Though many aspects of Chinese television are unique, what’s popular in the country is similar to most other nations; reality shows have become a popular genre, and they are easy for broadcasters to produce. As well, South Korean dramas have garnered strong viewership for a number of years. The occasional U.S sitcom is also fi nding a place on China’s television screens. But, the best road to success is through localization, says Anke Redl, Managing Director of CMM intelligence, a market research fi rm focusing on Chinese media, based in Beijing. Like other markets in Asia, Chinese viewers respond better when they can relate to a programme, she says. “Outside shows may have been popular 20 to 30 years ago, but now people want to see themselves in the programme,” Redl added. Localization of content can be the difference between a successful television show and a dud. One example of success, Redl points out, is the popular international series Ugly Betty. Hunan Satellite Television took the show and put a Chinese spin on it, making it a hit on Hunanese television. Other content producers in the market agree localization is a proven method. Fang Chang, Senior Vice President and General Manger of China Discovery Networks Asia- Pacifi c says documentary shows about China also do well. “We have produced several programmes about China’s rich history, culture, traditions and amazing architecture – from the construction of the Bird’s Nest Stadium and Beijing Airport, to an insider’s look at China’s preparations for the Beijing Olympics.” Fang says there are some regulations requiring localization of content, but how strict they are varies. “For example, all programmes on International Channel Shanghai are broadcast in English and Putonghua (Mandarin) dubbing is not required, so our TLC block is aired in just English with simplifi ed Chinese subtitles.” Discovery Networks have increased viewership since fi rst coming to China says Fang. When discovery arrived in the country, it had one branded block, now the network has eight, such as the nature based Animal Planet and the newly launched TLC both doing well. The blocks are now carried by 27 channels across China. “By introducing content from a broader bouquet of brands to China, we have grown our viewership for both factual and lifestyle, capturing audiences of different spectrums with different content preferences,” Fang added. There are more targeted markets up for grabs in China as well. As tourism and international business within the Middle Kingdom continues to increase, the appetite for foreign programming follows. Celestial pictures specialize in feeding that appetite in embassy compounds and hotels, though they also have a channel running classic Chinese movies. Ofanny Choi, Senior Vice President of TV Channels for Celestial says viewers in China mostly want escapist entertainment and nothing too serious. “We have achieved a wide coverage for our channel among the major hotels and foreign compounds, so I would say we have been quite successful,” she says. China’s regulations on content are well known, even to those not inside the industry, therefore producing in the country must be done with caution. But, even when caution is exercised, complications can still arise. Media experts say generalizing what is okay to broadcast is risky. Some said the regulations can change seemingly without reason, adding to some nervousness among producers. In fact many TVA Plus contacted for this article were reluctant to answer requests, seemingly fearful of hurting their relationships with Chinese offi cials. The arbitrary nature of such regulations was demonstrated last year when Hunan Satellite Television was the subject of scrutiny after remarks from a contestant on a dating show. The young woman said she’d rather ‘cry in a BMW than smile on the bike of one of the male suitors’. Other contestants bragged about their wealth and many felt the show was unsavory. Internet forums and editorial columns widely condemned the show for showcasing such behaviour. Publicity around the programme was a contributing factor to new, nationwide rules being put in place for all dating shows. Despite the concerns regarding this undefi ned standards process, Arjen van Mierlo, CEO of Asian Operations for Endemol says, often the local channel will worry about what is and isn’t acceptable and the content producers can let them take charge. In China, foreigners can advise, but cannot legally produce content. So, working with other companies is something impossible to avoid. But, the balancing act and process isn’t much different from other markets. “People are watching us and we’re watching them,” said van Mierlo. “But, it’s the same all over the world.” He says working with Mainland based companies has been satisfactory for Endemol, including a noticeable increase in content quality in recent years. van Mierlo credits this to an eager attitude by Mainland producers, which should enable China to catch up to foreign production companies soon. “I think in two to three years they will not just be importers of television, but also exporters,” he says. “We will hear from China in the coming years.” He added that he expects a further restructuring of the major broadcasters and they will separate some activities and focus more on individual business lines.“The competition will get tougher and online platforms are also joining the game as fully-fl edged media players. Appealing content is one of the ways to deviate yourself from the competition.” Kyle Murdoch, VP China Development and Production at Natural History New Zealand (NHNZ), which has a production offi ce in Beijing, says it’s hard to know what to expect from China in the future as often things progress in one way and not in others. Though his company primarily makes content for markets outside of China, he said, currently new laws dictating a certain amount of locally made content to be aired annually hinders foreign company operations in the country. He also says it’s difficult to set up shop and start fi lming. A new company will have to submit scripts, employee history, accreditation and many other documents to government agencies for approval. Those who have been in China longer have an easier time. “We’ve been here for 14 years, so there’s a good level of trust between us now,” he said. According to Murdoch, always doing business by the book, even when it seems you can bend the rules a bit, is the best way to avoid hassles. But, knowing the strengths and weaknesses of your production partners is also a key to success. Murdoch said Chinese crews and producers are gifted in some areas and lacking in others; fi nding the strengths and weaknesses is a challenge. While camera operators and drama directors do a great job, fundamentals of the trade aren’t commonplace. “The Western storytelling devices aren’t there,” said Murdoch. “Sometimes you’ll see a series on an artifact that was found, but it has no context.” He said the mindset stems from television in China being mostly used as an information device instead of a form of entertainment. When Westerners produce programmes they do so with a background of growing up watching television geared towards entertainment, so they have an idea of what needs to be done to make a show entertaining. Murdoch said many Chinese producers never had this infl uence, so they are lost when it comes to entertaining viewers. “You’ve got to be able to understand where they’re (Chinese producers) coming from,” he says. “You need to understand how they work and try to bridge the huge cultural divide.” Arturo Casares from Televisa makes long form dramas in China. He says crossing such a cultural divide remains a diffi cult journey. “The biggest challenge to face is parties negotiating when they have completely different backgrounds and cultures.” But, Casares says, another mountain to climb is navigating the many unestablished methods of business and producing. So creating programmes, moderating between clients and producers and other basic functions can often become complicated and time consuming. Some in the business have also complained of spending too much time in an administrative role instead of actually producing. Despite the complication, Casares says China’s developing industry can actually be an advantage for some producers because there isn’t an established system with hoops for people, like those starting out, to jump through. It can also provide unique opportunities for players in the market. “With this un-established field comes some opportunity,” he says. “It’s unwritten.”