Introduction
The topic of our study is the preference for mainland TV dramas among Hong Kong residents. In this study, we want to discover whether mainland dramas are gaining higher popularity in Hong Kong now and why there is such a phenomenon. The target subject of our research is Hong Kong native residents (aged 18 above) who were born and raised in Hong Kong.
The 1970s and 1980s were the heydays of Hong Kong television and other popular cultural products (Chan, 2016). With the economic revolution and cultural openness in the mainland China, the subsequent success of The Bund (1980), Legendary Fok (1981), Love and Passion (1982), The Legend of the Condor Heroes (1983) made Hong Kong TV drama a huge popularity in the mainland, serving as both inspiration and guidance for the production of the mainland TV drama (Li, 2017).
Since then, more Hong Kong TV dramas have gained popularity in the mainland, including The Greed of Man (1992), Forrest Cat (1997), War and Beauty (2004), and Line Walker (2014), all providing precious experience for Chinese mainland dramas to learn from. While in 2018, Story of Yanxi Palace, a mainland-based TV drama produced by iQIYI, became a sensation in both mainland China and Hong Kong. By August 26, 2018, this drama has attracted a cumulative more than 13 billion online views among the mainland (Yang, 2018), while in Hong Kong, the drama has topped TVB (Television Broadcasting Limited) viewership ratings until October 9, 2018 (Huang, 2018). In addition, a drama relevant program – Yanxi Nan Xun (South Tour of Yanxi) (TVB, 2018) released on official TVB accounts has attracted over 99.6k views on YouTube. This flow and the counter-flow of TV drama between the mainland and Hong Kong is a phenomenon worth exploring. The aim of the study is to find out the reasons behind this phenomenon, and also to provide experience for more mainland TV dramas to win publicity in other regions.
Literature Review
The most important factor for a TV drama to attract foreign audiences is the quality of the series. Some of the dramas create a dream world for the foreign audiences by adopting an idea or fantasy plot (Dissanayake, 2012; Gao, 2014; Iwabuchi, 2004), so that a sense of “immersion” is constructed and the viewers would have a chance to experience a different life story in another place or time period. Some of the series reach a fine balance between conveying pleasure and knowledge to the audiences (Dissanayake, 2012, p.194). By delivering certain values to audiences (feminism, liberation, love, etc.), these dramas allow the foreign audiences to know themselves and the manufacturing countries better (Gao, 2014; Iwabuchi, 2004).
Meanwhile, other factors, the structure of the film, the score quality, and charisma characteristics, are also counted in a drama's overseas success (Gao, 2014; Iwabuchi, 2004). The second factor that makes some TV series go popular in neighbouring regions is cultural proximity (Iwabuchi, 2004). As Straubhaar (1997) argued, cultural proximity is important in explaining why viewers embrace or reject television programs such as soap operas. Viewers may feel that they are watching the local dramas as there are actors of similar appearance turn up in the screen. The similarity of interpersonal relationship, value or even the daily life scene between the characteristics in the drama and audiences eliminates their strangeness (Dissanayake, 2012, p.194). The affinity also allows the manufacturing country to adopt new marketing strategies (Gao, 2014), including allowing actors with high popularities to show up in the drama and triggering more commercials in neighbouring countries.
The third important factor is that some series meet foreign viewers' needs. Based on the theory of “use and gratification” which is concluded in the book Communication theories: Origins, methods, uses (1988), suggesting that the choices of audiences are decided by their needs in both personal and social sphere. To those who want to learn something, TV series provide them with an environment to learn new language and common knowledge (Wang, 2012; Catapano, 2010). To those who want to release real-life pressures, TV dramas build a faultless world, in which lovers can stay together forever, and diseases can be cured quickly, and justice is delivered in the court and jobs can be easily found (Gao, 2014; Gokulsing, 2004). Also, to those who feel local dramas boring, foreign series provide them with an exotic lens to know the bigger world (Gao, 2014). Moreover, some audiences watch overseas dramas because of the interpersonal communication needs (Gao, 2014).
