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By Zhuo Feng

What varieties of international tv courses are broadcast in China? What sorts of cultural changes exist within the minds of chinese language tv audience? To what quantity can they understand and settle for those alterations? the writer constructed a three-stage empirical method of research those questions in 5 pattern towns in China. First, the tv schedules of 37 tv channels have been analyzed with the intention to be certain the kind, cultural amendment, and export state of overseas courses. moment, in accordance with 36 viewers interviews forty two cultural dimensions have been explored and summarized in a listing. 3rd, a survey was once carried out between 450 audience, which tested their conception and recognition of cultural distinction. 5 viewer kinds have been built via cluster research. The influence of influential components used to be tested.

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1997, p. , 1997, p. 32) As a consequence, it is common for French to dub imported Quebecois programs into Parisian French. The British film Riff Raff, which contained a wide range of UK/Irish regional and ethnic accents, had to be shown in North American cinemas subtitled. , 1997, p. S. viewers are usually insular and intolerant of foreign programming. They not only do not accept dubbing or subtitling, but they are also averse to British accents. , 1997, p. 45) 55 Language is often the most important criterion in a host nation’s decision to import foreign television programming.

In each dichotomous orientation, people must choose how they define a situation. In daily life individuals rarely act at either of the two poles; they usually choose an intermediate path. (1) Affectivity vs. affective neutrality orientation is concerned with what extent people are looking forward to immediate or delayed gratification and whether they show their feelings plainly by laughing, smiling or keep them controlled and subdued. (Parsons, 2001, p. xvi) (2) Self vs. collective orientation concerns how people emphasize either an individual’s achievement and responsibility, or the group’s achievement and joint responsibility.

Burnett, 1996, p. 36) For example, in northern Europe young people are the heaviest viewers of satellite channels and imported television programs. Younger viewers are, however, becoming increasingly familiar with foreign-language material. Older viewers are more likely to avoid imported programs for language and cultural 52 reasons. Similarly, in Holland the high entertainment output of Sky and Super Channel is attracting a young Dutch audience. (Morley & Robins, 1997, p. 61) Besides age, cultural discount is also related to social class.

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