The full house of foreign attendees at the inaugural sharing session by top Chinese TV execs at MIPFormats 2012 is certainly a sign of the increased willingness by international format producers to do business in China. One of the “Great Wall of Challenges” highlighted at the session was the need for people on the ground to broker deals. This is crucial in enabling international format owners navigate the Chinese market with success.

Yang Xu, Managing Director of International Program Content Network (IPCN), a media rights broker and consultancy firm in Mainland China, shared with attendees how IPCN represented formats powerhouse FremantleMedia to land the Got Talent franchise on Chinese screens. According to IPCN, China’s Got Talent, which debuted on Dragon TV, reached 600 million viewers and an impressive 5.91 rating in its Sunday primetime slot in July 2011.

Buying formats for Chinese audiences is not a new phenomenon though. As early as 2008, Dragon TV, now ranked #1 according to China Mainland Marketing Research (CMMR), had already premiered formats winner like China’s Next Top Model. Still, the surge in acquired formats is an observable trend, and ironically, one attributed to a most unlikely source – the government.

On January 1, China’s State Administration of Radio, Film and Television (SARFT) imposed a curb on “excessive entertainment’’ during primetime; with restrictions on not just foreign content (dramas and talent shows the main targets) but also what it deemed “vulgar” programmes. In an attempt to retain audiences who are increasingly hungry for foreign content and still satisfy new regulations, broadcasters are opting to produce local versions of hit formats to fill the void left by acquired content.

Fast forward from April’s MIPFormats and a raft of format sales have been concluded. Below is a sampling of 2012 deals announced thus far:

While localised formats might seem to appease SARFT, it does not solve the problem of a proliferation of copycats whenever a hit show debuts – a “homogenisation” of content that has greatly worried the state regulator. Case in point, in May, Shenzhen Satellite TV announced its acquisition of The Sing-Off, only to be matched by Zhejiang Satellite TV’s announcement for a local version of The Voice.

SARFT does not only want the removal of “vulgar” programming; it also asks broadcasters to generate “moral” shows. However, the definition of “moral” is problematic.

Idea Asia Media’s (IAM) Nan Hu, whose company boasts of being the first to import formats, explains that SARFT does not typically hand out precise definitions. “When they (SARFT) see it, they’d know it,” she explains. Hu admits that Chinese networks are “100% government controlled”, with compliance to state regulation paramount to the success of a format making it to screen.

For Joy Xu, Deputy Director of Dragon TV, the decision to acquire a format certainly takes on an added dimension.

“First of all, we use our experience and judgment when selecting formats. When we decide to produce a programme out of an acquired format, we apply for permission first to ensure we adhere to regulation before we acquire,” explains Xu.

For Shenzhen Satellite TV, whose latest talent show The Sing-Off represents a genre typically frowned upon by SARFT; finding a format that can be both entertaining and yet “moral” is possible.

“The Sing-Off is not about one person becoming an overnight success or finding fame on stage,” said Yi Hua, Deputy Editor-in-Chief of Shenzhen Satellite TV and Chief Producer of The Sing-Off. “It is about talented individuals who come together to sing as a team, in unison, and grow through an emotional journey of pain and joy.”

For the networks that can secure both ratings and SARFT’s endorsement; 2012 is potentially formats heaven.

“The Cube is now on air and has attracted a considerable audience. This programme is a very successful format around the world and it’s a typical example of how we choose formats. We believe that this kind of format can interpret our channel’s position, character, brand, and satisfy our audience’s needs,” said Xu of Dragon TV. “We’re also keen on new types of game shows and different studio-based game shows. After all, we’re open-minded about new formats.”

For Xu, the openness to try new formats in the face of adversity, coupled with pre-approvals from state regulator SARFT can only mean one thing – the door to formats is now wide open.