Chua Beng Huat
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9789622098923
- eISBN:
- 9789882206885
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098923.003.0005
- Subject:
- Society and Culture, Media Studies
This chapter aims to address the question, “How does an audience watch/read an imported cultural drama series?” It develops a comprehensive, relatively formal, conceptual framework for the analysis ...
More
This chapter aims to address the question, “How does an audience watch/read an imported cultural drama series?” It develops a comprehensive, relatively formal, conceptual framework for the analysis of pan-Asian, transnational pop culture consumption. It specifically explores the circulation and reception of media products in locations where an ethnic-Chinese population predominates, namely the People Republic of China (PRC), Hong Kong, Taiwan and Singapore. The possible emergence of a pan-East Asian “community of consumers” and its implication is also investigated. Before exploring the reception of imported drama series, one significant peculiarity of their circulation in Pop Culture China should be noted. It then deals with the question of dubbing and its effect on the audience. Regional marketing of pop cultures is now configured into their production cost. The predominantly ethnic-Chinese locations constitute a subset within East Asia and can be conceptually designated as Pop Culture China, with histories of established networks of production and consumption of Chinese language based genres of pop culture.Less
This chapter aims to address the question, “How does an audience watch/read an imported cultural drama series?” It develops a comprehensive, relatively formal, conceptual framework for the analysis of pan-Asian, transnational pop culture consumption. It specifically explores the circulation and reception of media products in locations where an ethnic-Chinese population predominates, namely the People Republic of China (PRC), Hong Kong, Taiwan and Singapore. The possible emergence of a pan-East Asian “community of consumers” and its implication is also investigated. Before exploring the reception of imported drama series, one significant peculiarity of their circulation in Pop Culture China should be noted. It then deals with the question of dubbing and its effect on the audience. Regional marketing of pop cultures is now configured into their production cost. The predominantly ethnic-Chinese locations constitute a subset within East Asia and can be conceptually designated as Pop Culture China, with histories of established networks of production and consumption of Chinese language based genres of pop culture.
