LOCALIZATION OF FOREIGN REALITY TV SHOWS IN CHINA The Case of where are you going, dad? Li Ning

LOCALIZATION OF FOREIGN REALITY TV SHOWS IN CHINA The Case of where are you going, dad? Li Ning A Project Submitted in Partial Fulfillment of the Re...
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LOCALIZATION OF FOREIGN REALITY TV SHOWS IN CHINA The Case of where are you going, dad?

Li Ning

A Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Communication

Supervisor: Dr. Chen Ling

School of Communication Hong Kong Baptist University Hong Kong
 May 2015

Authorization of library placement

Authorization This is to authorize the School of Communication at Hong Kong Baptist University to place my project titled “Localization of Foreign Reality TV Shows in China: The Case of Where Are You Going, Dad?” in the HKBU library for general public reference and inspection.

Name in block letters______________ Student ID ______________________ Signature_______________________ Date ___________________________  

Acknowledgement I wish to thank Dr. Chen Ling, for her inspiring instruction, useful suggestion and understanding. With her help, the process to complete this project is pleasant. I also wish to thank my beloved parents for their financial and spiritual support. I really appreciate their understanding of my every big decision and their doing best to help me pursue my dream. With my roommate, April’s companionship, I have a great time here in Hong Kong. I wish to thank her caring and the enjoyment she brings to me.

(signature)_______________________ ___ (Student‘s name) M.A. in Communication School of Communication Hong Kong Baptist University Date: ____________________________

MA Graduation Project PLAGIARISM DECLARATION FORM This form must be completed, signed, dated and included with the Project submitted to the University for marking. Student Name: _____________________________________________________ Student Number: ___________________________________________________ Name of Project: Localization of Foreign Reality TV Shows in China: The Case of Where Are You Going, Dad?_________________________________ Submission Date: ____________________________________________________ Declaration: I have read the relevant sections on Plagiarism provided in the Handbook for Graduation Project and observed the standards of conduct. I am fully aware of the consequences in the event of plagiarism. I declare that, to the best of my knowledge, this project represents my own work and all sources have been properly acknowledged, and the Project contains no elements of plagiarism. I further declare that the Project has not been previously included in a thesis, dissertation or report submitted to this University or to any other institution for a degree, diploma or other qualification.

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Abstract With the help of Korean Wave, Korean made cultural products can be easily understood and popularized. However, as a result of the differences in culture, Korean programs must be localized into Chinese cultural context to be better broadcasted in China. Among all the glocalized reality TV programs in China, the Chinese version of where are you going, dad? is the most successful one.

This paper analyzes its localization of content settings from Hofstede’s model of culture, including six dimensions, such as individualism, long term orientation, power distance, masculinity, uncertainty avoidance and indulgence. These different characteristics of culture shows in several parts of the program between Chinese version and Korean version.

Apart from localizing the content settings of this program into Chinese culture, the program also utilized the appeals of reality TV shows to audiences to raise its publicity, by satisfying the gratifications of audiences from the aspects as authenticity, enjoyment, habitual pass time, social interaction and voyeurism etc

Contents 1. Introduction ................................................................................................................1 2. Literature Review .......................................................................................................2 Concepts of Reality TV ..........................................................................................2 History of Reality TV and its Glocalization ...........................................................3 Reality TV Programs in China ...............................................................................4 Part of Korean Wave ..............................................................................................5 Hofstede’s Model of Culture .................................................................................6 Functionalist Model:The Uses And Gratifications Approach .............................9 3. Research Methodology .............................................................................................12 Analysis Objects...................................................................................................12 4. Analysis of the program ...........................................................................................13 Popularity Comparison.........................................................................................13 Localization of Content Settings Using Hofstede's Model of Culture .................15 The Uses and Gratifications Approach to Attract Audiences ...............................28 5. Conclusions ..............................................................................................................36 References ....................................................................................................................39 Appendix A...................................................................................................................42 Appendix B ..................................................................................................................45

1. Introduction Hunan satellite TV made where are you going, dad? of Chinese version has been a top hit since it broadcasted. Now, advertisers bid for naming right of its third season with 500 million. This reality TV program bought the copyright of where are you going, dad? of Korean version from MBC. Even the Korean version is not sure about whether there will be a third season. Where are you going, dad? of Chinese version is not the only one reality TV program in China that bought the copyright of foreign mature reality TV program and then elaborate with local context. Other programs, for instance, I am a singer, Running Man, The Voice of China, also have great feedback and high audience rating, but not as that much successful as Where are you going, dad? of Chinese version.

Former research about this reality TV program is mostly about the marketing and PR part, the profits it bring to the tourism, and audience psychology analysis. Although audience analysis is a great hint, but there is no paper did an in-depth research. This paper tries to find out how where are you going, dad? of Chinese version localize its program content settings to fit in Chinese culture context in terms of Hofstede’s model of culture. In addition, from the perspective of uses and gratifications approach of audience analysis, this paper tries to analyze why this program is such a big success in Web 3.0 era.

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2. Literature Review Concepts of Reality TV Reality TV is a compelling mix of apparently ‘raw’, ‘authentic’ material with the gravitas of the news magazine package or informational program, combining the commercial success of tabloid content within a public service mode of address. This new mix is often referenced by the idea of ‘infotainment’ television, in which the primary public service goals of entertainment and the provision of socially useful information are assumed to dissolve into one another.(Creeber, Miller, & Tulloch, 2008, p.134)

It can be characterized by several key elements as follow: (a) people portraying themselves, (b) filmed at least in part in their living or working environment rather than on a set, (c) without a script (or at least pretending to be without a script), (d) with events placed in a narrative context, (e) for the primary purpose of entertainment.(Nabi, 2007, pp.372-373)

Reality TV, now also called factual entertainment. Its emergence represents a shift from what Kilborn calls the more serious representation of socio-historical events to programming that is produced predominantly for entertainment purposes.(R. W. Kilborn, 2003) Hill suggests a continuum, a meta term, which reflects the sliding scale of actuality in these programs, covering contemporary documentaries and popular factual entertainment ranging from dock-soaps and game-docs to makeovers and quiz shows.(Hill, 2005, p.50)

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According to the research conducted by Independent Television Commission [ITC], reality TV programs can be divided into three main sub genres, observation programs, information programs and created for TV programs. Observation programs are often about watching people in everyday places (e.g. Airport). Information programs use true stories to tell us about some- thing, like driving, first aid, or pets (e.g. Emergency 999). Created for TV programs are about putting real people in a manufactured situation, like a house or an is- land, and filming what happens (e.g. Big Brother).(Hill, 2002, p.328)

The case where are you going, dad? belongs to the first kind, observation program. It also helps achieve the goal of inspiring thinking of father parenting and entertainment.

History of Reality TV and its Glocalization Allen Funt’s Candid Camera about people confronted with funny, unusual situations and filmed with a hidden camera, first aired in 1948, is often seen as a prototype of reality TV. (McCarthy, 2004) But Reality TV is generally historically located as beginning in the USA with NBC’s Unsolved Mysteries (1987-2002).(R. Kilborn, 1994, p.426), followed closely by other networks’ imitation and reproduction of the form with CBS’s Rescue 911 (1989-1996), Fox’s Cops (1989-present), America’s Most Wanted (1988-2012) and in the UK with shows such as BBC’s Emergency 999(1992-2003).(Creeber et al., 2008, P.134)

In terms of globalization of reality TV, Big Brother is the first popular one. The first ever version of Big Brother was produced in Holland by John de Mol Productions for 3

the Veronica Channel. Then it became the triumph of the global broadcasting phenomenon. It was subsequently aired in more than 40 different countries. The original concept consisted of 10 to 16 competitors living together in an apartment, isolated from the out- side world, continuously watched by cameras, and try ing to win a cash prize by doing their best in the games proposed by the producers and thus avoiding eviction by the viewers’ periodic tele-voting.(Beck, Hellmueller, & Aeschbacher, 2012, p.11) This fascination proved to be the basis for the first truly international new TV genre of the twenty-first century.(Creeber et al., 2008, p.136)

Nowadays, Idol series play the same role as Big Brothers at reality TV stages worldwide. Baltruschat points out that reality TV programs are characterized by their hybridized genres, which range from game-docs and soap-docs to variety contests, and their “built-in” criss-platform accessibility. These characteristics help guarantee the glocalization success. She used the case of Canadian Idol to reveal how concepts are licensed for international markets and adapted to local audience preferences. It is based on collaboration between the owners of the program, the licenses , and the contracted production crew.(Baltruschat, 2009, pp.54-55)

Reality TV Programs in China In 1990s, Reality TV programs in China are single typed, mainly consisting of evening parties, such as Zheng Da Variety Show. But the emergence of Happy Camp in 1997, brought game-doc to the TV stage in China.

