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One of China’s Longest-Running and Most Popular Talkshows Suddenly Cancelled

The popular Chinese talk show “Behind the Headlines,” broadcasted since 1998, has been suddenly terminated.

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The popular Chinese talk show “Behind the Headlines” (锵锵三人行), that was broadcasted by Phoenix TV since 1998, has been suddenly terminated. The name of the show itself has become a ‘sensitive’ and censored term on Weibo since September 12.

One of China’s most successful and long-lasting talk shows has suddenly been canceled after nearly 20 years.

Without further official statements, the TV show announced its termination on its Weibo channel on September 12:

Because the company’s programs have been adjusted, we will stop broadcasting. Thank you for the many years. Hope to meet again.

The announcement was soon shared over 31,000 times on Weibo.

“Behind the Headlines” (锵锵三人行) is a talk show by Phoenix TV (FengHuang) that is hosted by presenter Dou Wentao. The program has broadcasted every week day since 1998, inviting two guests on every episode.

The program is characterized by its unpretentious language and discussions, featuring easygoing discussions over the headlines and hot topics of the day/week. According to Phoenix TV, the show is meant to be “thought-provoking, interesting and relevant to our daily lives.”

Fans of the show mostly appreciated this open dialogue and the fact that guests often tend to disagree – triggering some lively discussions about topics that were sometimes somewhat politically sensitive.

In the past, the show also hosted guests from Hong Kong with a critical stance towards Chinese politics.

After the show’s cancellation was announced on Weibo, its title was marked as a ‘sensitive term.’ Searches for the show’s name were prohibited on Sina Weibo, just showing the phrase: “Relating to existing laws and policies, these search results cannot display.”

As reported by Sina News, the State Administration of Press, Publication, Radio, Film and Television (SAPPRFT) already issued a notice in June of this year to shut down the online video services of Phoenix TV and other media outlets for not complying with state stipulations on audiovisual content and for promoting negative views and comments on society through their program.

At the time, Phoenix TV openly stated they “humbly accepted [this] criticism” and promised to alter their show’s content to meet existing guidelines. Nevertheless, the show’s cancellation comes within three months after this announcement.

 

“A sudden goodbye, but I will cherish the memory forever.”

 

On Weibo, many netizens are disgruntled with the cancellation. “There are so many shows I cannot listen to anymore, so many shows I cannot watch anymore, and now I even need to register on Weibo with my real name!”, one person said.

“I will have to get used to the days without this show airing,” another netizen commented on Weibo: “What a shame, nothing will be able to replace it. A sudden goodbye, but I will cherish the memory forever.”

“This just makes me want to cry,” others said.

One Weibo commenter posted a long goodbye letter to the show, saying that its 5000 + episodes over these past 19 years have been especially important to those born in post-1970s and post-1980s China.

One netizen had another way to look at the news: “That a Chinese talk show has been able to survive for 19 years – that’s a miracle in itself,” they wrote.

Older episodes of the show can still be viewed on the ‘Behind the Headlines’ Youtube channel.

By Manya Koetse and Diandian Guo


Spotted a mistake or want to add something? Please let us know in comments below or email us.

©2017 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

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China Music

China’s ‘Masculinity Crisis’: The Internet Slang That Stereotypes Chinese Men

How a Chinese boyband triggered social media discussions on what it means to be ‘masculine’.

Gabi Verberg

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The F4 boy band via https://gnn.gamer.com.tw/3/165263.html

This month, a well-known Chinese educational program for children that featured a ‘feminine-looking’ boyband ignited discussions on masculinity in China. What’s on Weibo provides an overview of Chinese media’s stance on the recent discussion, and an introduction to five popular social media slang terms stereotyping Chinese men.
 
At the beginning of this month, a discussion about the meaning of ‘masculinity’ sparked discussions on Chinese social media. Discussions started when Chinese state broadcaster CCTV aired Back to School: The First Class (开学第一课).

The programme is an annual educational television program by CCTV and the Ministry of Education, dedicated to the celebration of the new school year. The show, that had one of the highest viewers ratings since years, opened with a performance of the boy band New F4 (新F4).

The boy band New F4 consists of Guan Hong (官鸿), Dylan (王鹤棣), Wu Xize (吴希泽), and Liang Jingkang (梁靖康). In China, the four young men are known to be ‘feminine-looking’ or so-called ‘sissies’ (娘炮男), meaning they pay much attention to their clothing, hair, and make-up.

Guan Hong (官鸿), one of the New F4 members (via Weibo).

