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Chinese television drama
Chinese television dramas (Chinese: 中国电视连续剧; pinyin: Zhōngguó diànshì liánxùjù), sometimes colloquially known as C-dramas, are Chinese-language television drama series originating from China, sometimes including co-productions with the Greater China region. Popular drama series genres in China include fantasy romance, period costume, contemporary urban and thriller dramas. Chinese dramas are often subjected to stringent regulatory supervisions from China's National Radio and Television Administration (NRTA).
China produces the most television drama episodes per year and has the largest number of domestic television viewers in the world. It is also the second largest video streaming market in the world by revenue. Chinese television dramas are regularly broadcast and streamed throughout Asia; particularly in Vietnam, Malaysia, Singapore, Thailand, Indonesia, the Philippines, Sri Lanka and Cambodia.
The first China-produced television program, One Piece of Cake (Chinese: 一口菜饼子), was aired in 1958, after the launch of China's first television station, Beijing TV Station (later rebranded as China Central Television, or CCTV).
Other provincial television channels were launched in the subsequent years, including Shanghai Television, Jiangsu Television, Guangdong Television and Hunan Television. From 1958 to 1966, 200 drama anthologies were broadcast, although ownership of television sets was not widespread. During the cultural revolution from 1967 to 1976, the only entertainment allowed on Chinese television was eight revolutionary operas, three war movies and some song renditions. Fictional dramas returned in 1978 with San Jia Qin, the first mainland drama filmed on location. Meanwhile, across the straits in Taiwan, the first long-form Mandarin television series Jing Jing was aired in 1969 on China Television, and the 1970s saw more familial dramas with heavy political tones produced by the three Taiwanese terrestrial channels, as martial law in Taiwan continued to be in enforcement.
In 1980, the first drama series Eighteen Years in Enemy Camp was aired on state-run CCTV. Domestic demand for programming increased as television viewers increased from 80 million in 1978 to 1.1 billion by 1986. Besides importing foreign shows, China began to produce many costume drama series. Long-form TV adaptations of classic Chinese novels and folklore include Outlaws of the Marsh (1983), Ji Gong (1986), Dream of the Red Chamber (1987) and Journey to the West (1988).
In 1987, the Republic of China (ROC) government lifted the travel ban to mainland China, and in 1988, the People's Republic of China (PRC) government started courting ROC investments in the PRC with guarantees to safeguard their assets, visitation and legal rights. The Chinese state regulators introduced a permit system allowing for private and independent investors to co-produce television series with state-run media entities in the late 1980s as part of the reform and opening up. The thawing of cross-straits relations resulted in a series of co-productions between the two regions from the 1990s to the 2000s. Taiwanese romance novelist Chiung Yao and her team began working in mainland China on several television series, either based on her novels or original screenplays. Period drama My Fair Princess (1998), a collaboration between Chiung's production company and Hunan Broadcasting System, was a success in both regions and widely sold in other Asian markets.
The 1990s also marked the start of satellite broadcast of Chinese television networks and the rapid commercialization of television programming in the form of advertising. China Central Television and other provincial channels like Zhejiang Television, Anhui Television, Jiangsu Television, Dragon TV and Hunan Television began expanding their satellite network coverage and diversifying programming offerings. Family drama Ke Wang (1990), immigrant story A Native of Beijing in New York (1993), and sitcom I Love My Family were some of the contemporary dramas aired on prime-time television. Fortress Besieged (1990), a period drama adapted from the satirical novel by Qian Zhongshu, was critically acclaimed. The first mainland-produced idol romance drama Cherish Our Love Forever was also aired in 1998.
Since the 1990s, historical serials have been the dominant genre on prime-time television. The trend peaked in the late 1990s and early 2000s, with many palace (also known as "Qing") dramas shown on television. Fictionalized drama series based on well-known ancient figures like Romance of the Three Kingdoms (1994) and The Legend of Liu Yong (1996) continued to draw strong ratings. Producers like Zhang Jizhong and Wong Jing also started making the mainland television adaptations of classic wuxia novels, such as those written by household names Jin Yong and Gu Long. Critical reception to shows such as The Legend of the Condor Heroes (2003), The Proud Twins (2005) and Demi-Gods and Semi-Devils (2003) was mixed and they are often compared to previous adaptations from Hong Kong and Taiwan. Investment groups like Hengdian Group expanded into movie and television production in the mid-1990s, building large filming sets for different dynastic (and Republic) periods. Hengdian's large film set in eastern Zhejiang was said to have accommodated at least 70% of China's films and TV shows at one point. Established Hong Kong television production companies like TVB also began producing dynastic period dramas such as A Step into the Past (2001) and War and Beauty (2004) in mainland China due to the availability of such sets.