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Entering into twenty-first century, reality TV programs in China began to be diversified. From the beginning, experiencing reality TV programs outshine others. For example, Survive Challenge, the first independently produced experiencing reality TV program in China. In 2005, the iconic reality talent show Super Girls was popular nationwide, opening an era of talent contest shows in the history of reality TV programs in China. Now, reality TV programs in China has developed into five major kinds, dating (If You Are The One?,Jiangsu Satellite Television), job interview (Just For You, Tianjin Satellite Television), talent show (The Voice of China, Zhejiang Satellite Television), performance (I am a Singer,Hunan Satellite Television), experiencing (Survive Challenge, Guangdong Satellite Television). In the past two years, many local TV stations bought copyright of successful and mature reality TV programs from foreign TV worldwide.

Where are you going, dad? is a successful glocalization example of Korean reality TV programs. It belongs to experiencing reality TV program, but it is more than that.

Part of Korean Wave Korean wave (Hallyu) refers to the explosive popularity of Korean pop culture through Korean music, movies, food, fashion, hairstyles, cosmetics, and other products. The phrase was coined by a Chinese newspaper, Beijing Youth Daily, in late 1999, referring to the rise of popularity of South Korean pop culture.(Yook, Yum, & Kim, 2014) Its global emergence has been described as a “cultural tsunami” and expressed in words such as “explode,” “sweeping,” and “struck” that describe the

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vigor and the surge of cultural products and its resulting popularity. (Han & Lee, 2008)

As early as a decade ago, Chinese TV audience were attracted with the imported Korean dramas on local satellite TV with Chinese voice acting. Korean pop stars, Korean restaurants are popular among almost every big city. Korea made seems to be kind of a guarantee for audience rating. MBC made where are you going, dad? has been a success before, producers of Chinese version needn't to worry about its popularity.

Hofstede’s Model of Culture According to Hofstede’s intercultural theory model, he classified culture into six dimensions: power distance, individualism, masculinity, uncertainty avoidance, long term orientation and indulgence.(Hofstede, 2011, pp.9-16) Power Distance has been defined as the extent to which the less powerful members of organizations and institutions (like the family) accept and expect that power is distributed unequally. It suggests that a society's level of inequality is endorsed by the followers as much as by the leaders. Individualism is about the degree of interdependence a society maintains among its members. It has to do with whether people´s self-image is defined in terms of “I” or “We”. In Individualist societies people are supposed to look after themselves and their direct family only. In Collectivist societies, people belong to ‘in groups’ that take care of them in exchange for loyalty. The degree of Masculinity is about what motivates people, wanting to be the best (masculine) or liking what you do (feminine).A high score (masculine) on this dimension indicates that the society will be driven by competition, achievement and success. A low score (feminine) on the dimension means that the dominant values in society are caring for others and quality of life. Uncertainty Avoidance deals with a society's tolerance for ambiguity. It indicates to what extent a culture programs its members to feel either uncomfortable or comfortable in unstructured situations. Uncertainty avoiding cultures try to minimize the possibility of such situations by strict behavioral codes, laws and rules, disapproval of deviant opinions, and a belief in absolute Truth. Long Term Orientation describes how every society has to maintain some links with its own past while dealing with the challenges of the present and future, and societies prioritize these two existential goals differently. Normative societies who score low on this dimension, for example, prefer to maintain time-honored traditions and norms while viewing societal change with suspicion. Those with a culture which scores high, on the other hand, take a more pragmatic approach: they encourage thrift and efforts in modern education as a way to prepare for the future.

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Indulgence is defined as the extent to which people try to control their desires and impulses, based on the way they were raised. Relatively weak control is called “indulgence” and relatively strong control is called “restraint”. Cultures can, therefore, be described as indulgent or restrained.

Hofstede himself has written an article summarizing various elements of consumer behaviors that affect global branding and advertising strategy, and that have been explained by the Hofstede's model. (De Mooij & Hofstede, 2010, p.86) In his paper, he extends the explanation about the dimensions of his own model about culture. For example, power distance is also about everyone having his or her rightful place in society versus equality. It can explain the need for luxury brands as status symbols in high power distance cultures.

He also uses combined dimensions of culture model to explain one phenomenon. For instance, an important value of masculine cultures is achievement. When combined with individualism, success can be shown, less so when combined with collectivism. Innovativeness and the wish for change are low in high uncertainty avoidance cultures, but combined with high power distance, appeals like modernity and innovation provide status. High scores on masculinity and power distance explain status needs. In high power distance cultures, status brands demonstrate one’s role in a hierarchy. In masculine cultures, status brands demonstrate one’s success. The configuration of high power distance and uncertainty avoidance explains the importance of personal appearance, which can interpret the difference between Japanese culture (high PDI/high UAI) and Chinese culture (high PDI/low UAI) about the focus on clothes. (De Mooij & Hofstede, 2010, p.103)

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In terms of the application of Hofstede’s’s model on media content analysis, it is widely used in marketing field. There is also some research about the perception of foreign advertisements on local market. In Lipowski’s paper, the author analyzes the characteristics of the target country — Poland by using the six dimensions of Hofstede’s model of culture, such as high uncertainty avoidance, high power distance, short-term orientation, high individualism and high masculinity. As Poland is a shortterm orientation country it shows a big respect for traditions. Therefore, any advertisements presenting lifestyle far different from the traditional one can attract viewers’ attention but also contribute to misunderstanding of the spot. Although Poland is a country which scores high in power distance, but it is individualistic. So Polish society is hierarchical where the idea of “I” is not always understood in the commercials. With the high uncertainty avoidance, Polish society tends to avoid any ambiguity, where misunderstanding of the message in the spot will lead to lack of purchase in the future. The link from advertisements to purchases is the most important in marketing field. After researching the cultural differences and overcoming them, marketing and advertising can play their vital roles in persuading consumers’ purchasing behaviors. (Lipowski & Barchacka, 2013, p.329)

Programs on TV are business too. Whereas audiences are the consumers. Audience ratings and biddings from sponsors are the proof of ‘sales’. Localizing foreign TV programs to overcome the cultural differences and fit them into the local market is the same process with that of advertising.

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The author tries to find out the cultural problems in adopting foreign advertising campaigns on the Polish market in his research. This article provides me the inspiration for analyzing model for my localization of reality TV program research.

Functionalist Model:The Uses And Gratifications Approach Audiences are often formed on the basis of similarities of individual need, interest, and taste.

