2.Second period(1978-1998) dominated by works
1978 was the turning point in China's development. In 1978, the Third Session of the Eleventh Central Committee of the CPC was held, on which Cultural Revolution was announced end, and China stared to enter the time of economic development centric period named "Reform and Opening-up". Chinese television also entered a new era. I divide this period into 2 stages, 1980s focused on form innovation and 1990s focused on idea innovation.
Two important events happened in 1980s. The first one happened in 1982 when the "broadcast television" ministerial organization can be found in the cabin list of China's central government. This represented the rising of Chinese television. The second event happened in 1983 when the first Minister of that department Mr. Wu Lengxi, who used to be Chairman Mao's secretary, put forward the idea that television development should take its own path in the 11th National TV & Broadcasting Conference. This idea strongly encouraged people in TV industry not to follow the step of other types of media; instead, they should explore the unique media and art features of television. So in these innovative 20 years, the core of Chinese television contents changed from propaganda materials to works, namely creative contents presenting creator's characteristics.
In 1980s, innovation on Chinese television's contents can be shown in the following 4 types:
1) Special subjects films
Special subjects films target at featured topics. The three main topics are:
scenery, including famous mountains and landscape such as The Summer of Harbin (1980) and The Minjiang River (1981) whose background music became the most popular music in China at that time
historic culture, weekly programs combing natural landscape with humanity history like Discovering the Yangtze River (1983-1984) and Discovering the Canal (1984-1985) reached 50% on ratings
political comments: River Elegy (1987) generated huge influence among China's intellectual's and ideologists, and it was even regarded as the engine of China's 1989 Students' Movement.
2) Teleplay
There were 3 main innovation on the form of teleplays.
First innovation: from non-serial teleplay to serial teleplay. People used to regard teleplay as the TV version of stage play and feature film, at least from its length. However, when Chinese teleplay producers went abroad, they got influenced by overseas teleplays, most of which were serial plays, and they started to change. The first serial teleplay was 18 Years in Enemy's Camp (1981).
Second innovation: from enclosed stage to open life. Teleplays went from telling stories about ordinary people's life to showing the presence and history of society. For example, New Star (1985) used Li Xiangnan, the head of a county facing reforming challenges, as the main character; The Last Emperor (1987) pictured the life of China's last emperor in Qing Dynasty Pu Yi.
Third innovation: from ordinary stories to classic stories, especially adaptions of Chinese literary masterpiece, such as The Yellow Storm (1985) and The Dream of the Red Chamber (1987).
3) Variety show
During this period, a very important TV show was produced, which was broadcast at Chinese Spring Festival, named Spring Festival Gala. The first Spring Festival Gala in 1983 was around 5-6 hours, made up of singing, dancing, comic talk, sketch, acrobatics, Chinese opera, to name but a few. That gala show adapted to the tasted of Chinese people in various age groups, ethnic groups and regions. It has been the most influential show in China's TV history with the rating above 90%. Perhaps, this is the most watched program in the world.
4) Hosts
The first time the title "host" was shown on TV was in a news program called Observing and Thinking (1980). And "host" became to be accepted by audience when Mr. Chen Duo and Ms. Hong Yun (both were China's respectful hosts) in Discovering the Yangtze River and Discovering the Canal used recitation plus narration to impress audience.
The most influential hosts during this period were Zhao Zhongxiang, Song Shixiong and Ni Ping. In the dubbing for documentary Animal World, Zhao added humanized content and changed the rigid style. Song devoted passion into the sports commentary and strongly triggered audience's enthusiasm. Ni had the style of casual talks and used words from oral language rather than the formal and official expression used in the past. All these made "host" approachable for audience.
Thanks to all these innovation, China's TV got its own media and artistic forms, also gained the support and affection from audience as well.
In 1990s, 5 new concepts drove China's TV industry to a new level:
1) The concept of TV documenting
Odyssey Of The Great Wall (1991) marked the start of TV documenting. It changed conventional enclosing creation to open creation, specifically from theme leading to theme following, from set-up shooting to on-the-spot shooting. The wide use of actual sound and full-length shot became key technical features for maintaining the originality.
2) The concept of TV program(column)
At 7:00, April 1st, 1993, a new program named Oriental Horizon was launched, making it the first big program under the TV producer mechanism. It has fixed content form and airtime. At that time, this kind of program was rare as most programs were single TV program with unfixed airtime and duration; for example, a serial teleplay had 10 episodes, but due to different directors, each episode might have different duration. Oriental Horizon was no longer a program with director at the center of production, instead it was producer-centric no matter in topic selection, detailed production, lighting, setting or host's time limit on asking questions. This standard production made it possible to achieve mass production as it had unified technical standard, and laid foundation for marketization and industrialization of TV program. Since then, China's TV industry entered program-centric era. Another contribution of Oriental Horizon was its incubation of excellent producers and hosts for China's TV industry.
3) The concept of TV talk show
In 1996, Tell It Like It Is was produced as a Chinese styled talk show. It changed people's conventional idea about TV program as they always thought program was shot out not spoken out. While Tell It Like It Is was mostly based on talking. It involved ordinary people to be the speaker so that this move was considered as "discourse democracy" for Chinese audience.
4) The concept of TV living
Since 1958 when TV program appeared in China, programs were mostly live broadcast. After 1978, recorded broadcast was born with development of technology, and quality of programs got much better after editing. However, in the following 20 years, when significant news occurred, TV media's influence would be greatly reduced without live broadcast. 1997 was called the "Year of Live Broadcast" with 3 major live broadcast: the closure of Xiaolangdi Dam of The Yellow River, the orificing of Three Gorges of the Yangtze River and the return of Hong Kong to China. These helped Chinese TV programs find the keys to release their media influence.
5) The concept of TV entertainment
In 1998, Happy Camp from Hunan Province kicked off the entertainment trend in China. This show had no educational purpose, but just was star reality show which made audience relaxed and laugh. Since then, this type of program turned to be really popular.
The 4 types of innovation in 1980s and 5 new concepts in 1990s boosted lots of TV programs that won audience's affection, and helped China's TV grow to be the No.1 mass media in contemporary China.
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