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Chinese television drama
Chinese television dramas (Chinese: 中国电视连续剧; pinyin: Zhōngguó diànshì liánxùjù), sometimes colloquially known as C-dramas, are Chinese-language television drama series originating from China, sometimes including co-productions with the Greater China region. Popular drama series genres in China include fantasy romance, period costume, contemporary urban and thriller dramas. Chinese dramas are often subjected to stringent regulatory supervisions from China's National Radio and Television Administration (NRTA).
China produces the most television drama episodes per year and has the largest number of domestic television viewers in the world. It is also the second largest video streaming market in the world by revenue. Chinese television dramas are regularly broadcast and streamed throughout Asia; particularly in Vietnam, Malaysia, Singapore, Thailand, Indonesia, the Philippines, Sri Lanka and Cambodia.
The first China-produced television program, One Piece of Cake (Chinese: 一口菜饼子), was aired in 1958, after the launch of China's first television station, Beijing TV Station (later rebranded as China Central Television, or CCTV).
Other provincial television channels were launched in the subsequent years, including Shanghai Television, Jiangsu Television, Guangdong Television and Hunan Television. From 1958 to 1966, 200 drama anthologies were broadcast, although ownership of television sets was not widespread. During the cultural revolution from 1967 to 1976, the only entertainment allowed on Chinese television was eight revolutionary operas, three war movies and some song renditions. Fictional dramas returned in 1978 with San Jia Qin, the first mainland drama filmed on location. Meanwhile, across the straits in Taiwan, the first long-form Mandarin television series Jing Jing was aired in 1969 on China Television, and the 1970s saw more familial dramas with heavy political tones produced by the three Taiwanese terrestrial channels, as martial law in Taiwan continued to be in enforcement.
In 1980, the first drama series Eighteen Years in Enemy Camp was aired on state-run CCTV. Domestic demand for programming increased as television viewers increased from 80 million in 1978 to 1.1 billion by 1986. Besides importing foreign shows, China began to produce many costume drama series. Long-form TV adaptations of classic Chinese novels and folklore include Outlaws of the Marsh (1983), Ji Gong (1986), Dream of the Red Chamber (1987) and Journey to the West (1988).
In 1987, the Republic of China (ROC) government lifted the travel ban to mainland China, and in 1988, the People's Republic of China (PRC) government started courting ROC investments in the PRC with guarantees to safeguard their assets, visitation and legal rights. The Chinese state regulators introduced a permit system allowing for private and independent investors to co-produce television series with state-run media entities in the late 1980s as part of the reform and opening up. The thawing of cross-straits relations resulted in a series of co-productions between the two regions from the 1990s to the 2000s. Taiwanese romance novelist Chiung Yao and her team began working in mainland China on several television series, either based on her novels or original screenplays. Period drama My Fair Princess (1998), a collaboration between Chiung's production company and Hunan Broadcasting System, was a success in both regions and widely sold in other Asian markets.
The 1990s also marked the start of satellite broadcast of Chinese television networks and the rapid commercialization of television programming in the form of advertising. China Central Television and other provincial channels like Zhejiang Television, Anhui Television, Jiangsu Television, Dragon TV and Hunan Television began expanding their satellite network coverage and diversifying programming offerings. Family drama Ke Wang (1990), immigrant story A Native of Beijing in New York (1993), and sitcom I Love My Family were some of the contemporary dramas aired on prime-time television. Fortress Besieged (1990), a period drama adapted from the satirical novel by Qian Zhongshu, was critically acclaimed. The first mainland-produced idol romance drama Cherish Our Love Forever was also aired in 1998.
Since the 1990s, historical serials have been the dominant genre on prime-time television. The trend peaked in the late 1990s and early 2000s, with many palace (also known as "Qing") dramas shown on television. Fictionalized drama series based on well-known ancient figures like Romance of the Three Kingdoms (1994) and The Legend of Liu Yong (1996) continued to draw strong ratings. Producers like Zhang Jizhong and Wong Jing also started making the mainland television adaptations of classic wuxia novels, such as those written by household names Jin Yong and Gu Long. Critical reception to shows such as The Legend of the Condor Heroes (2003), The Proud Twins (2005) and Demi-Gods and Semi-Devils (2003) was mixed and they are often compared to previous adaptations from Hong Kong and Taiwan. Investment groups like Hengdian Group expanded into movie and television production in the mid-1990s, building large filming sets for different dynastic (and Republic) periods. Hengdian's large film set in eastern Zhejiang was said to have accommodated at least 70% of China's films and TV shows at one point. Established Hong Kong television production companies like TVB also began producing dynastic period dramas such as A Step into the Past (2001) and War and Beauty (2004) in mainland China due to the availability of such sets.