The term gratification refers to those media-related interest, need, or

preference. Typical of such “needs” are those for information, relaxation, companionship, value reinforcement, diversion, or “escape”. (McQuail, 1997, p.70)

The basic uses and gratifications assumption is that media use is a gratificationseeking activity. To be specific, communication behavior, including media selection and use, is goal-directed, purposive and motivated. Media compete with other forms of communication for selection, attention, and use to gratify audiences’ needs or wants. These needs or wants have the social and psychological origins that generate expectations of the mass media or other sources which lead to differential exposure (or engaging in other activities), resulting in need gratification and other consequences. (Katz & Blumler, 1974) Rubin asserts that people are typically more influential than the media in the relationship, but not always. (Rubin, 1994, p.420) In other words, audiences are seen as active and rational in choosing and using media and their content. (Perse, 1990, p.676)

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Applied to the context of reality TV, the uses and gratifications approach permits the examination of both instrumental and ritualized uses of media, both of which could drive the appeal of reality TV. The distinction between instrumental and ritualized uses rests on a combination of individual amount and type of media use, attitudes and expectations from the media content. Instrumental use is connected to information uses of the medium, relating to greater exposure to informational programming and perceiving content to be realistic. (Papacharissi & Mendelson, 2007, p.356) Whereas ritualized use involves the habitual use of the medium, to consume time, and has been connected to greater affinity for and greater exposure to the medium. (Rubin, 1994)

• Newer Media Environment: Web-Based Content Siapera’s article attempted to trace the continuities and changes in the ways in which television understands and constructs its audiences in its online mode of existence. It finds that the audience address has not changed in any fundamental way in its online mode, but that television has made use of the technical potentialities of the new medium to expand its offline understandings of audiences. In this multimedia environment, online spectatorship appears to amplify the offline mode, by offering a further site for television to exist and propagate itself.(Siapera, 2004) The author takes BBCi-interactive website as an example to support the findings of medium expansion for TV producers. It gives me a hint to take the online interaction with audience for this where are you going, dad? of Chinese version into consideration within my research.

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Harrington further explains the function of social media as a backchannel for TV program. He takes Twitter as an example to state its contribution to the wider media sphere. Twitter and services alike, become a kind of virtual lounge room, connecting the active audiences of specific TV shows at an unprecedented scale and thereby amplifying audience activities even further. (Harrington, Highfield, & Bruns, 2012) What’s more, with the help of frequently appearing ‘trending topics’ of Twitter, the publicity of the specific TV show raises. Identically, the Chinese version of where are you going, dad? uses Sina Weibo as a backchannel, which is a new supplement in terms of localization and publicity.

Doughty’s research about TV audience communities and second screening social networks proves that the audiences of celebrity oriented shows can interact with stars through mentions and retweeted messages online while the audiences of current affairs shows can also satisfy their needs of engaging in conversations with friends on the second screen through social networks. (Doughty, Rowland, & Lawson, 2012)

• Reality TV Motives Papacharissi and Mendelson’s research tests six factors for reality TV motives, such as reality entertainment (or authenticity), relaxation, habitual pass time, companionship, social interaction and voyeurism. (Papacharissi & Mendelson, 2007, p.362) Additionally, Nabi’s paper tests the physical appeal of reality TV programs to audiences, such as voyeuristic nature of people and the novelty of reality TV. (Nabi, Biely, Morgan, & Stitt, 2003) Hall surveyed about the relations between perceived authenticity with involvement, enjoyment and perceived learning of audiences. Her 11

explanation about the four dimensions of perceived authenticity is inspiring. They are cast eccentricity, representativeness, candidness, and producer manipulation. (Hall, 2009)

3. Research Methodology To find out answers to the research questions, this article uses both data analysis and content analysis methods to analyze this program. In detail, data analysis is about the comparison of audience ratings between Korean and Chinese versions of where are you going, dad? to explain the results of localization of this program. Whereas content analysis is about how Chinese version of where are you going, dad? localize this program in terms of content settings. In addition, using the uses and gratifications approach to analyze how this program utilizes the appeals of reality TV in newer media era.

Analysis Objects This research selects the second season of Korean and Chinese versions of where are you going, dad? program to analyze. Among them, second season of Korean version of where are you going, dad? has 49 episodes, while Chinese version has 16 episodes. The reason to choose second season to analyze is that both of these two versions were broadcasted in 2014 with the basis of audience from season one.

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4. Analysis of the program Popularity Comparison S1 S2

20% 15% 10% 5% 0%

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Chart 1: Korea: AGB Audience Rating Nationwide1

This research selects the data from AGB nationwide audience ratings about Korean where are you going, dad? program to compare the popularity between first season (55 episodes) and second season (49 episodes). The upper line is the audience rating changing trend about first season. The lower line with triangle mark is the trend about second season. It shows that the trend of audience rating of first season is like an arc, where the last part is much higher than the beginning. Then the beginning part of second season lasted the popularity of the first season. But the whole trend is a line going down. The audience rating the last episode received is just the half of its first episode and is less than the half of the last episode of first season. Additionally, the second season has 6 less episodes than the first season.

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Data collected from Nielson in South Korea AGB website. Nielsen invented TV audience measurement and analytics, who measures more than 40% of the world’s viewing behavior all over the world. http:// www.agbnielsen.co.kr/index.asp?ref=0

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Chart 2: China: CSM Audience Share Nationwide2 24% 18% S1 S2

12% 6% 0%

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To compare the popularity between the first season and second season of Chinese version of where are you going, dad? This paper selects data about audience share from CSM website. Because China has such a huge population, the exact number of audience rating has a gap with that number of South Korea. So for the China part, the analysis data is about audience share to visually have a similar comparison. In addition, the exact numbers of audience rating or audience share do not matter, but the trends of them are what we need to analyze. This chart shows that the trend of the audience share of the first season (the upper line) is obviously like a going-up line, while the trend of second season (line with round mark) is wavy but not heavily fluctuant. The whole audience share of second season is around the average audience share of the first season. What interesting is that, although the latter half part of the second season is a going-down trend, the last episode is as high as that of the first episode of the second season. In total, the second season has 4 more episodes than the first season.

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Data collected from CSM official website. http://www.csm.com.cn/index.php/SinglePage/index/cid/ 9.html

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Chart 3: Chinese and Korean Season 2 Audience Rating/Share Trend3 Korean Chinese

16% 12% 8% 4% 0%

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9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49

The upper line with round mark is the trend of second season of Chinese version of where are you going, dad? program. The lower line with triangle mark is the trend of that of Korean version. We cannot compare the numbers of audience rating or share, but the trend can be obviously seen. Korean version has a descending tendency, while Chinese version maintains its good result at last. No wonder the third season of Chinese version has got a 500 million advertisement bid already, while there is no news about whether the third season of Korean version will be produced or not.

Localization of Content Settings Using Hofstede's Model of Culture In terms of intercultural communication, South Korea and China have different culture atmosphere, which can be defined with Hofstede’s model of culture. This model includes six dimensions, such as power distance, individualism, masculinity, uncertainty avoidance, long-term orientation and indulgence. In the process of localizing the program into Chinese situation, the producers of Hunan satellite TV changed some content settings. No matter the producers were deliberate or not, their Chinese version of program was a success. So in this part I decide to analyze the

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Data combined from the former two charts.

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differences and things in common between both Korean version and Chinese version of this program according to the Hofstede’s model of culture.

Chart 4: Index Of Hofstede’s Model Of Culture4

• Power Distance Power distance is defined as the extent to which the less powerful members of institutions and organizations within a country expect and accept that power is distributed unequally. China scores 80, which means a very high ranking of PDI. In this kind of society, people can accept the inequalities among them. The superiorsubordinate relationship tends to be polarized and there is no defense against power abuse by the superiors. People should not have aspirations beyond their rank. (the

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This chart dowloaded from the hofstede centre website. http://geert-hofstede.com/china.html

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hofstede centre) While South Korea gains an intermediate score of 60 of PDI. In this slightly hierarchical society, people can accept the hierarchical order among them when everybody has his own position which needs no further justification. (the hofstede centre)

In Chinese program, the house-choosing part is very different with that of Korean version. The process of choosing houses shows high PDI. Among eight trips, participating families had to compete with each other to choose houses for seven times. Generally, each time five houses all have different characteristics and different level of living standards. So dads had to fight for their children to get into the most favorable and comfortable house. But after contests, there was a ranking, so fathers could just follow the ranking to choose their house. Of course, in the remote area, housing conditions cannot be compared with big cities, meanwhile, it is hard to find the five houses of same level. But to the participants, it might cause inequality. Why should I live in the shabby cave without toilet while you live in the big house with air conditioning?

