ABSTRACTS

Slow Journalism: Concept Definition,Practice Mode and Everyday Life Aesthetic Orientation

Lin Wei

New Considerations on the Measurement of the Dissemination and Effect of Soft Power

Ji Li

A New Understanding of “TV Program Formats”

Liu Bin & Man Hongyang

Audience News Selection and Network Media Communication Strategies AFrame Analysis based on Xinjiang-related Reports onSina.com

Fang Jianyi& Fang Feiyang

Narrative Discourse Analysis of Television Reports on Terrorism in China

Yao Zhiwen

The Debate on the“Turning Point” and Structural Optimization of the Chinese Film Industry

Rao Shuguang & Yin Pengfei

The Analysis of the Creative Power of Domestic Small and Medium-budget Movies Produced in Recent Years

Nie Wei & Du Liang

Celebrities’ Film Performance, Society Performance and Box Office Performance: The Positive Analysis of Chinese Films

Zhang Peng

Tell Chinese Stories Well: Rhetoric Devices and Value Orientation of Contemporary Animal Movies Based on the Perspective of the Huallywood System Theory

Liao Weimin& He Ming

An Alternative Understanding of The Chinese Progress: From the Perspective of Local Knowledge

Cui Bo & Xu Xinya

S

Slow Journalism: Concept Definition,Practice Mode and Everyday Life Aesthetic Orientation

Lin Wei

The concept definition of slow journal has three standards. This paper takes the value standard and defines “slow journalism” as the news type that focuses on the reasons, results, trends and influence of news events through various investigations; it is characterized by storytelling, and it should inspire reflection and empathy from the audience. There are four practical modes of slow journalism. They focus respectively on news quality, stories, patronage and public media literacy. The aesthetic orientations of slow journalism can be divided into three arrangements: narrative aesthetics, critical aesthetics and everyday life aesthetics. The slow journalism movement (and revolution) is a cultural practice connected to the slow living movement, or post-materialism.

New Considerations on the Measurement of the Dissemination and Effect of Soft Power

Ji Li

The concept of ‘soft power’ has been widely applied as a resource for public diplomacy and image cultivation by state actors, as well as widely debated by scholars, mainly in the fields of international relations and international communication. The evaluation of soft power effects is mostly limited to an ‘agent-centered’ theory. The author of this paper argues that there is a lack of a comprehensive methodological framework for measuring soft power effects, and that the measurement should shift to an ‘audience-centered’ approach. This article reviews the concept of power and soft power, and revisits the well-accepted research approach in assessing soft power effects in the existing literature. Drawing upon research methods from computer science, public relations and marketing, the author attempts to construct a theoretical and multidisciplinary methodological framework for evaluating soft power effects to fill the gap in the existing literature.

A New Understanding of “TV Program Formats”

Liu Bin & Man Hongyang

A television program format refers to the production framework of a television program, in which each buyer integrates local cultural and life experiences in a framework or process to attract viewers. For a long time, TV program formats were considered to be an effective modality, but behind a popular model there is essentially the culture and ideology of the importing country. The extensive use of TV program formats has a negative impact on the transmission of local culture, as well as on the innovation of television culture. Thus, it is important to be aware of the possible adverse effects, regardless of the entertainment that a television format might bring.

Audience News Selection and Network Media Communication Strategies AFrame Analysis based on Xinjiang-related Reports onSina.com

Fang Jianyi& Fang Feiyang

With the Internet permeating every aspect of our daily lives, those who get news online have gradually outnumbered those who use traditional media. This paper is based on the analysis of all Xinjiang-related reports published on Sina.com from the years 2000-2015: it explores the content distribution and the news foci of these reports; then by analyzing the audience’s reading preferences, it studies their foci in Xinjiang-related reports. Based on the comparison between the reporting style and content distribution of online and traditional media, the authors analyze the advantages and disadvantages of online media reporting, and put forward feasible suggestions to improve the communication effect of online media.

