Elaine Jing Zhao
Datos Biográficos
| ID | 3079772 |
|---|---|
| NOMBRE | Elaine Jing Zhao |
| NOMBRES | Elaine Jing |
| APELLIDO | Zhao |
| FIRMA | ZHAO E J |
| AFILIACIONES | UNSW Sydney |
| ORCID | 0000-0003-2739-2625 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 14 |
| TOTAL DE CITAS | 37 |
| TOTAL COMO AUTOR | 14 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2010 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2026 |
| ÍNDICE H | 4 |
The politics of streaming time
This article proposes the politics of streaming time as a productive analytical lens to unflatten more general accounts of nonlinearity and acceleration, to reveal the mediating role of streaming services and broader power relations around terms of access in value reconfiguration, and to critique the cultural-economic logics of the streaming economy. Building on the literature on media and time in the internet society, and integrating platform st…
Streaming culture and a new wave of institutionalisation of audience measurement in China
This article examines the unfolding re-institutionalisation of audience measurement as the streaming culture reshapes the television industry in China. Following a brief introduction of the institutionalisation of the ratings culture, I examine how streaming platforms are reconfiguring audience measurement by tracing how various metrics are defined, used and valued by different platforms, in different contexts and across time. The analysis reveal…
The cultural power metric
The advent of new media technologies has changed how people watch, engage with, and share digital media. Conventionally, audiences were surveyed selectively, and the results were collated by professional agencies and often kept confidential. However, the conspicuous ratings given to media and cultural products outside their country of origin and their very public success and failure raises questions about the validity of such methods, particularl…
Digital China's Informal Circuits
Negotiating State and Copyright Territorialities in Overseas Expansion
This article uses China's online streaming platforms as a typical case of the overseas expansion of digital entertainment media. It begins with an overview of the evolution of the online video industry in China, which has become formalized and consolidated over the past decade, before directing attention to the often informal cross-border access to mainland digital platforms among diasporic audiences. The article then examines platform-initiated …
The bumpy road towards network convergence in China
The decoupling of content and distribution platform has changed television irrevocably. Potential opportunities promised by the integration of telecommunications, broadcast and Internet networks means television has become a strategic highland for relevant stakeholders including industry players and state regulators. In China, network convergence has been on the state agenda since the turn of the century, but has remained stubbornly hard to move …
Writing on the assembly line
Emerging as a non-commercial, grassroots alternative to the state-controlled publishing businesses, online literature in China has formalised based on the freemium business model and with the influx of capital. However, little is known about the informality in the formal market and their mutually shaping relationship. This article approaches online literature production in China as case study of the interconnection and interactions between the fo…
Collaboration reconfigured
This article examines the evolving landscape of variety show markets in Taiwan and Mainland China. It begins with an overview of the role of Taiwan in the initial development of variety show production in Mainland China. It then analyses the factors behind Taiwan's declining position in distribution to the Mainland and its weakened role as a knowledge broker, which parallels the evolution of Mainland productions from copycats to licenced format t…
TV or not TV? Re-imagining screen content in China
In the People’s Republic of China television is a dynamic industry, growing ever more profitable by the day. With a potential viewing population of “over two billion eyes” (Zhu 2013), it would seem that the medium has no obvious limits to growth. Yet fewer people are watching television in the traditional living room mode. Moreover, audiences are less inclined to watch television during prime time
The Reform of the Cultural System
Dramatic changes have occurred in Chinese society over the past three decades. Many of these changes are attributable to the government’s economic reforms presided over, firstly by MAO Zedong’s successor DENG Xiaoping, and following DENG, JIANG Zemin, HU Jintao and XI Jinping. In this chapter, we focus on changes that have led to a revised understanding of culture. According to a Chinese Communist Party definition, informed by historical material…
Between formal and informal
While a rich body of literature in television and film studies and media policy studies has tended to focus on the media activities in the formal sector, we know much less about informal media activities, their influence on state policies, as well as the dynamics between the formal and the informal sectors. This article examines these issues with reference to a particularly revealing period following a large-scale government crackdown on peer-to-…