The producers of Chinese program did not try to solve this problem by equipping enough facilities in the lower living standard houses or compensating the unlucky families, but conducted contests between dads to give them a rank in order to make the lower-ranking dad to accept his house choice. Actually, contests are kind of power showing games. In other words, because you did not do well in the contest, you have to accept the situation that you can just live in the most unfavorable house without objection although you may be not satisfied with the results. In addition, all the 17

participating families are star families who enjoy the high status in the real world outside the program. While inside the program, these star dads have to experience the low-power situation, which is entertaining.

In the meanwhile, the Korean version ran differently. Among all 15 trips, when they came across the house choosing problem, they drew lots to decide who live in which number of house. Drawing lots mostly rely on luck. There’s less power showing in this process. Although the unlucky family had to accept the result that they must live in the house they did not like, they would not feel less powerful or frustrated.

However, South Korea is a hierarchical society where everyone has his place. The most common way to judge is comparing age, especially when strangers first meet, they will ask age at the beginning to figure out how to treat each other in manners. If they are at the same age, they will communicate more in a relaxed mood. If they have the age gap, the younger one will have to treat the older one extremely reverent and respectful, while the older one will affect a elder style. But the elder one generally pays bills for young brothers and share good things with them too. Thus, at the first meeting of these six families, fathers and kids told everyone their names and ages first, and then they could find their positions easily according to the manners. When fathers cooked dinner together, sometimes the oldest brother would stand aside and watch others to work and make instructions without doing it himself. Those younger brothers accepted this situation without complaints.

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Even when the program conducted a game to teach the kids to share, all the fathers and kids sit in a line by the age order. Dads set an example for kids that the egg passed from the oldest brother to the youngest brother to show that although they all want to eat, but they know how to share. Whereas the Chinese version of program set a test to figure out whether the chosen kid know how to share something he/she likes to other friends without caring about the age or gender.

• Individualism Individualism is the degree of interdependence a society maintains among its members. It has to do with whether people´s self-image is defined in terms of “I” or “We”.  In Individualist societies people are supposed to look after themselves and their direct family only. In Collectivist societies, people belong to ‘in groups’ take care of them in exchange for loyalty. China scores at 20, which means it is a highly collectivist culture where people act in the interests of the group and not necessarily of themselves. South Korea gets a score of 18, a little lower than China, is considered as a more collectivist society. In this society, people weight much on a close long-term commitment to the member 'group', such as a family, extended family, or extended relationships. Loyalty in a collectivist culture is paramount, and priors to most other societal rules and regulations. The society fosters strong relationships where everyone takes responsibility for fellow members of their group.(the hofsted centre)

In terms of the content settings of the program, both Chinese version and Korean version are family oriented, which means families are the participating units in the

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program while fathers and children are the representatives of their families.

In

Hofstede’s paper about advertising, he introduced that the picture of a family is assumed to be a reflection of collectivism. In collectivistic cultures, the family is part of one’s identity. (De Mooij & Hofstede, 2010, pp.103-104) So inside the programs, kids were often asked if they wanted to be people like their fathers. For example, Yang Yangyang of Chinese program is the son of Yang Wei who was the Olympic Champion of gymnastics. He had been asked if he also wanted to be an Olympic Champion of gymnastics like his father for several times. He nodded his head seriously every time. His identity is the son of that Olympic Champion of gymnastics. Others would take his emulation or good stamina for granted. Identically, Seong Bin, the daughter of the famous actor in Korea Seong Dongil, was talented for acting. Every time she showed her such talent, others around would praise her as “truly the daughter of famous actor”

When it comes to collectivism, cooperation is a must. Generally, in both Chinese and Korean programs, fathers or kids were asked to complete some tasks in groups. The most classic scene must be that dads get together and cooperate with each other to prepare abundant meals for themselves and children. In Korean version of program, dads had prepared dinners together for four times, while in Chinese version of program, there were five times. For the kids, the first task for them is to be divided into groups of at least two people to find cooking materials for their dads to make dinners. Usually, the comparatively more outgoing kid or the elder kid lead the shy or younger kid to ask the nearby residents to give some materials to them.

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To make participants get acquaintance more quickly with each other, the producers of Chinese version of program began the first episode with a heated marshy land soccer contest. Dads and kids were divided into two groups as yellow team and red team. With the same color of team uniform, these fathers and kids all had the same identity. They had to fight for their team’s honor.

Everyone including little kids had to make his effort for the loyalty to their team without considering himself. That’s why in such culture environment, people are encouraged to continue the match even they fell down or get a slight injury.

There’s a related thing in Korean language is that they usually says ‘we’ or ‘our’ instead of ‘I’ or ‘my’ when mentioning a person in spoken language. So from the verbal perspective, Koreans were adapted to the collectivist situation in their daily life. After age ranking, the kids and dads are easily getting along with each other like a family. Thus the first episode of Korean version of program is about different families’ first meeting and getting acquaintance with each other by continuing their daily communication. Whereas Chinese version of program has to conduct several heated activities to make the participants know each other soon.

• Masculinity The degree of masculinity of a society indicates that inside this society what motivates people, wanting to be the best (masculine) or liking what you do

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(feminine).At 66 China is a masculine society –success oriented and driven. The need to ensure success can be exemplified by the fact that many Chinese will sacrifice family and leisure priorities to work. South Korea scores 39 on this dimension and is thus considered a feminine society. In feminine countries the focus is on “working in order to live”, managers strive for consensus, people value equality, solidarity and quality in their working lives. Conflicts are resolved by compromise and negotiation. Incentives such as free time and flexibility are favored. (the hofstede centre)

About this dimension, there’s a big gap between Chinese and Korean culture. China is a absolutely masculine society while South Korea is a considerably feminine society. From the motivations of fathers to participate with their kids in these programs, there are differences can be seen. Until the second season, Korean dads did not show the programs on TV to their kids to make these kids can neglect the existing of cameras around them and be themselves before the lens. They just mentioned the fun of trips and friendships with other kids to their own children. So Korean kids usually did not care the existing cameras around them and acted more naturally. That’s a great example for the feminine idea of living and doing what you like.

On the contrary, although star fathers in Chinese programs also wanted to experience these special trips and enjoy the time with their kids together, sometimes they would reveal the concerns about the shooting cameras and their images on TV. Their kids were also told the existing cameras and these trips were not only the trips but also for reality programs recording. Authenticity aside, these concerns show the fathers’

22

success-driven minds. For instance, Huang Duoduo, the eldest girl in the second season of Chinese version of program, once came across a problem involving conflicts with other kids, directly telling the photographers to stop shooting. Such a little girl has already known about what should be on the TV program and what should not according to keep good image. That’s a typical attitude in masculine culture.

In terms of content setting, Korean version of program has 49 episodes in the second season. Among them, there are 16 trips including all families together. The whole process of this program is like a growing documentary for the participating dads and kids. Apart from the designed trips and activities, there are a lot of contents about their daily lives. Even during the trips, there are many parts of content for kids to learn some skills or experience something new. Few contests are inside the program. Even the designed challenge is for fathers and kids to overcome themselves. The main idea of the program is to enjoy dad-kid time together and experience something new.