Sometimes foreign TV series gain huge popularities since there is a “shortage of own production” (Iwabuchi, 2004). But in this study, it is more concerned about the influence of mainland TV series in Hong Kong people, instead of focusing on Hong Kong’s domestic TV series production. Based on that, we will not consider this factor as our research variable. Besides, the policy is also a factor (Gao, 2014), and the situation differs among countries. However, due to the fact that this study takes more attention to TV dramas’ content itself, we will not consider it as a variable. Categorizing and sorting out the factors listed above and based on the current situations and the relationship between mainland China and Hong Kong, we choose three factors as variables of our study – production quality, culture proximity and needs satisfaction. The reason why we choose the indicators in each variable is specifically explained in the conceptualization and operationalization part.
Conceptualization and Operationalization
1.Quality Conceptualization
We conceptualize Production quality as the level of one TV drama in script writing, actor shooting, special effects production, editing and so forth. The production quality of TV dramas has always been an important factor in the success of their dissemination because high-quality TV dramas can satisfy the audiences’ sensory needs and bring a better drama experience to the audiences and meet the audiences’ aesthetics more easily. Therefore, we choose “quality” as our first variable to measure Hong Kong people’s preference for mainland TV dramas. Previously, mainland audiences were fond of Hong Kong dramas because of wonderful performance and vivid plots of the actors (Lin, 2006). Nowadays, mainland TV dramas, such as Story of Yanxi Palace, have also captured the attention of Hong Kong fans and media. The popular reviews on TVB’s site include “its storyline and characterization, as well as its settings and costumes, are based on real history and it really helps increase my knowledge” and “This drama’s special effects are the prettiest one I’ve ever seen among mainland dramas” (TVB Official, 2018). With the improvement of IV drama’s quality, “the rise in popularity of Chinese dramas among Hong Kong audiences has been significant” (Times, 2018). In our research proposal, we choose several dimensions to subdivide this variable and raise our research question and corresponding hypothesis below:
Research question 1: How does production quality influence Hong Kong residents’ preference for Chinese mainland TV drama?
Hypothesis 1: The higher the Hong Kong residents’ evaluation of the quality of mainland TV dramas has, the more Hong Kong residents are willing to watch.
Operationalization
A high-quality drama, from our perspective, needs to be a “good-looking” one, and it should also have excellent content and a competent team. Yang (2017) argues that one important component of the successful communication strategy of Chinese antique dress drama is qualified audio-visual language and artistic text, including effective court visual effects, high-skilled actors’ participation, unique and high-quality costume, make-up and props (Yang, 2017). Similarly, many scholars concern about the empowerment effect of TV series’ quality to the popularity among audiences. For instance, Charlotte Brunsdon (1997) defines “quality” as “variety”, which means the higher of TV series’ quality, its content including storyline, structure, and script will be more varied and rich. Besides, Zhang (2010) discusses the plot, characters, subtitles and background music. What is more, editing techniques of directship and photography also affect TV series’ quality, because if the setting and grasping of the plot rhythm combined with appropriate use of innovative shooting techniques and editing methods conform to the audience's psychology and appreciation habits, it can also enhance the attraction of TV series (Yang, 2017).
Therefore, in our study, after we analyse those existing literature above, combined with literature review in the beginning, such as Iwabuchi and Gao’s (Gao, 2014; Iwabuchi, 2004), we divide quality of TV dramas into three dimensions - production quality, actor performance, and content.
2. Cultural Proximity Conceptualization
According to Straubhaar, cultural proximity means “nationally or locally produced material that is closer to and more reinforcing of traditional identities, based in regional, ethnic, dialect/ language, religious, and other elements” (Straubhaar, 1991). Since the mainland and Hong Kong share similar cultural and geographical source, cultural proximity is an important sphere when one conducts a research about the mainland and Hong Kong relation and influence in relevant areas. There are researches indicate that Hong Kong audiences tend to show a sense of identity when it comes to the Great Wall throughout the 20 years after the handover in 1997. The “responses to the icon of the Great Wall exhibit a steady, high level of pride” (Fung & Chan, 2017, p.403). Overall, through these cultural symbols, Hong Kong people demonstrated a type of cultural affiliation with Chinese nationhood and its ethnic roots (Sinn, 1995; Vickers & Kan, 2003). In addition, TV drama – an important part to describe and depict Chinese lifestyle and history – can be considered as a major bridge of culture communication and dissemination.