The micro-movie wave in a globalising China
While user-generated short online videos have existed since the emergence of video sharing sites in China, they have undergone a process of formalisation and commercialisation, culminating in the wave of micro-movies in recent years. By addressing the wider context of globalisation alongside relevant state policies and shifting viewing habits, this article analyses the local and global causes of this wave. It offers evidence that illustrates how …
Renegades on the Frontier of Innovation
Two Australian researchers specializing in China's creative industries examine recent developments in southern China commonly associated with the shanzhai phenomenon (e.g., production and sale of cheap local facsimiles of globally branded goods). While shanzhai is often condemned as the embodiment of China's "knock-off" industries, the authors argue that it might be more appropriately viewed as an instance of China's emerging creative economy and…
Section III Chindia screens Chindia
Renegades on the Frontier of Innovation
Two Australian researchers specializing in China's creative industries examine recent developments in southern China commonly associated with the shanzhai phenomenon (e.g., production and sale of cheap local facsimiles of globally branded goods). While shanzhai is often condemned as the embodiment of China's "knock-off" industries, the authors argue that it might be more appropriately viewed as an instance of China's emerging creative economy and…
Between formal and informal
While a rich body of literature in television and film studies and media policy studies has tended to focus on the media activities in the formal sector, we know much less about informal media activities, their influence on state policies, as well as the dynamics between the formal and the informal sectors. This article examines these issues with reference to a particularly revealing period following a large-scale government crackdown on peer-to-…
Negotiating State and Copyright Territorialities in Overseas Expansion
This article uses China's online streaming platforms as a typical case of the overseas expansion of digital entertainment media. It begins with an overview of the evolution of the online video industry in China, which has become formalized and consolidated over the past decade, before directing attention to the often informal cross-border access to mainland digital platforms among diasporic audiences. The article then examines platform-initiated …
The micro-movie wave in a globalising China
While user-generated short online videos have existed since the emergence of video sharing sites in China, they have undergone a process of formalisation and commercialisation, culminating in the wave of micro-movies in recent years. By addressing the wider context of globalisation alongside relevant state policies and shifting viewing habits, this article analyses the local and global causes of this wave. It offers evidence that illustrates how …
Writing on the assembly line
Emerging as a non-commercial, grassroots alternative to the state-controlled publishing businesses, online literature in China has formalised based on the freemium business model and with the influx of capital. However, little is known about the informality in the formal market and their mutually shaping relationship. This article approaches online literature production in China as case study of the interconnection and interactions between the fo…
Streaming culture and a new wave of institutionalisation of audience measurement in China
This article examines the unfolding re-institutionalisation of audience measurement as the streaming culture reshapes the television industry in China. Following a brief introduction of the institutionalisation of the ratings culture, I examine how streaming platforms are reconfiguring audience measurement by tracing how various metrics are defined, used and valued by different platforms, in different contexts and across time. The analysis reveal…
Collaboration reconfigured
This article examines the evolving landscape of variety show markets in Taiwan and Mainland China. It begins with an overview of the role of Taiwan in the initial development of variety show production in Mainland China. It then analyses the factors behind Taiwan's declining position in distribution to the Mainland and its weakened role as a knowledge broker, which parallels the evolution of Mainland productions from copycats to licenced format t…
Section III Chindia screens Chindia
Renegades on the Frontier of Innovation
Two Australian researchers specializing in China's creative industries examine recent developments in southern China commonly associated with the shanzhai phenomenon (e.g., production and sale of cheap local facsimiles of globally branded goods). While shanzhai is often condemned as the embodiment of China's "knock-off" industries, the authors argue that it might be more appropriately viewed as an instance of China's emerging creative economy and…
Between formal and informal
While a rich body of literature in television and film studies and media policy studies has tended to focus on the media activities in the formal sector, we know much less about informal media activities, their influence on state policies, as well as the dynamics between the formal and the informal sectors. This article examines these issues with reference to a particularly revealing period following a large-scale government crackdown on peer-to-…
