电视娱乐产业战略发展研究

【作者】 田明；

【导师】 李良荣；

【作者基本信息】 复旦大学 ， 传播学， 2005， 博士

【摘要】 本论文研究的核心问题是中国娱乐电视产业的发展现状和未来趋势。在对娱乐经济、娱乐产业各个相关环节进行了全方位的分析之后，本文认为当前中国传媒经济发展最大的矛盾点在于产业政策不清晰，市场缺乏活力。解决这一矛盾的根本途径是，将电视娱乐产业从大一统的广电宣传系统中剥离出来，确立其营利性主体的地位，进而建立完整的产业链。全文从结构上来看，可以分为三个部分。第一部分首先界定了论题电视娱乐产业的范畴，并对中国发展电视娱乐业的必要性进行了论证。娱乐业的历史非常悠久，大部分娱乐活动在电视诞生之前就已经出现了，比如：体育竞技、歌舞表演、博彩活动等，还有一些娱乐活动则是在电视这种媒介手段诞生以后，才衍生出来的，比如：MTV、电视剧、电视娱乐节目等等。但是，电视这种媒介诞生以后，所有原本不依赖电视而存在的娱乐活动几乎无一例外地与电视搭上了界，而且通过电视获得了更强的生命力，更广泛的参与者和更可观的收益。论文第二章从人类娱乐需求的急速增长、数字电视技术的革新、电视娱乐产业作为能够带来巨额利润的朝阳产业、娱乐文化日益成为一个国家软实力的重要表征四个方面论证了我国发展电视娱乐产业的必要性。第二部分首先描述了我国电视娱乐产业发展的现状及问题，探讨制约我国电视娱乐产业发展的节点，并寻找突破娱乐产业发展瓶颈的对策。本文认为，整体制作实力的孱弱，文化创新能力的缺陷，节目美誉度的低下，遏制了中国电视娱乐产业良好的发展势头。接着，从政府的角度论述了如何打破电视娱乐产业发展的体制障碍，并建立保护民族文化的本土化扶持政策。中国电视娱乐产业面临的主要问题是，与新闻、意识形态宣传混合在统一的广电系统中，被过分地渲染了宣教功能，偏离了娱乐产业本身的定位。定位偏差导致的管理制度、运营机制方面的问题是根本性的，外化为市场准入过于严格，结果遏制了整个产业的增长势头。最终指向市场的缺乏活力，娱乐产品的匮乏，制作水平低劣，节目交易市场发育不成熟等一系列问题。因此，当务之急是调整电视娱乐产业政策，确立营利主体地位。由于我们以前赋予电视传媒产品过多的宣教功能，大大地削弱了其与生俱来的娱乐功能，而使其本身的商品性随之而被极大削弱，这是中国电视娱乐产业未来发展必须冲破的藩篱。这种突破要涉及到政策环境，演出公司的特批，电视剧节目的立项由国家控制等方面。第三部分则是在具体的运作策略上提供了建议。首先是内容，节目内容建设是电视娱乐产业的重中之重，本文第四章着重从娱乐节目的品格(雅与俗)和内涵(东方与西方)两个角度展开论述。媒介技术日新月异，卫星电视、互联网对新闻传播的世界格局产生了深远影响。在娱乐资源共享的同时，文化的冲突与融合成为必然趋势。从中国的角度来看，在东西方文化、传统与现代文化的交流和碰撞的过程中，本土文化如何自处也是一个生死攸关的问题。其次是制作，娱乐电视产业涵盖的内容十分广泛，其中尤以节目的生产、供应、传播、广告营销等为核心业务，每项核心业务都涉及多个经济实体。在社会分工越来越细，十分强调分工与协作的社会化大生产的今天，将娱乐节目制作从电视台的传统业务中划分出来，建立强大的专业制作机构是做大电视娱乐产业、实现资源最优配置和效益最大化的必由之路。当然，还有与之相关的电视制播分离以及投资融资体系的建立。再次是市场，我们在分析娱乐产业时注意到，围绕着电视节目，从内容创作到受众消费，这一过程所涉及的各个环节构成了一条以内容供应、传播渠道、电视受众为基本环节的电视产业链条。在这三个基本环节的基础上电视产业可以向外延伸和带动相关产业的发展，如明星经纪、节目供应商、收视调查以及广告经营代理等等。当然建立完善的节目销售市场体系，还必须有强力的知识产权保护机制作支撑。最后是平台，由于我国电视节目市场远未成熟，电视节目的社会制作多年来处于潜流暗行的状态，制作主体未能获得身份上的确认，由此在电视节目的交易过程中，制作机构与电视节目的播出平台——各级电视台的关系未能得到理顺，双方的权利与责任、风险分担并不明晰，造成资源浪费、效率低下、产业化改革裹足不前。第七章从我国电视节目制作市场的政策流变入手，探讨电视节目的社会化制作中，电视节目制作方、播出方之间如何理顺权责关系以及如何完善节目发行市场。在全球范围内，几大强势文化赖以扩张辐射面和攫取高额利润的主要方式即销售他们的电视娱乐产品。面对席卷而来的全球化浪潮，电视娱乐产业如何在中华民族延续自己五千年文化生命的过程中发挥作用，如何在新一轮国家综合实力竞争中提高我国的软实力，这就是本篇论文探讨和力求解决的问题。更多还原