However, in the Chinese version of program, there are nearly 20 matches in total. Even house choosing part needs fathers to compete with each other to get their favorable ones. Almost all the activities together inside the program are designed as contests between fathers or kids. It seems like all trips are full of schedule. In masculine culture, nearly everything has to pick the best one from others. With these contests, the program, beyond doubt are more exciting and eye-catching. Audiences

23

inside masculine culture are also used to the contests and rankings, which they also would love to watch.

• Uncertainty Avoidance Uncertainty Avoidance refers to the extent to which the members of a culture feel threatened by ambiguous or unknown situations and have created beliefs and institutions that try to avoid these. At 30 China has a low score on uncertainty avoidance. Truth may be relative though in the immediate social circles there is concern for Truth with a capital T and rules (but not necessarily laws) abound.  None the less, adherence to laws and rules may be flexible to suit the actual situation and pragmatism is a fact of life. The Chinese are comfortable with ambiguity; the Chinese language is full of ambiguous meanings. (the hofsted centre) At 85 South Korea is one of the most uncertainty-avoiding countries in the world. Countries exhibiting high uncertainty avoidance maintain rigid codes of belief and behavior and are intolerant of unorthodox behavior and ideas. In these cultures there is an emotional need for rules.

This dimension shows the biggest difference between Chinese culture and Korean culture. The Chinese are comfortable with ambiguity, and are flexible to suit the rules to the actual situation. Pragmatism is a fact of life. Whereas Koreans have an emotional need for rules. Ambiguity drives them crazy.

At the first glance, we can find that the schedule of Chinese version of program is full while the schedule of Korean version of program is not that full. It seems like Korean 24

fathers had more free time, whereas Chinese fathers were tied up with so many tasks. Actually, it is true. But when we compare the details of the tasks,the results are different. It can be concluded that the most tasks for Korean fathers are set. They just need to follow the rules to complete the tasks. Even playing the dramas, there were scripts written already. On the contrary, Chinese fathers were distributed more tasks that they had much to play themselves. For example, fathers played their own version of The Legend of White Snake for the residents. In the meanwhile, kids found their own partners to roam the runways on the show. Fathers even directed their own micro movies that their kids acted during the program. These tasks involving innovation seems to be attractive in Chinese cultural situation.

• Long term orientation This dimension of culture describes how every society has to maintain some links with its own past while dealing with the challenges of the present and future. However, because of the nature of this reality show, those tasks inside the program need to be completed immediately. So this program shows little about this dimension of culture, and it is hard to analyze the program from this perspective.

• Indulgence One challenge that confronts humanity, now and in the past, is the degree to which little children are socialized. Without socialization we do not become “human”. This dimension is defined as the extent to which people try to control their desires and impulses, based on the way they were raised. Relatively weak control is called “indulgence” and relatively strong control is called “restraint”. Cultures can, therefore,

25

be described as indulgent or restrained. China is a restrained society as can be seen in its low score of 24 in this dimension. With a low score of 29, South Korean society is also shown to be one of restraint. Restrained societies do not put much emphasis on leisure time and control the gratification of their desires. People with this orientation have the perception that their actions are restrained by social norms and feel that indulging themselves is somewhat wrong. (the hofstede centre)

In this dimension, China and South Korea have similar scores. They are both restraint society. As it is known to all, in restraint society, manners do matter. Generally, little kids are driven by born impulses and desires. But education trains them to adapt to social norms and become human. That’s why audience would like to believe that the programs with kids are more authentic than other reality shows.

The program of where are you going, dad? shows mutual communication between fathers and kids and how kids to be socialized through activities with other kids. Both Chinese version of the program and Korean version of the program had conducted tests to teach kids to learn to share things with others. Sharing is the first lesson for kids to learn to overcome their own desires, which is also important in kindergarten education.

In Korea, age ranking may be the universal rule to restrain citizens’ behaviors, which also gives them a feeling of security inside the norms. The younger one must respect and obey the elder one. In the meanwhile, the elder one must look after the younger

26

one, usually pay bills for them. At the fifth episode, Korean fathers sea a good example for kids to share one boiled egg according to the age ranking. They emphasized that although all of them wanted to eat this only egg, they passed it from the eldest brother to the youngest brother for love and caring. This kind of manner to restrain oneself to care for others is an important characteristic of restraint culture. As a result, only the eldest kid understood what fathers indicated and passed the boiled egg to the next kid. The majority of kids still only cared the tasty egg and whether they could eat it or not. Later, in the tenth episode, kids were told to eat a big bowl of ice-cream together without instructions beforehand. But the hidden camera recorded everything happened. Afterwards, kids were asked whether they had shared with other kids or not.

The Chinese version of this program borrowed this part and localized it. In the fourth episode, all children were wearing old-style private school uniforms at the early morning and divided into three groups to have breakfast. Trickily, though each kid had a bowl in front of him/her, only one bowl had food inside. What’s more, the bowl was covered at the beginning. Kids were told to open it until the host left. This game aimed to test whether kids would share his/her food with his/her partner without fathers or host monitoring. The hidden camera also recorded what happened. After this tricky breakfast, fathers and kids got together to have the lesson about sharing in a classroom of the old-style private school. The kids who didn’t share his/her food with partners were criticized by his/her father and taught a lesson.

27

The schedule settings of the program show difference between Chinese version and Korean version, which may also, explains the little difference about the indulgence scores. Chinese fathers had very tight schedule. Even if they had a nap, it was for the preparation or energy regaining for the contests followed. In the meanwhile, Korean fathers had more time to relax. The scene in which kids were playing together and fathers were sleeping separately was often seen.

The Uses and Gratifications Approach to Attract Audiences Uses and gratifications examines the nature of audience involvement and gratification obtained from viewing television, with an emphasis on motives for medium, psychological, and social traits that influence this use, and behaviors or attitudes that develop as a result of the combined influence of motives and traits.(Papacharissi & Mendelson, 2007, p.356) So this part tries to appealing traits that Chinese version of where are you going, dad? utilizes to enhance the popularity among audiences from the perspective of the uses and gratifications approach.

• Web-Based catalyst to publicity Hunan Satellite TV built a website called Mango TV to show its own entertainment shows, TV plays, even some hot movies, comics and music online. The program where are you going, dad? has got its own webpage, including formal shows, video clips and highlights. It is worth mentioning that video clips are categorized by families with eye-catching headlines, which is convenient for their fans to find and watch. Mango TV is not the only media platform to broadcast the formal shows of this program, but it has got the comparative advantages that it has the interesting 28

video clips and highlights of each family. The records show that the program has been played for 601,444,000 times in total. The comments at the bottom of the web page are up to 2944. (MANGO TV)

From 2014, more and more TV programs use social media marketing to raise their own publicity. With these web-based media, TV programs are not one-way communication any more. Active audiences can get involved in TV programs through social media platform to influence the TV programs. This phenomenon is more common in the field of reality TV shows. The report of Weibo TV index in 2014 shows that the correlation between average audience rating of TV program and average mentioned population on Weibo is 0.92, which means a very strong positive relation. The Chinese version of where are you going, dad? ranked first on both average audience rating of TV program and average mentioned population on Weibo. What’s more, the average population of reading related posts is 355 million, which is much higher than other programs. (CSM & Weibo, 2014)

Chart 5: Average Times Of Reading For One Episode5

786993839 times

6884 questions 205 answers

5

Data collected from Report of Weibo TV Index, CSM Media Studies and Weibo, May 13th 2015.

