Entertainment television shows in China have experienced profound change over the last 30 years. From the beginning of the 1990s to the present, China’s entertainment shows have experienced different stages of development, such as Hong Kong-Taiwan influenced, Europe influenced and Korea influenced. Note the lack of anything homemade.
在过去的30年里，中国的娱乐电视节目经历了深刻的变化。 从20世纪90年代初到现在，中国的娱乐节目经历了不同的发展阶段，如受港台影响、受欧洲影响和受韩国影响。 注意缺少任何自制的东西。
In 1990, the “Zhengda” (正大综艺) TV show was not only a pioneering work in introducing the Hong Kong-Taiwan TV show mode to the mainland, but was also the first such program in China, since television began in 1958. More and more of these Hongkong-style TV shows started popping up, programmes such as “Happy Camp” (快乐大本营), made by Hunan TV, which became a cultural symbol of the era. Even today, Happy Camp is one of the nation’s favourite shows, with no less than 10 million viewers.
1990年，“正大综艺”电视节目不仅是将港台电视节目模式引入大陆的开创性作品，也是自1958年电视开始以来中国第一个此类节目。 越来越多的这些香港式电视节目开始出现，如湖南电视台制作的“快乐大本营”等节目，成为那个时代的文化象征。 即使在今天，《快乐营》也是全国最受欢迎的节目之一，观众人数不少于1000万。
The second stage, featuring the European style model, brought in quiz shows, such as CCTV’s “Lucky 52” (幸运52) and “Happy Dictionary” (开心辞典), or talent shows such as “Super Girl” (超级女声) and “Voice of China” (中国好声音), which still have far-reaching influences today. Indeed, the appearance of Super Girl was a significant milestone for China’s television industry, as it was the first time that the audience could take part in the programme by sending messages to support the participants they liked, feeling like they can influence destiny.
第二阶段以欧洲风格的模式为特色，带来了问答节目，如中央电视台的“幸运52”和“开心辞典”，或“超级女声”和“中国好声音”等才艺节目，这些节目至今仍然具有深远的影响。 事实上，《超级女孩》的出现是中国电视行业的一个重要里程碑，因为这是观众第一次可以通过发送信息来支持他们喜欢的参与者来参与节目，感觉他们可以影响命运。
Despite being tremendously popular, very few people were aware that China had actually copied the ideas for such programming from other countries. That is, until the prevalence of Korean reality shows, including “Running Man” (跑男) and “Where Are We Going, Dad?” (爸爸去哪儿?). Possibly on account that Asian countries share similar values and cultures, these Korean shows are more appealing to Chinese audiences. In the past few years, such shows have had a near monopolistic position in China’s entertainment television sector, which caused massive arguments online, with the shows criticised as having “no creativity”.
尽管非常受欢迎，但很少有人知道中国实际上从其他国家复制了此类节目的想法。 也就是说，直到韩国真人秀节目盛行，包括《跑男》和《我们要去哪里，爸爸？》 （爸爸去哪儿？）。 可能因为亚洲国家有着相似的价值观和文化，这些韩国节目对中国观众更具吸引力。 在过去的几年里，此类节目在中国娱乐电视领域几乎处于垄断地位，这在网上引起了大量争论，这些节目被批评为“没有创造力”。
At the same time, China has been trying to figure out a new model, one of its own making, resulting in a fourth type of entertainment TV and the upsurge in shows such as “Reader” (朗读者) and “National Treasure” (国家宝藏). That these are regarded as a breakthrough in the whole industry, since they promote traditional Chinese culture, says a lot about the standard of that which has gone before.
与此同时，中国一直在努力找出一种自己制造的新模式，产生了第四种娱乐电视，以及《朗读者》和《国家宝藏》等节目的激增。 这些被视为整个行业的突破，因为它们促进了中国传统文化，这说明了很多以前的标准。
Even so, given the average level of development in China’s cultural and entertainment industry, there remains a lack in much of the necessary and professional talent; screenwriters, spectroscopists, editors, etc.
即便如此，鉴于中国文化和娱乐业的平均发展水平，仍然缺乏许多必要的专业人才；编剧、光谱师、编辑等。
Largely as a result, many so-called “China Original” TV shows still imitate TV in Europe, especially Britain, to varying degrees. There is still a long way to go until we see truly original Chinese entertainment TV shows, especially any of the sort that lack an extreme nationalistic theme.
在很大程度上，许多所谓的“中国原创”电视节目仍然在不同程度上模仿欧洲，特别是英国的电视。 直到我们看到真正原创的中国娱乐电视节目，特别是任何缺乏极端民族主义主题的电视节目，还有很长的路要走。