The micro-movie wave in a globalising China
While user-generated short online videos have existed since the emergence of video sharing sites in China, they have undergone a process of formalisation and commercialisation, culminating in the wave of micro-movies in recent years. By addressing the wider context of globalisation alongside relevant state policies and shifting viewing habits, this article analyses the local and global causes of this wave. It offers evidence that illustrates how …
The Reform of the Cultural System
Dramatic changes have occurred in Chinese society over the past three decades. Many of these changes are attributable to the government’s economic reforms presided over, firstly by MAO Zedong’s successor DENG Xiaoping, and following DENG, JIANG Zemin, HU Jintao and XI Jinping. In this chapter, we focus on changes that have led to a revised understanding of culture. According to a Chinese Communist Party definition, informed by historical material…
TV or not TV? Re-imagining screen content in China
In the People’s Republic of China television is a dynamic industry, growing ever more profitable by the day. With a potential viewing population of “over two billion eyes” (Zhu 2013), it would seem that the medium has no obvious limits to growth. Yet fewer people are watching television in the traditional living room mode. Moreover, audiences are less inclined to watch television during prime time
Writing on the assembly line
Emerging as a non-commercial, grassroots alternative to the state-controlled publishing businesses, online literature in China has formalised based on the freemium business model and with the influx of capital. However, little is known about the informality in the formal market and their mutually shaping relationship. This article approaches online literature production in China as case study of the interconnection and interactions between the fo…
Collaboration reconfigured
This article examines the evolving landscape of variety show markets in Taiwan and Mainland China. It begins with an overview of the role of Taiwan in the initial development of variety show production in Mainland China. It then analyses the factors behind Taiwan's declining position in distribution to the Mainland and its weakened role as a knowledge broker, which parallels the evolution of Mainland productions from copycats to licenced format t…
The bumpy road towards network convergence in China
The decoupling of content and distribution platform has changed television irrevocably. Potential opportunities promised by the integration of telecommunications, broadcast and Internet networks means television has become a strategic highland for relevant stakeholders including industry players and state regulators. In China, network convergence has been on the state agenda since the turn of the century, but has remained stubbornly hard to move …
Negotiating State and Copyright Territorialities in Overseas Expansion
This article uses China's online streaming platforms as a typical case of the overseas expansion of digital entertainment media. It begins with an overview of the evolution of the online video industry in China, which has become formalized and consolidated over the past decade, before directing attention to the often informal cross-border access to mainland digital platforms among diasporic audiences. The article then examines platform-initiated …
The cultural power metric
The advent of new media technologies has changed how people watch, engage with, and share digital media. Conventionally, audiences were surveyed selectively, and the results were collated by professional agencies and often kept confidential. However, the conspicuous ratings given to media and cultural products outside their country of origin and their very public success and failure raises questions about the validity of such methods, particularl…
Digital China's Informal Circuits
Streaming culture and a new wave of institutionalisation of audience measurement in China
This article examines the unfolding re-institutionalisation of audience measurement as the streaming culture reshapes the television industry in China. Following a brief introduction of the institutionalisation of the ratings culture, I examine how streaming platforms are reconfiguring audience measurement by tracing how various metrics are defined, used and valued by different platforms, in different contexts and across time. The analysis reveal…
The politics of streaming time
This article proposes the politics of streaming time as a productive analytical lens to unflatten more general accounts of nonlinearity and acceleration, to reveal the mediating role of streaming services and broader power relations around terms of access in value reconfiguration, and to critique the cultural-economic logics of the streaming economy. Building on the literature on media and time in the internet society, and integrating platform st…
Political science (12 obras) · China (10 obras) · Business (8 obras) · China's Socioeconomic Reforms and Governance (7 obras) · Computer Science (7 obras) · Economics (7 obras) · Law (7 obras) · Asian Culture and Media Studies (6 obras) · Sociology (6 obras) · Public relations (5 obras)