29

Among all the publicity activities on Weibo, Wei Interview is the most influential to promote the popularity of the program. At the episode of 2014/7/18, all fathers waited on the Weibo platform during the whole broadcast period, conducting real-time interaction with audiences. Audiences could watch the broadcasting show meanwhile communicate with these star fathers on second screen through Weibo to get more information about fathers and cute kids. From the chart above we can see that during this Wei Interview, audiences had asked 6884 questions in total. Star fathers selected 205 of them to answer. The average times of reading for this episode exceed much more than other episodes. (CSM & Weibo, 2014) This result also concords with the previous research that audiences with same interests or tastes of the program can converge on the social media and they can fulfill their desires to communicate with their beloved stars, which encourages their enthusiasm to continue watching

and

getting involved in the program. (Doughty et al., 2012)

• Reality TV Motives Some of the appeals of the reality TV can suggest possible motives and traits that influence selection and involvement of audiences with reality TV programs. Examining these motives below can help interpret how the Chinese version of where are you going, dad? utilized the traits to appeal audiences in order to explain its popularity.

30

- Authenticity In Alice Hall’s paper she introduced that four dimensions including cast eccentricity, representativeness, candidness, and producer manipulation can define the perceived authenticity.

In addition, according to the results of her research, perceived

authenticity directly impacts the involvement and enjoyment of audiences. (Hall, 2009)

The cast members of this program include star fathers and their kids. Generally, we assume that kids are not so socialized that they are just themselves in front of the lens of the camera. These celebrities were sent to those remote areas. Facing the unfamiliar challenges, they were just like us to try to figure out the way to deal with them. At that moment, audiences can feel an illusion that they are also ordinary people like us. Just like what Hill insists that audience members engage with reality programs is through the people on the shows. (Hill, 2005) This feature can lead to the enjoyment of engagement. In the meanwhile, the 24-hour shooting cameras were hidden at everywhere, which also shows the candidness and reality.

In terms of manipulation by producers, audiences tend to be more cognitively involved in examining whether this scene is the real or manipulated. If audiences keep being skeptical about the candidness of the behaviors of cast members on the shows, they will have less enjoyment about watching the program. Because no wants to be fooled. An incident related to the manipulation of the second season of this program was a hit at that time. Before the formal show broadcasting, prevue of it was seen as misleading clips of the show. In that episode, two girls came across conflict, but at 31

last, they solved this problem and became reconciled. But in the prevue, the conflict was exaggerated and highlighted. This incident caused many negative comments about two girls. Until the formal show broadcasted, audiences began to know the truth of this whole conflict and reconciling process, then criticized a lot about the media ethics of the program producers. Although this way can attract much more attention, it is not a right way to help the publicity of the program.

- Enjoyment Some characteristics of reality TV can make audiences feel pleasure, especially the uniqueness of this program. Watching such reality TV program is a novelty-seeking activity. The combination of star fathers and their mysterious kids is already an excitement. Usually, in China, kids are raised up by their moms, while dads are always busy working outside, let alone those stars. Can fathers and kids survive at the strange and remote areas without moms? Maybe those fathers even cannot cook a meal for their kids although they look smart and cool. With that expectation and curiosity, audiences would like to choose to watch this program, let alone there are their idols among star fathers.

When several episodes have broadcasted, fathers and kids are gradually adapted to such routine, for instance, they have already known how to compete for a favorable, cook a not bad meal and complete the tasks given, what the program left to maintain the audiences. So the producers carefully chose destinations of trips. Thanks to the vast territory and abundant culture of China, every destination of the trip can be a

32

fresh thing to not only cast members but also audiences. No wonder the places that this program has been to become pop tourists’ destinations.

- Habitual Pass Time The uses and gratifications approach permits the examination of both instrumental and ritualized uses of media, both of which could drive the appeal of reality TV. The motive of habitual pass time is the habitual use of media. In Papacharissi’s research, she uses “Just because it’s there”, “when I have nothing better to do” and “It gives me something to do to occupy my time” these three choices to measure the motive habitual pass time. (Papacharissi & Mendelson, 2007, p. 362)

Reality TV shows aim to entertain audiences. So it is a great way to kill time. Hunan Satellite TV selected the broadcasting time as the golden period of Friday when the most of audiences had time to have fun. The routine of Friday night for the majority people may be watching TV programs together with family members and in the meanwhile holding a second screen device at hand, such as smartphone or iPad, and checking the updates of friends online. So the appearance of this program may just fulfill the needs of audiences to continue their ways of leisure. If the audiences receive lots of information of this program that intrigues them, they will turn the channel to this program. Thus, winning over other programs that have the same broadcasting schedule, this program is destined for success.

- Social Interaction Humans are social animals. So they have the social needs to communicate with others. The previous survey used “I can be with other family or friends”, “It is 33

something to do when friends come over”, “I can talk with other people about what’s on TV” these three dimensions to measure social interaction.

If someone is overwhelmed by information of a particular thing, although he/she originally is not so interested with it, his/her curiosity will be aroused. In terms of this program, if almost all of your friends of family members around you share the interesting points of the program or the pictures of cute star kids to you, you must will at least ask some basic questions about this program to continue the conversations, even if you are not so interested with this kind of things. Or in a small party, everyone else suddenly talked about things related with this program, but you know nothing about what they are talking about, you may feel lonely and awkward at the moment and hurry to update your ‘database’ after back home to have shared topics with friends. That’s why word-of-mouth is always a useful way to publicity. The program here is a tool for people to follow the trend and communicate with others for more topics.

- Voyeurism In considering the voyeurism hypothesis, we note that in the strict sense voyeurism involves watching an unknowing victim for sexual gratification. (Posner & Silbaugh, 1996) As such, voyeurism is a sexual pathology worthy of medical treatment or a sexual crime warranting punishment. However, in its colloquial usage, voyeurism, or secretly peeking in on others for personal enjoyment, is considered more a harmless yet guilty pleasure. (Nabi et al., 2003, p.312)

34

Applied to the context of reality TV, the voyeurism here has a broader definition, which is more like curiosity about those mysterious and private things. As celebrity oriented program, it knows how to arouse the curiosity about stars to attract audience. For example, what are those star fathers like in their normal life, the same images as in the movies or TV plays? When they come across challenges such as using given materials to cook a meal in remote area, will they behave just like the ordinary people around us? What do those mysterious star kids look like? How do fathers communicate with their kids in private? With the questions being gradually answered, audiences’ curiosity can be satisfied during the time of show watching. The 24 hourshooting cameras hidden at everywhere are just the facilities to satisfy audiences’ such voyeurism wants, peeking without being caught. As a result of the partition of the screen, the cast members are being watched while audiences can sit on the sofa and enjoy this ‘superior position’ and the pleasure of voyeurism.

35

5. Conclusions With the help of Korean Wave, Korean made cultural products can be easily understood and popularized. However, as a result of the differences in culture, Korean programs must be localized into Chinese cultural context to be better broadcasted in China. Among all the glocalized reality TV programs in China, the Chinese version of where are you going, dad? is the most successful one.

This paper analyzes its localization of content settings from the intercultural context. From perspective of Hofstede’s model of culture, these two countries have similar scores in individualism, long term orientation and indulgence these three dimensions and big gaps in power distance, masculinity and uncertainty avoidance these three dimensions. So the mixture of these dimensions of culture is interesting. They are seemingly identical, but truly different. For instance, both Koreans and Chinese treasure group honor, during a game, Koreans may care more about cooperation and enjoy the process while Chinese may weigh much on competence results. Another example is that they both respect authorities, but Koreans may strictly obey to the rules no matter how difficult or unreasonable, whereas Chinese can adapt to the specific situation and deal with it flexibly.

When it comes to the content settings of the program, Chinese version uses many contests during the game to catch the eyeballs, even in the house choosing part, which shows its high PDI and masculinity, while Korean version pays more attention to the experiencing of life, showing its feminine culture and comparatively lower PDI. But

36

both of these two versions are family-oriented. Family is the identity. If Chinese version completely copy the content settings from the Korean version, Chinese audiences’ interests may not be aroused.

