20, 2011, Seoul, South Korea.
- 23.
Ibid.
- 24.
JM6, interview with a Japanese media professional, May 10, 2012, Tokyo, Japan.
- 25.
JM5, interview with a Japanese media professional, May 10, 2012, Tokyo, Japan.
- 26.
In this line, see Korea Creative Content Agency (2010).
- 27.
JM11, interview with a Japanese media professional, May 16, 2012, Tokyo, Japan.
- 28.
KM2, interview with a South Korean media professional, December 22, 2011, Seoul, South Korea.
- 29.
JM4, interview with a Japanese media professional, May 8, 2012, Tokyo, Japan.
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Lee, C.S. (2018). Foreign Markets and Professionals: The Gatekeepers. In: Soft Power Made in China. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-93115-9_3
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