【Abstract】 This dissertation is dedicated to discuss the current situation and future trends of Chinese television entertainment industry. Started with an all-inclusive illustration of every correlative sector in the entertainment economy and entertainment industry, this dissertation argues that the biggest contradiction of the development of Chinese media economy lies within its ambiguous media policies and sluggish market. The author proposes a primary attempt to solve such problem, that is, China’s media industry should relinquish its grip over the entertainment programming so that the entertainment industry can demonstrate its independence as a genuine social and market force in order to establish a complete industry chain.This dissertation is divided into three chapters.The first chapter defines the topic: television entertainment industry, and demonstrates the necessity to develop television entertainment programming in China.The entertainment industry enjoys a long history. Most of the entertainment activities appeared before the invention of television, like sports competitions, musical performances and gambling games. The advent of television gives rise to certain amount of entertainment activities, such as MTV, television dramas and entertainment programs. Moreover, most of entertainment activities have had great success since they were televised, although initially such entertainment activities were marked by their independence on television industry, yet the truth reveals that television will bring them more audience and much considerable profits.The second chapter presents four phenomenon: an increasing interest of Chinese audience in better-quality entertainment, renovation of digital television techniques, the profitable aspect of television entertainment programming and the significance of entertainment culture as a symbol of national comprehensive power, which leads to the conclusion that entertainment has become an indispensable factor in the shaping of television programming schedules in China.The second part begins with the illumination of China’s current situation and problems in developing television entertainment industry. Then, it probes into the obstacles that hinder the path of development. The author therefore provides a feasible perspective on dealing with current obstacles.The author argues that it is the lack of productivity of production intellectuals, together with their limitation in creative representation and vulgarity in program quality that puts sand in the wheel of the development of television entertainment industry in China. From the government’s point of view, the vexing problem is how to remove the institutional hindrances and establish a set of media policies to sustain national culture. So far, the major obstacle confronting Chinesetelevision entertainment industry is its root in the propaganda past, as well as stressing traditional Chinese values and morals, while the entertainment nature was much devalued. Such functional deviation is a matter of fundamental importance, projecting a miserable predicament at Chinese television entertainment industry. As such, substantial and thoroughgoing changes in basic structures are expected to occur. The call for adjusting policies for television entertainment industry and reorienting its goal is urgent. Mass entertainment spectacles have a social function as well as a commercial drive. The industry in China needs to gear up for competition and shake down its excessive propaganda obligations. In other words, Chinese television entertainment programs are obliged to stretch ideological limits by loading entertainment and commercial elements. Such breakthrough also involves the transformation of the holistic policy atmosphere and the authorization of performance companies and so on and so forth.The third part offers suggestions in operations.The vitality of television content as the first subject matter is of great importance. The fourth chapter of this dissertation argues from two perspectives: the quality (elite and vulgar) and connotation (oriental and occidental). Today the ever-changing communication technology such as satellite television and internet joins discretionary time and disposable income in creating a global marketplace eager to consume entertainment products; it elicits both hope and anxiety, primarily in the cultural sector. The positive aspect is that they enable technology transfer, recourses sharing and cultural hybridization. For China, how to find a suitable position during the clash and communication between the oriental heritage and occidental legacy, the traditional values and modern standards is a matter at stake.The second is about the production. The television entertainment industry covers a wide range of contents, among which the sectors of production, broadcasting and advertising become the core. Each operation involves more than one economic unit. Today, as the trend is toward greater specialization through division of labor, the sector of entertainment programming needs to be separated from other normal productions. Specialized and professional entertainment production is but the most appropriate outlet for entertainment industry to reach target publics and maximize capital, resources and profits. Besides, other related institutional transformations, such as the separation of production and broadcasting sections, the establishment of investment system, need to be completed as well.The third deals with the market. From content production to product consumption, the whole process forms a chain of production, broadcasting channel and audience consumption. On the basis of such three key areas of concerns, the television industry can expand into all sectors related with entertainment industry, such as brokerage, program producer, viewership records ranking aswell as advertising agency. Aside from the lack of a regulated program trading market, there is also the vexing question of copyright, made even more complex by the pandemic of intellectual property piracy in China.The last point is about the platform. As our nation’s television program market is far from fully developed, for many years the production of television programs has undergone a depressingly uninspiring development, moreover, the executive production team has never been fully recognized as a market force. Thus, during the trading of television programs, the productionand the broadcasting platform—television stations at all levels, have disagreements in definingeach other’s rights, responsibilities and risks, which leads to a waste of resources, lack of efficiency and a sluggish reform. The seven chapter starts from the changing policies of Chinese television program production market and attempts to provide the solution to such dilemma in order to establish a more mature program market.In the homogenizing process of mediated global culture, the content of media produced by more developed countries are distributed around the world, along with the sheer volume of global media products flowing from wealthy countries to developing countries. There are issues that confront China’s media industries as they enter a new competitive phase against the backdrop of globalization of mass media. In view of the emphasis paid to television entertainment industry, this dissertation endeavors to find measures to ensure that Chinese television entertainment industry adapts to the global versions of standards and keeps moving towards the fully mature and competitive stage.更多还原