Abstract：The production of “high-concept” television programs is just getting started in China. With “big input, big production, big promotion and big market” as its operational model, this industry has become a unique cultural landscape with “ritualized” appreciation characteristics in its competition with new media. “High-concept” television programs have gone through the process of format introduction, adaption, and indigenous innovation, and are moving toward format export. However, on the way of industrial innovation, this production model also faces inevitable mistaken understanding and perplexity in reality. The study also points out that Chinese television industry needs not only to be promoted by “high-concept” format with marvelous narration, but also to be enriched and filled with diversified formats.
战迪. 中国高概念电视节目的产业创新与文化博弈[J]. 《深圳大学学报》（人文社科版）, 2016, 33(3): 42-46.
ZHAN Di. Industrial Innovation and Culture Games: on the Production of Chinese “High-Concept” TV Programs. , 2016, 33(3): 42-46.
[1] 尹鸿,王晓丰.“高概念”商业电影模式初探[J].当代电影,2006,(3):92. [2] 文文.《爸爸去哪儿》第三季吸金11.7亿 再破10亿大关[N].北京商报,2015-04-13. [3] Moran, A. and Malbon, J.Understanding the Global TV Format, Bristol, U.K. and Portland[M].OR: Intellect Books, 2006.20. [4] 陈阳.文化混杂、本土化与电视节目模式的跨国流动[J].国际新闻界,2009,(10):61. [5] 谢梦遥.买个好节目[N].财经天下周刊,2012-08-11. [6] 陈妍妍.年内引进海外娱乐节目超60档,《中国好声音》成“吸金王”[N].证券日报,2013-11-07. [7] 陆地,张牧涵.2014：中国电视业发展的四个关口[J].编辑之友,2014,(1):13. [8] 陈妍妍.模式节目市场将进入井喷期[N].证券日报,2014-08-2.
2016, Vol. 33 
粤公网安备44030502007936号