Abstract
Chapter One: Introduction
1.1 An Overview
1.2 Personal and Intellectual Engagement
1.3 The Significance of the Research
1.4 The Key Argument
1.5 The Structure of the Book
1.6 Conclusion
Chapter Two: Television Media and Reality TV in China
2.1 Television in Mainland China
2.1.1 Television in the Pre-reform Period
2.1.2 Television in the Reform Period
2.2 The Guangdong Television Market
2.3 Reality TV in China
2.4 Some Important Issues Concerning Chinese Television Reform
2.4.1 Television Entertainment
2.4.2 A Social Interest in Ordinary People
2.4.3 The Priority of Political Responsibilities of Television Media
2.5 Conclusion
Chapter Three: Theoretical Frameworks
3.1 Defining Reality TV
3.2 Western Studies on Reality TV
3.2.1 Some Problematic Approaches to the Reality TV Phenomenon
3.2.2 Two Important Theoretical Speculations
3.2.3 Recent Western Studies on Reality TV
3.3 Studies on Chinese Reality TV
3.4 Chinese Documentary
3.4.1 Theoretical Debates on "Special Topic" Programme
3.5 Localization
3.6 Cultural Discount
3.7 Conclusion
Chapter Four: Considerations of Methodology
4.1 The Research Approach: A Case Study
4.2 Tripartite Framework: Text-Production-Reception
4.2.1 Textual Analysis
4.2.2 Audience
4.2.3 Production Research
4.3 The Ethnographic Approach
4.4 Data Collection
4.5 Semi-structured Interviewing
4.6 Production Observation
4.7 Some issues about Production Research
4.7.1 Preparation for the Changes
4.7.2 My approach to Production Crew and other Interviewees
4.7.3 Researcher's Influence
4.7.4 The Coverage of the Interviewees
4.7.5 Interview Practice
4.7.6 Recording the Data
4.8 Conclusion
Chapter Five: The Origins of the TGCFS
5.1 GDTV's Travel Documentary Tradition
5.2 Airwave Boys: A Predecessor of Reality TV
5.2.1 The Emergence of an Outdoor Sports Culture
5.2.2 Life Experience Format
5.2.3 Concerns of Safety
5.2.4 The Crew's Pioneer Spirit
5.3 Survivor: A Paradigm of Game-doc
5.3.1 Infotainment Approach
5.3.2 Ethical Considerations of Privacy
5.4 Conclusion
Chapter Six: Documentary Approach and Dramatic Effects
6.1 The Documentary Approach
6.1.1 A Non-Interventionist Approach
6.1.2 The Presence of the Camera
6.1.3 An Expositional Mode of Televisual Presentation
6.1.4 Communication between the Director and Editor
6.2 Public's Suspicions of Authenticity
6.3 Generic Confusion
6.4 The Act of Intervention
6.5 Reconstruction
6.5.1 Presenting Emotional Truth
6.5.2 Innovating the Voice Over
6.6 The Application of Dramatic Devices
6.6.1 Emotional Appeal
6.6.2 An Exploration of Romance
6.6.3 Planting Suspense
6.6.4 Conspiracy
6.6.5 The Transience of the Production
6.7 Conclusion
Chapter Seven: The Role and Experience of Participants
7.1 The Role of Chinese Participants
7.2 The Criteria of Casting
7.2.1 Urban Young Middle Class
7.2.2 Occupational Appeal
7.2.3 Regional Division
7.3 The Experience of Chinese Participants
7.3.1 Lack of Game Spirit
7.3.1.1 Against the Elimination Strategy
7.3.1.2 Sharing the Reward
7.3.2 Avoiding the Camera
7.3.3 Concerns of Expression
7.4 Conclusion
Chapter Eight: Entertainment Function and Political Purpose
8.1 Survivor Meets the Long March
8.2 Cultural Conflicts
8.3 Political Apathy
8.4 Portrayal of Role Models
8.5 Emotionalized Narrative
8.6 Edutainment Approach
8.7 Ritualized Ceremony
8.8 Long March "Hands-on History" Strand
8.9 Conclusion
Chapter Nine: Commercial Operation and Institutional Environment
9.1 The Dominance of Advertising Revenue
9.2 Commercialist Approach
9.3 The Importance of the Local Market
9.4 The Ambivalent Marketing Concerns
9.4.1 Revenue Building
9.4.1.1 Sponsorship
9.4.1.2 Distribution
9.4.2 The Foregrounding of Brand Influence
9.4.3 Risk Control of Production Investment
9.4.4 Multimedia Collaboration
9.5 Controversial Publicity Strategy
9.6 Conclusion
Chapter Ten: Original Format and Creative Approach
10.1 A Request for New Game Rules
10.2 The "1+2+3" Model of Game Rules
10.2.1 The Multi-Polarization of Competition
10.2.2 Breaking up the Chinese-Style Alliance
10.2.3 Balancing Competition and Collaboration
10.2.4 The Culturally-Preferred Competition Model
10.2.5 The Unique Rescue System
10.2.6 A Six-Member Contest Team
10.3 New Functions of Training
10.4 Conclusion
Chapter Eleven: Conclusion
Bibliography
Appendix 1 : The Synopsis of the Studied Productions
Appendix 2 : Data of TGCFS