What is more, related studies of media and TV programs conducted in Asian context show that most scholars in audiences research adopt the cultural affinity and proximity as a vital factor of audiences’ preference (Chen, 2004). From this point of view, when people meet TV dramas from different parts of the world, they tend to select those TV dramas which they consider are from their proximate cultural environment and source (Straubhaar, 1991). Besides, audiences might also try to find cultural proximity in a TV drama. Through the process, they may refind and reconstruct their cultural identities and affiliation through the similarity of life environment and socializing patterns. This type of feeling could be one of the main drives for Hong Kong residents to watch more mainland TV dramas. According to the meaning of cultural proximity and based on the context of the mainland and Hong Kong, we raise the research question in considering of the relationship between audiences’ view of cultural proximity and preference for certain kind of TV dramas in many relevant types of research:
Research question 2: How does cultural proximity influence Hong Kong residents’ preference for TV drama?
Hypothesis 2: HK residents who perceive a closer cultural proximity between HK and mainland China prefer mainland TV dramas more.
3. Needs Satisfaction
Conceptualization
“Needs Satisfaction” relates to the expectations of audiences, and the latter comes from the individual’s vision from all aspects of life. As a cultural product, TV drama also has the characteristics of goods in the global media and commercial market, which demands the director fully considering target audiences’ (consumer as well) needs. The audiences’ needs can also be defined as their “expectations” (Gray, 2018): what do they want to get from the series. That is why we choose “Needs Satisfaction” as an important variable to measure Hong Kong residents’ preference for mainland TV dramas. Research question 3: How does needs satisfaction influence Hong Kong residents’ preference for TV drama? Hypothesis 3: The more the needs can be satisfied, the more mainland TV dramas are preferred by Hong Kong residents.
Operationalization
Based on the theory of “use and gratification” which is concluded in the book Communication theories: Origins, methods, uses (1988), suggesting that the choices of audiences are decided by their needs in both personal and social sphere. Therefore, our research is also conducted from similar perspectives. The basic situation of previous mainland TV dramas in meeting the needs of people in Hong Kong. In recent years, mainland TV dramas (Nirvana in Fire, Empresses in the Palace, Legend of Fuyao, etc.) attracted a great number of audiences in Hong Kong. One reason is that they satisfied audience’ needs for learning more general and basic background about Chinese history or the Wuxia culture, etc.
“Hong Kong audiences showed great enthusiasm about the mainland historical play.” (Xiaochen, 2016). Also, they allow audiences to learn Putonghua in a fast and easy way. Several works of literature indicate that visual materials such as TV series can deepen the interaction between the target language and the learners, allowing them to learn quicker and easier (Neuman, Burden & Holden, 1990; Stevens, 1989; Svensson & Borgarskila, 1985; Underwood, 1990; Wang, 2012). The story of Yanxi Palace, which is predicted to be TVB 2018’s most-watched drama of the year, portrays a group of well-liked and distinct female characters (Yang, 2018). Based on that, it is also consistent with the audiences’ aesthetic of this type of popular “gangsta sister” characteristic formation. In our research proposal, we integrate the above elements, raise the research question and list out dimensions as well to better analyse the relation between audiences’ preference for mainland TV dramas and their personal needs.
According to research, the motivation of watching TV drama includes relaxing (recreation and time killing), which has become one of the most important reasons for people to watch certain types of TV drama (Gao, 2014). Besides, TV drama can provide recreation and entertainment, helping people reduce their stress and burden, creating a type of sense of release (Ma, 2012). So in our research, we set recreation, catharsis and time killing as indicators of relaxing need. What is more, to gain a sense of conformity and approval from others is a significant content of socializing need, which can be satisfied through watching the TV drama same as the one others watch. Through talking about the same TV drama, people can communicate well and be bonded closer with their families, friends or colleagues, and become part of the group or community (Gao, 2014). Going through the characteristics and types of TV drama preferred by Hong Kong audiences, we categorize the needs of satisfaction of Hong Kong audiences into three dimensions: learning needs, relaxing needs and socializing needs, which reflect three major aspects of Hong Kong audiences’ purposes to watch more mainland TV dramas.
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