Apart from localizing the content settings of this program into Chinese culture, the program also utilized the appeals of reality TV shows to audiences to raise its publicity. According to the previous research findings, watching reality TV shows can satisfy the gratifications of audiences from the aspects as authenticity, enjoyment, habitual pass time, social interaction and voyeurism etc. From the analysis, this paper also finds the characteristics of Chinese version of where are you going, dad? concords with the findings before.

On the basis of providing the pleasure and meeting the needs of audiences to attract them to continue watching, the program also uses the second screen networking online to maximize the effects of publicity. Taking social media platform into consideration as important part of promoting plans becomes a must in this Web 3.0 era. In addition to the high audience rating, this program also won over other programs for the top numbers of reading and engaging population on Weibo.

Entertainment programs on TV are quite prevailing. Among them, reality shows are crowned. Due to the success of this program, it becomes a model that causes so many imitations from other TV stations in China, such as Dad Is Back, The First Time In My Life and so on. As a result of market mechanism, programs of the same kind flood

37

the market, but the most of them are of low quality, which is not a good thing to both producer and audience.

As it is known to all, this is an era of amusing ourselves to death. A well packed episode of reality show can even be a movie broadcasted in the movie theater with a high box office. Half of the reality shows in China are bought from South Korea. Even CCTV decided to cooperate with MBC for Chinese version of Infinite Challenge. (Tengxun) With the attitude that buying Korean copyright may not win but will not lose either, Chinese almost clear the Korean market of entertainment shows. Will it be the life-saving straw to the Chinese TV programs development? Is localizing foreign TV programs beneficial to inspire the innovation and development of local programs? Or will it arouse the vicious competition between local TV stations that slow down the improvement? These questions are remained to be discussed in the future.

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Appendix A  

 

 

 

播出日期 20140620

集數 1

20140627

2

20140704

3

20140711

4

20140718

5

20140725

6

20140801

7

20140808

8

20140815

9

地點 1 重慶武隆

2 浙江建德

3 湖南 懷化苗家寨

4 四川都江 堰

5 內蒙古 呼倫貝爾

 

內容 #選房子#爸爸頂碗 比賽 五個家庭分成兩隊泥地足球比賽 每個家庭各自做晚餐休息 #搶早飯#爸爸抱著孩子賽跑 #任務#孩子們去集市給爸爸買衣服 #食材#蜂房取食,自製防護服 #幫助當地人#爸爸們抬石塊,孩子們找 #合作#晚餐 #選房子#爸爸全村找女搭檔演電視劇片段 #任務#貝兒姐姐找姚明摘枇杷;其他孩子找食 材 爸爸們和姚明分兩隊籃球比賽 #合作#晚餐 #比賽#爸爸們鐵人四項賽 #表演#爸爸們一起演出白娘子傳奇;寶貝們時 裝走秀 #學分享##小測驗# #任務#分組雞窩取蛋,煮雞蛋 爸爸各自做菜,請鄉親們吃午飯 與小豬對話,穿民族服裝 攔路酒、龍頭宴 爸爸們打糍粑、壓榨油 孩子們 摘楊梅 孩子們去集市為房東買禮物 #比賽#懷舊運動會 孩子們為爸爸洗腳 直升飛機體驗原始森林;尋找空投食物 #合作#爸爸做午餐 #任務#孩子們去森林裡找小動物 #比賽#小朋友們牽小狗賽跑 孩子們投票一個爸爸帶領孩子們單獨住叢林樹 屋 #選房子#帳篷 爸爸們比賽誰不眨眼時間長 #測驗#黃磊扮成野人與小朋友交流 #合作#晚餐 媽媽團來做驚喜午餐 萌娃記者會答問題 各個家庭分頭在集市兼職賺午餐錢 #選房子#爸爸射箭比賽 蒙古族篝火晚會,當地人表演呼麥

42

Appendix A  

 

 

 

20140822

10

20140829

11

20140905

12

20140912

13

6 甘肅白銀

7 臺灣花蓮

體驗 擠牛奶 第一季孩子來一起玩遊戲,分組抓 #合作#晚餐 爸爸們和導演組,孩子們和當地孩子摔跤#比賽 # 爸爸和孩子的真心話考驗 爸爸和孩子一起的滑草比賽 張亮和黃磊廚藝比拼 #選房子#爸爸們駕駛驢車搶心儀房子 #比賽#劃羊皮筏子比賽加爸爸問答,贏了的兩 人可以不用做晚飯還可點菜 #任務#孩子們去村裡找嬰兒照顧 孩子們山洞穿越尋寶藏 孩子們給爸爸烤玉米做午飯 爸爸們蒙眼睛吃西瓜比賽 分兩組拍戲:爸爸們被要求拍攝微電影,通過 拔河比賽搶戲服。 第一天在臺北聚餐 黃磊⇒誠品書店:共同完成一件玻璃品 陸毅⇒花博公園-行動夢想館:尋找夢想三種職 業 楊威⇒寧夏夜市:品嘗美食和五個店老闆合影

20140919

14

20140926

15

 

8 紐西蘭

吳鎮宇⇒上引水產:抓各類水中生物並品嘗海 鮮大餐 溯溪:渡河和跳水(從三米高懸崖全部都跳水 #選房子#: 利用五官肌肉把餅乾運到嘴巴吃 掉。 找食材 :分組到村子照著卡片裡頭找食材。 第三天嘉賓爸爸 1-林志穎和 kimi 歸隊 指定的任務拿去市場賣出錢買中飯;采檳郎, 鳳梨 海上取鮮 :爸爸們需要划船到水池,每個人需 要拿到『一魚二蟹三蝦』那位最快回來【懲 罰】輸了後三名的就要臉衝著,最大海浪沖做 十個俯臥撐 燒烤演唱會 太平洋觀看海豚 小小乘務員:為旅客們提拱飲料 順風車:以截順風車方法,到達已分配好的當 地主人工的家借宿 悠皮球:房東和黃磊,第一場是誰滾比較快 《勝利黃磊》,第二場小孩需要換上超人的衣 服《勝利房東》 43

Appendix A  

 

 

 

20141003

 

16

抓鰻魚:曹格和陸毅,抓到的烤鰻魚 騎單車:揚威、吳鎮宇和村長,挑戰高難度的 單車技巧 買食材(小孩們):晚餐製作中國料理,去超 市以五十塊紐幣以內買兩家庭足夠的食材。 參觀毛利族 國際蘿蔔蹲大賽:和毛利人一起蘿蔔蹲 火山溫泉任務:爸爸找泥溫泉中的魔戒 火山火鍋 爸爸們;孩子們橄欖球比賽 媽媽團驚喜到來;溫馨回顧

44

 

Appendix B  

Summary  of  Korean  Version   時間 集數 地點 內容 20140126 1 ⾸首爾市 新朋友們兩⼈人⼀一組玩耍熟悉 20140202 2 1 忠清北道 各家庭⾃自⾏行達到,互相做⾃自我介紹, 乘船在冰 ⾧長嶺穀村 湖上⾏行駛到⾧長嶺古村 #選房⼦子#:抽籤決定 ⼩小朋友⼀一起⽤用雞蛋去換晚飯#⾷食材#,爸爸#合 作#做飯 20140209 3 1 忠清北道 詳細地孩⼦子們物物交換,爸爸們做晚 ⾧長嶺穀村 飯,各家睡前時間 第⼆二天早上,爸爸為各⾃自孩⼦子⽤用提供好 的⾷食材做媽媽吩咐的早餐 20140216 4 1 忠清北道 爸爸各⾃自教⾃自⼰己的孩⼦子唱歌,和爸爸⼀一起去泡 ⾧長嶺穀村 湯 2 慶尚北道 兩個家庭⼀一組,驅⾞車去⺫⽬目的地,分別尋找安東 天主村 甜味,辣味和燙味 #選房⼦子#:抽籤決定 20140223 5 2 慶尚北道 爸爸#合作#做晚飯,孩⼦子們幫忙攪拌雞蛋 天主村 爸爸年齡排序,給孩⼦子們做⽰示範,⽤用⼀一個雞蛋 來給孩⼦子們⽰示範謙讓#學禮儀# 最⼤大的孩⼦子早起叫醒其他孩⼦子,爸爸不管

