CMC, Author at China Media Centre 中国传媒中心

China Media Centre 2018 Autumn Seminar: Is the media right to be shocked by social credit?

September 6, 2018December 29, 2020CMC

Speaker: Duncan Bartlett

Date: Wednesday, 3 October 2018

Time: 14:00 – 16:00

Venue: A1.09

Chair: Professor Chang Xiangqun

OPEN TO ALL

Eventbrite link

Abstract: China’s social credit system has provoked a great deal of horror in the international media. There have been numerous reports complaining that by keeping close track on its citizens using big data, China is using a ‘Big Brother’ form of coercion and kamagra viagra online control. Many foreign journalists have suggested it is a dystopian human rights violation. Is this is a fair assessments of the social credit system? What does the Chinese government see as its goals and is there much resistance among ordinary citizens? In this presentation, the Editor of Asian Affairs Duncan Bartlett will provide an overview of social credit and examine how it has been perceived in the Chinese and foreign media.

The 5th Global China Dialogue (Call for participants)

July 27, 2018April 14, 2021CMC

Following the successes of the Global China Dialogues I to IV, we are calling for participants in the 5th Global China Dialogue (GCD V): Governance for Global Justice.

Co-organised by the Global China Institute, the Lau China Institute, (King’s College London), the China Media Centre (University of Westminster), and the Chongyang Institute for Financial Studies (Renmin University of China), the event will take place on 7 December 2018, with additional options of Pre- and Post-Dialogue events.

Panels:

Inclusion
Environment
Rights
Conflicts

Schedule:

Pre-Dialogue event: Thursday 6 December, 14:00-17:00 Digital Interconnection and Intelligent Manufacturing– Social Change and Cultural Transformation in Global Society Workshop, the University of Westminster
Friday 7 December, 08:30-17:00 The Dialogue, the British Academy [Friday 7 December, 18:00-20:00 Reception, the UK Parliament (invited speakers and participants who have paid the full registration fees)]
Post-Dialogue event: Saturday 8 December, 10:00-16:00, Academic Publishing and cost for viagra Knowledge Service Forum on China and China in Comparative Studies, King’s College London.

Event: “Mother of Collaborations”

June 3, 2018April 14, 2021CMC

“The Mother of Collaborations”, an event exploring successful collaborations between UK and Chinese development and production teams, was jointly organised by China Central Television and the China Media Centre and took place on 31 May at the University of Westminster’s Regent Street Campus. Hosted by Professor Hugo de Burgh, panel guests included Yu Lei, Executive Producer of ‘The Nation’s Greatest Treasures’ (CCTV); Richard Dale, Film Producer ‘Earth: One Amazing Day’ (BBC/SMG) and Anne Cornell, International Producer ‘The Batchelor’ (Warner Bros) and others.

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China Media Centre presents CCTV productions at the British Museum

June 1, 2018December 29, 2020CMC

The University of Westminster’s China Media Centre hosts two conferences in partnership with China Central Television (CCTV) celebrating successful collaborations between UK and Chinese television teams.

The first, entitled ‘A Wealth of Treasures and Stories’ was held on Tuesday 29 May at the British Museum’s Stevenson Theatre. 150 professionals from the British media and stromectol ohne rezept kaufen in deutschland arts world attended the event.

The seminar, hosted by writer, broadcaster and former UK Minister of Culture, Gyles Brandreth, celebrated the immense popular success of the reality show ‘The Nation’s Greatest Treasures’, a ten-part series that uses a complex variety-show format to look at treasures in nine Chinese museums. The show was developed on one of the University of Westminster’s China Media Centre’s ‘TV Innovation and Development’ courses. ‘The Nation’s Greatest Treasures’ has since been transmitted in China to enormous success, with 1.7bn hits online increasing museum attendances by 50 per cent.

On Thursday 31 May, Professor Hugo de Burgh also chaired a panel discussion, in Fyvie Hall at the Regent Street Campus, which looked closely at how to deliver successful collaborations between UK and Chinese production teams.

The panel guests included Yu Lei, Executive Producer of ‘The Nation’s Greatest Treasures’ (CCTV), Richard Dale, Film Producer ‘Earth: One Amazing Day’ (BBC/SMG), Anne Cornell, International Producer ‘The Bachelor’ (Warner Bros) and more.

The China Media Centre is the European specialist on the world’s largest media system, it organises professional exchanges and briefings at which visiting practitioners and students attend three to twelve-week courses to develop television and media concepts.

Since 2011, the China Media Centre has become the model for professional development in the international screen media industry. Every year, participants return home to China with treatments that have been developed into successful programmes. The most famous are transmissions by CCTV including Mission AI, Amazing Legends and The Nation’s Greatest Treasures; and by Shanghai Media Group with King of Comedy, Top Dog and Junior Edison.

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CMC 2018 Spring Seminar: ‘Cruel Optimism’: Communicating A Global China Through Blockbuster Documentaries

April 18, 2018December 29, 2020CMC

Speaker: Dr Bao Hongwei

Date: Wednesday, 2 May 2018

Time: 14:00 – 16:00

Venue: A1.05, Harrow Campus

Chair: Professor Chang Xiangqun

OPEN TO ALL

Get your FREE tickets here.

Abstract: Released on 2 March 2018 in tandem with the ‘Two Sessions’, Amazing China (厉害了，我的国 dir. Wei Tie, 2018, in Mandarin, 90 min.) has become the highest grossing documentary film in China to date. How can a documentary with explicit political messages about China’s achievements under Xi’s leadership become a blockbuster? What can we learn about China’s screen industries in relation to the state and the market? Does this case exemplify a ‘paradigm shift’ in the way how the Chinese government conducts its political communication for domestic and transnational Chinese-speaking audiences? Through critical analysis of some textual features and contextual factors that contribute to the commercial success of the film, I argue that the film showcases the commercialisation and industrialisation of Chinese government’s political communication strategies. The film’s commercial success lies in the active involvement of the state in commercial screen industries; and the popularity of the film can be attributed to its successful mobilisation of an affect of optimism. For individuals, this optimism can both be empowering and precarious, and sometimes even ‘cruel’ in the words of Laurent Berlant (2011): as it brings confidence and pride to imagine oneself as part of an unfolding history and an emerging global power; it also reinforces the insignificance and even venerability of the self in such a narrative.