本文通过英国真人秀节目模式在中国现状的考察,反思模式全球传播中的文化因 素。经历了十年的辉煌后,英国节目模式自2013年起在中国经历了急剧的滑坡,与之对 应的是韩国模式的崛起。本文采用跨文化传播的理论视角对三个引进模式进行案例分 析。研究发现,全球化培养了中国观众混杂的文化审美需求;而中国经济的迅速发展也 应然期许民族文化的复苏,韩国模式由于文化上的亲近性迎合了这种期许;再次,中国 电视制作人仍需要向韩国同行学习如何将西方的模式生产技艺与东方的传统文化相结 合,来制造与观众的传统文化整体相近却又有差距的电视节目模式。隐藏在观众喜好变 化的背后是全球文化权力的迁移。

Through an in-depth look into British entertainment Television formats in contemporary China, this article rethinks the role of culture in the adaption of global formats. After ten years of being the most successful format shows, the popularity of British TV formats experienced a sharp fall since last year. In contrast, South Korean formats are now in vogue. The paper presents the decline of British formats from three aspects: rating, audiences’ feedback and broadcasters’ preference. Its follows the examination of case studies from a cross- cultural perspective of three imported formats: The Voice, Daddy Where are We Going (Korean reality), and X Factor. This study argues that the continuing falling trend of British formats is a result of decades of conflict between the Western culture, represented in the Western formats, and the oriental culture. The culture difference that used to attract Chinese audiences now rejects them. The improvement of China’s economy has increased the cultural confidence of Chinese audiences who now expect format shows to reflect their own culture. However, the Chinese TV producers are unable to do that yet. That is why they have to borrow formats from South Korea who has been empowered to take Western formats production skills and use them in an oriental way. What lies behind the changing audience taste is the shifting of global cultural power.