20140302 6

3 忠清南道 熊島村

20140309 7

20140330 10

3 忠清南道 熊島村 4 ⾸首爾市 京畿道 壯 壯 camp 4 ⾸首爾市 京畿道 壯 壯 camp 5 家族野營

20140406 11

5 家族野營

20140316 8

20140323 9

孩⼦子們分組去幫爸爸借蓑⾐衣 和爸爸⼀一起在沼澤采⽣生牡蠣,午餐是⾃自製牡蠣 麵條 成冬⽇日裝扮成學校⽼老師,孩⼦子們分組去送便 當,說假裝有拉麵,乖孩⼦子才能看到,看孩⼦子 們是否識破空氣拉麵騙局,還有⿈黃⾦金雞蛋騙局 #⼩小測試# 問每個孩⼦子對爸爸的期待等問題#⽗父⼦子關係# 睡前親⼦子 時間 和爸爸⼀一起去醫院體檢 和奧運速滑選⼿手學溜冰#學技能# 和宋鐘國#學⾜足球#分組⽐比賽

⽤用霜淇淋測試孩⼦子們是否學會謙讓#學禮儀## ⼩小測試# #學種植#⾃自家宅地 遊樂園

45  

 

 

Appendix B  

20140413 12 20140427 20140504 13

6 浦項 蔚 珍 回顧 6 浦項 蔚 珍

20140511 14

7 江原道 旌善⼤大村

20140518 15

7 江原道

20140525 16

8 慶州 expo 公園 8 慶州 expo 公園

20140601 17

20140608 18 20140615 19 20140622 20 20140629 21

20140706 22

20140713 23

20140720 24

20140727 25

和爸爸⼀一起撈海鮮

五個家庭 各⾃自在規定時間內完成挑戰任務,沒 法完成的爸爸要去早起捕撈⼤大螃蟹 每個家庭在早市上賣螃蟹 和新加⼊入的家庭⾒見⾯面 厚和世允單獨去買晚飯#⾷食材# #選房⼦子#:投票選擇住帳篷的家庭 爸爸們#合作#做晚飯 飯後各⾃自回家爸爸教⼩小朋友運動 爸爸聚餐 孩⼦子們兩⼈人⼀一組單獨坐地鐵到⺫⽬目的地

爸爸#料理對決# 爸爸劇場,講歷史故事 孩⼦子背誦寶物圖鑒挑戰 9 最低價海 爸爸擬定⺫⽬目的地,提交報價,最低價的 外旅⾏行 四組成⾏行 9 最低價海 上海和⽇日本組 外旅⾏行 9 最低價海 ⾹香港組 外旅⾏行 9 最低價海 荒島求⽣生組 外旅⾏行 全家去巴 ⾦金成柱,尹民秀,安貞煥⼀一家 ⻄西探望爸 爸特輯 全家去巴 媽媽們為爸爸們準備韓國料理 ⻄西探望爸 爸特輯 10 忠清南 #學插秧# 道 洪城⽂文 孩⼦子們分成兩組,去市場找⽶米⾹香⼤大叔,⽤用備好 堂村 的⽶米做點⼼心 爸爸們#合作#製作⽶米粉炸雞等晚飯,兩個家庭 ⼀一組⼀一起吃晚餐 10 忠清南 孩⼦子們在泥沼中幫⼩小鴨⼦子們下班 道 洪城⽂文 睡前換爸爸談⼼心時間 堂村 ⼤大齡孩⼦子們兩⼈人⼀一組,找⾷食材看料理書為爸爸 做料理餐 民律和利煥去放⽺羊 11 忠清北 暑期特輯 和第⼀一季孩⼦子俊秀⼀一起暑假野營 道 丹陽 46  

 

 

Appendix B  

為拉近關係,同歲朋友先⼀一起去游泳樂園 爸爸和孩⼦子們⼀一起做遊戲,分兩⼤大組⽐比賽

20140803 26

11 忠清北 道 丹陽

20140810 27

暑假特輯今年夏天 最想做的 事 12 全羅北 道 鎮安郡 夜曲村 13 帶上⽼老 么的旅⾏行 平昌跳臺 滑雪 和家⼈人特 別的旅⾏行 特輯

10140817 28

20140824 29

20140831 30

20140907 31 20140914 32 20140928 33

20141005 34

特別的朋 友-朋友 特輯

20141012 35 20141019 36

20141026 20141102 20141109 20141116

37 38 39 40

20141123 41

國際家族 特輯 製造特別 的⼀一天 家族運動 會

俊秀和世允幫⼤大家買冷飲 其他孩⼦子去⼤大⾃自然 探訪植物 暑期特輯: 爸爸⼀一組 孩⼦子⼀一組 吃晚飯 爸爸們根據⾓角⾊色教孩⼦子們扮演歷史戲⾓角⾊色,孩 ⼦子們演出歷史舞臺劇 孩⼦子們單獨⼀一起睡 爸爸早起去抓⿂魚做早飯 世允和爸爸還有姐妹們⼀一起去打疫苗 利煥和⼥女朋友約會 尹厚和民律去學籃球 燦亨和爸爸單獨去爬⼭山 孩⼦子們#學摘⻄西⽠瓜# ⽤用⻄西⽠瓜開迷你⾞車⼀一⽇日咖啡店,爸爸製作, 孩⼦子 端盤 ⽼老么準備表演節⺫⽬目,⼀一起游泳 #學跳臺滑 雪# 鄭雄仁⼀一家為三個⼥女兒定制韓服 世允:拜訪外 公外婆 尹侯:和奶奶出遊 燦亨:拜訪⽼老家 民律:拜訪奶奶 利煥:和爸爸如家⼈人般的朋友去旅⾏行 成彬:與姑姑拜訪爸爸⼩小時候住的地⽅方 和世界盃英雄們回顧 利煥 民律 分組向⼤大家介紹⾃自⼰己的朋友 分組去雞籠取雞蛋 ⼥女兒組 party 換夥伴分組吃便當 各組⼩小夥伴與爸爸⼀一起合⼒力練習各⾃自挑戰任 務,再聚在⼀一起表演 六個家庭分三組與外國家庭⼀一起旅⾏行,分別去 農村、漁村和都市體驗 利煥家兼職擦⾞車,燦亨家教弟弟騎⾞車,世允⼀一 家出海玩 和爸爸還有夥伴⼀一起分兩隊⽐比賽

47  

 

 

Appendix B  

20141130 42 20141207 43

14 忠清北 道 禍基村

20141214 20141221 20141228 20150104

最低價海 外背包旅 ⾏行⼆二

44 45 46 47

20150111 48

20150118 49  

15 最後⼀一 次旅⾏行 江原道 ⼤大 村村

抽籤#選房⼦子# 家⼈人來團聚,每個媽媽⾃自備⾷食材做晚飯,各個 家庭表演節⺫⽬目 成東⽇日、成彬:⽇日本 ⾦金成柱、⾦金民律:台灣 安貞煥、安利煥、尹敏洙、尹侯:加拿⼤大 柳鎮、林燦亨、鄭雄仁、鄭世允:菲律賓 住帳篷:翻雜誌看是否有⼈人#選房⼦子# 爸爸們變裝,來問孩⼦子們問題 回流!學習中國的第⼀一季 連⾓角⾊色都差不多 節⺫⽬目組給每個爸爸單獨的回顧禮物

48