Introduction

In the decade prior to China joining the World Trade Organization in December 2001, Chinese television producers began to measure success and failure, not so much from a political yardstick, but in comparison to market expectations. Foreign programs were feeding into the system, finding enthusiastic audiences, and challenging the style of local production. By 2001, moreover, the technological possibilities of the medium were becoming increasingly evident. Digital channels, multi-platform programming, new formats, niche channels and short message service (SMS) interactivity were creating new demands for more programming and greater variety. However, despite an increase in formats and genres - including reality TV, quiz, and game shows - drama has retained pre-eminence in viewing schedules. Research estimates that the "Chinese viewer" watches an average of fiftytwo minutes of television drama per day - A diet constituting more than 30 percent of overall television consumption. The status of television drama is reflected in advertising: in 2002, 90 percent of all revenue from television advertising came from television drama.1 Although drama's domination of advertising is now challenged by reality and "factual" television formats, drama production remains central to the viability of China's large but fragmented television industry.