Narrative Discourse Analysis of Television Reports on Terrorism in China

Yao Zhiwen

The spectacular narrative of television magnified the threat of terrorism, and expanded the impact of terrorists; on the other hand, it also enhanced public support for counter-terrorism. The television news discourse constructed a counter-terrorism discourse structure and value standpoint. Generally speaking, Chinese television correctly reports terrorist incidents. The real challenge of television coverage of terrorist incidents is how to compete with those terrorists who can influence the audience through new media.

The Debate on the“Turning Point” and Structural Optimization of the Chinese Film Industry

Rao Shuguang & Yin Pengfei

Since April 2016,China's box office growth has been slowing down, which is the inevitable consequence of the structural contradiction between the demand side and the supply side of the Chinese film industry. However, the basis of the current development of Chinese films has not been reversed. Now it is time to implement a structural adjustment to improve the quality of Chinese films. In order to extend the window of strategic opportunity for helping the Chinese film development enter a Golden Decade of film creation.It is necessary to make efforts to promote the transformation of the Chinese film industry from a quantity and scale model to a quality and connotative model.

The Analysis of the Creative Power of Domestic Small and Medium-budget Movies Produced in Recent Years

Nie Wei & Du Liang

In recent years,domestic small and medium budget movies have demonstrated they possess enormous market value and growing potential.There is an urgent need to discuss and analyze their marketing and creation experience.Domestic small and medium budget movies have gradually established a range of matrix combinations of essential market productive factors,by means of a long-term practice of trial-and-error.By rapidly expanding industrial development paths,domestic small and medium budget movies have completed the process of innovation and promotion of their creative power in a localized market space.

Celebrities’ Film Performance, Society Performance and Box Office Performance: The Positive Analysis of Chinese Films

Zhang Peng

Through the analysis of a sample of 396 Chinese films from 2012 to 2015, this study found that:(1)in terms of the factors of celebrities’ film performance, the box office of the movies they starred in had a significant positive effect on box office revenue;(2)in terms of the factors of celebrities’ social performance, the celebrity’s media exposure before, during and after the film’s promotion and release period had a significant positive effect on box office revenue, and social performance played a bigger role than film performance;(3)there is no mutually complementary relationship between the film and social performance of celebrities.

Tell Chinese Stories Well: Rhetoric Devices and Value Orientation of Contemporary Animal Movies Based on the Perspective of the Huallywood System Theory

Liao Weimin& He Ming

Professor Shao Peiren stated that, “Huallywood represents the movies of the Chinese people, the Chinese language, Chinese issues, Chinese history, and Chinese geography”. From the perspective of the general system theory, the inner elements and external environment of Huallywood movies constitute a complex system, as well as a very dynamic ecosystem subject to endless development. Based on the theoretical framework of the “Huallywood System Theory”, this paper selected three Huallywood movies that have been released in recent years, and systematically analyzed the practices of animal visual art. It found that there are three types of rhetorical forms and values: first for political metaphors; second for ecological symbols; third for emotive anthropomorphic figures. Thus, all elements of Huallywood formed a kind of wonderful unity and deep contradiction, which reflects the complexity and synergy produced by the global art of contemporary Huallywood movies. Animal visual art has the value of symbolic communication and an effect of cultural identity that transcends national boundaries and accommodates Chinese and foreign cultures for “telling Chinese stories well”.

An Alternative Understanding ofTheChineseProgress: From the Perspective of Local Knowledge

Cui Bo & Xu Xinya

The emergence of the Chinese newspaper industry during the late Qing dynasty was the result of the collision and convergence of Western and Chinese local knowledge, while its development was pushed by the interaction of local knowledge from various parts of China. As a representative figure in late Qing journalism, Wang Kangnian’s display of talent in running periodicals is deeply correlated with the local knowledge that influenced modern journalism. This paper focuses on the case of the dispute between Wang Kangnian and Liang Qichao onTheChineseProgressfrom the perspective of local knowledge: it shows that the attitude of a successful journalist towards his own space of running a newspaper, needs to both have the ability to meet the challenges of the new media environment from the West, and to be able to operate the power endowed by local knowledge.