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Chinese TV creativity gains a key foothold
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CHINESE entertainment TV shows are mostly based on successful foreign formats. The lack of originality is often what domestic TV entertainment is criticized for.
The situation is expected to change after British broadcaster ITV Global Studios’ recent purchase of the international format rights to the Shanghai-based Star China’s popular music contest “Sing My Song.”
It is the first time the format of an original Chinese TV talent show has been exported. When the show was aired on China’s CCTV-3 earlier this year, it reached 480 million viewers.
“Sing My Song” distinguished itself from most other shows with a new focus and perspective. It is a selection of the nation’s top-quality original Chinese pop songs. The four judges on the show, who are also well-known singer-songwriters, chose songs they thought would have market potential. The show has also fueled the domestic music industry with new passion and creativity.
Officials from Star China call the cooperation “very exciting and encouraging.” It is the first original format they created and developed to gain acceptance and recognition in the international market.
“It turns out to be remarkable progress for Chinese entertainment shows,” says Lu Wei, a spokesman for Star China. “Chinese producers will find new possibilities and channels for programs and cultural exports.”
Lu did not reveal how much ITV Global Studios spent on the purchase, but he says ITV will produce a British version of “Sing My Song” within two years and have international distribution rights to the format.
Mike Beale, director of international formats for ITV Studios, said the deal exemplifies the benefits of British-Chinese creative partnerships, according to media reports.
Star China will also become the first Chinese member of FRAPA (Format Recognition and Protection Association), which aims to protect rights to formats and lobbies for legal protection. It also provides information for producers, creators and distributors about international formats.
In addition to importing successful foreign formats, the production company has established an R&D department to create and write its own TV show bibles. A bible keeps track of details about a show — from its concept, location and setting to the biographies of its characters.
Currently, Star China offers Chinese audiences a competition to seek the most talented grass-roots dancers in the country. The televised dance competition, based on the format of the international reality show “So You Think You Can Dance,” has localized competition rules and stage presentation.
By the end of this year another new original show to select the country’s kung fu masters is scheduled for airing. Its format is also targeted at a global audience.
“TV show bible writing is a huge potential business in China,” says Lu. “However, even though you have got some creative ideas, it can’t ensure the format will be well-received in the international market.”
Lu adds that foreign studios usually import formats that have already been hits. They also want the domestic TV industry to improve technological capabilities and expertise in brand designing and promotion.
A format that can be developed into a worldwide franchise is not just about fun, Lu adds, but about positive and inspiring cultural values of universal appeal.
For instance, the “Got Talent” franchise makes audiences feel happy to live in a country with so many untapped talents, while “Sing My Song” brings out the power of original songs to touch people’s hearts and express their emotions.
The export of Chinese-format shows is a big encouragement to local TV producers. During her visit to the UK to learn creative concepts in TV production, Zhu Hui, a veteran TV producer at Shanghai Media Group, found that Chinese TV producers can no longer depend on copying successful foreign formats.
“Though foreign-format shows are safer because they have proven success, Chinese producers need to develop TV show bibles and formats on their own. Otherwise we will lag behind forever,” Zhu says. “It is a tough and energy-consuming process but after several years’ efforts you will find that it is worthy.”
Zhu and her team are presenting a humorous competition series to select the nation’s grass-roots comedy talents on Dragon TV. The show is original and is among the top three rated shows in its time slot.
“We are also working on a bible of the show,” Zhu says. “We hope to distribute the bible to overseas TV studios later this year. As for most Chinese producers, what they are still lacking is courage and a global vision.”
Li Tian, a film and TV critic, considers the export of “Sing My Song” a sign that the Chinese TV industry is becoming more respectful of format and originality.
“Only when the world changes its stereotypical view of Chinese entertainment TV as one of imitation and parody, can we really make good performance in the international market,” Li says.
In his eyes, domestic TV and film producers still have a long way to go for successful cultural export.
“TV and film productions with common sense, understandable story logic and distinctive Chinese elements such as cuisine, martial arts and philosophy can be distinguished from others,” Li says.
He cites the example of Ang Lee’s early works “Pushing Hands,” “Eat Drink Man Woman” and the Japanese movie “Okuribito.” These movies with strong Asian flavors but universal emotions were well-received in the United States.
Experts don’t regard cultural export as a current necessity for domestic producers. They urge producers to improve their content, creativity and production skills first to narrow the quality gap with developed countries. When they get strong enough, they will have many more opportunities.
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