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There was a time in Indian television when actors who had limited luck in the Hindi film industry would migrate to Indian television. By the 1990s, with the beginning of television’s transformation in India owing to economic liberalization, the converse was also occasionally true with former TV actors such as Shahrukh Khan and Vidya Balan becoming successful in Hindi cinema. The boundaries between Indian film and television were slowly becoming blurred toward the end of the twentieth century. Yet, the migration of stars from the big screen to the small was still considered a “failure” and the less common movement from television to film was deemed more successful. In the twenty-first century, however, television is no longer considered a consolation medium. The Hollywood television debut of the hugely successful Bollywood star Priyanka Chopra in a leading role on the TV show Quantico (USA, ABC, 2015–2018) and her subsequent numerous appearances on American television talk and award shows, including the Oscars, offer a prime example of television as a competitive medium for established stars. However, Chopra’s case is noteworthy for exemplifying not just star mobility between film and TV but also across national industries. Her move to American TV testifies to the increasing transnational viability of Bollywood stars in the twenty-first century. Importantly, the uptake of her rise on the American TV screen has been seen as part of the broader arrival of South Asian performers on American TV. But her success differs from Indian actors of American origin whose trajectory recapitulates the immigrant narrative of breaking free of stereotypical roles to play realistic, meaningful characters on the screen. Chopra’s representational currency and her “global” Indian English accent instantiate the logic of televisual mobility – her transnational screen navigations speak, not to a teleological moment of arrival on the American screen but her ability to make professional choices that enable her to represent Indians everywhere.
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This chapter discusses how Chinese television has been refashioned by the digital entertainment industry, and contends that new genres, identities, and representations have emerged in recognition of youths as the most valuable and desirable category of audience. It does so by way of three case studies. The first illustrates the symbiotic relationship between online literature and television drama production, and how the former contributes to the fantastical turn of Chinese television. The second seeks to understand the emergence of new cultural figures of “supreme heroine” and “sweet males” in the context of the rise of female fandom in contemporary Chinese popular culture. The third reveals how traditional television content, or in this case a political drama, may be recreated by online distributors and influencers so as to be aligned with the habits, attitudes, and preferences of the younger audiences. The chapter concludes that to understand contemporary Chinese television culture, the Internet and social media must become an integral component of inquiry because of their powerful remediating role in the public communication of any cultural text.
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The chapter traces the evolution of Chinese television since 1958 from a state propaganda organ to a profit-generating media juggernaut, with China Central Television (CCTV) as the only network TV responding to both market principles and party directives. Commercialization and marketization played a major role in the rapid development of the Chinese television industry. In recent years China’s TV industry has witnessed the rise of private media companies and the rapid expansion of digital media and the proliferation of over the top (OTT) content. The chapter further provides an overview of China’s overall TV structures and teases out the relationship between CCTV and local stations. The most popular genre on Chinese TV is serial drama, which developed from predominantly single-episode anthology dramas in the 1980s to chiefly multi-episode serial dramas. Talk shows and reality TV became fashionable since the late 1990s.
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Stuck between the political economy of the larger domestic television production industry and global market imperatives, I argue that Turkey’s TV industry executives and professionals had to develop and implement a number of tactics to achieve a locally based transnational cultural industry able to withstand both global and domestic pressures. In this chapter I identify three main tactics employed by Turkey’s TV industry executives and professionals to combat the socio-economic and political challenges they face: These tactics are: (1) carefully managing the content to skirt government restrictions; (2) adopting the government’s soft power discourse and public diplomacy aspirations by cooperating with government officials and businesses in their cultural promotion and nation-branding efforts; and (3) adapting to global TV trends by undertaking rigorous marketing and branding campaigns. A discussion of these tactics in the Turkish case can help us understand how culture industries in the developing world, which had to integrate into a neoliberal media environment after the 1980s due to market- and state-driven policies propelled mostly by US-based global media giants, negotiate being locally based transnational culture industries in the face of increasingly authoritarian and right-wing domestic political climates.
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This chapter provides an overview and analysis of emerging alternatives in the context of Arab television production, programming, and distribution. Media convergence and the access to digital technologies have accentuated the fragmentation of audiences, revenue streams, and forced alliances and competitions between previously discrete sectors of the media business. Yet, alternative practices are closely associated with changing political, economic, and cultural vectors in the Arab region and the increasing integration of its television industries in global media. The chapter argues that these alternatives constitute a set of continuities with the history of Arab television. Taken together, they also demonstrate some level of transformation in production practices, programming strategies, and distribution operations.
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This chapter examines the intersection of popular culture and populism in Turkey by focusing on the TV show Payitaht Abdulhamid. Our motivation to analyze the recent TV series Payitaht Abdulhamid stems from our interest in the instrumental mobilization of popular culture for the Turkish government’s dual desire to both establish cultural hegemony and consolidate its populist style of government. Our analysis reveals that television, especially in the Global South, still plays a central role in governments’ desire to reconstruct history and establish cultural hegemony. This is particularly important as Turkey is going through a crisis of hegemony since the public is completely divided in its support for the government. Within the context of this hegemonic crisis, televised popular culture is vital, perhaps more than ever. Specifically, the show reduces a complicated history into easily understandable dichotomies and projects them on to contemporary politics in order to consolidate support for the government. Through televised popular culture, the government mobilizes history for purposes of cultural hegemony and populist politics flavored with nationalist, Islamist, and anti-Western motifs. Ultimately, the TV show presents yet another moment for understanding the mediated nature of 21st-century politics outside Western contexts.
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