Since the airing of the ‘Back to School’ programme, many parents questioned the suitability of the performance of New F4, calling for some more ‘masculinity’ (“阳刚之气”) on social media. They criticized the program for being “too entertaining” and having “not enough educational value.”

 

SISSY BOYS? CHINESE MEDIA RESPOND

 

A few days after the controversial show broadcasted, state media outlet Xinhua News published a commentary calling the New F4 ‘sissies’ (娘炮). Xinhua stated:

(..) “these sissies promote an unhealthy and unnatural culture which has a not-to-underestimate negative impact on the youth. The sissy culture, driven by consumption, challenges the public order and worships a decadent lifestyle.

Within a few hours after Xinhua News published the article, a column published on the platform of Party newspaper People’s Daily (author @百家号) responded with an article titled ‘People’s Daily Review: What Should Today’s ‘Masculine Traits’ be?’ (人民日报评论:什么是今天该有的“男性气质”) questioning the definition and purpose of masculinity in modern society.

People’s Daily Review column’s author stated that:

” (..) modern society broadened the perception of aesthetics, and in a mature society, people should be tolerant towards other people and no longer [should] evaluate a person based on its gender characteristics only.”

Later in the article, the author proposes a new construction of masculinity; one that has not much to do with one’s appearance but more with one’s inner qualities. It also criticizes the use of derogatory terms such as ‘sissy’ for failing to “respect individual choices.”

This is not the first time that a voice featured on a People’s Daily platform supports so-called feminine-looking men. On the 13th of August this year, the People’s Daily Overseas Edition also published an editorial article, calling for tolerance towards this new lifestyle.

 

DISCUSSIONS ON WEIBO

 

On Chinese social media, there are also many netizens who see no threat in the rising popularity of the androgyne looking men. A typical comment said:

“What is a good man? A good man’s most essential qualities are to have an idea and be responsible, be brave and kind. These are the things that are important. Only looking at somebody’s appearance is too simplistic.”

Other Weibo users responded: “Determining whether a man is effeminate or not has nothing to do with his appearance. It can be found his sense of responsibility.”

Also, the hashtag “I’ve deleted the names of people who call feminine-looking men names” (#骂娘炮的人已经被我拉黑了#), initiated by the Chinese edition of News China, has since gone viral on Chinese social media.

But the supposed ‘disappearance of masculinity’ also led many to worry about an alleged ‘masculinity crisis.’

One Weibo user wrote a typical comment saying: “Men should stand up and be more masculine!”, with many more praising Xinhua for sending out a strong and clear message, warning society for the rise of ‘sissy-culture’.

 

5 TERMS STEROTYPING CHINESE MEN

 

This is not the first time that there is talk of a supposed ‘crisis of masculinity’. Throughout the years, various terms have popped up on Chinese social media defining certain types of men and their traits. These are five popular examples:

 

1. Sissy boy (娘炮男, pinyin: niángpàonán)

 

One of China’s most popular singer and actor Kris (吴亦凡), source: http://www.iqiyi.com/paopao/u/1456302336/

Derogatory term for androgyne men whose personality and appearance is quite feminine. They often like to put much care into their appearance, including wearing makeup, and a love for shopping. On social media, many claim the reason for this alleged ‘soft behavior’ is said to be nurtured by the overprotection of children and the lack of gender awareness in upbringing.

 

2. The Chauvinist(男子汉,pinyin: nánzǐhàn; or ‘Straight Man Cancer’ 直男癌 zhínán’ái)

 

Source:http://www.sohu.com/a/21281898_117436

Refers to men who live in their own world, with their own values and who tend to reveal their dissatisfaction towards other people. The general view is that these ‘Chauvinist men’ are self-righteous and indifferent to women’s values. Their way of getting acquainted with a woman is often through buying her gifts and spending a lot of money.

 

3. Phoenix man (凤凰男,pinyin: fènghuángnán)

 

Source: https://jingyan.baidu.com/article/9c69d48f93291d13c9024e3f.html?st=5&os=1&bd_page_type=1&net_type=1

‘Phoenix male’ refers to those men who came from poor rural areas and who have been admitted to college after hard work and dwelling in the city to work after graduation. Although they have left the countryside, they still hold on to many rural and traditional concepts and ideas.

 

4. Wretched or Vulgar Man (猥琐男,pinyin: wěisuǒnán), also often referred to as loser (男屌丝,pinyin: nándiǎosī)

 

Source:http://bbs.tianya.cn/picall-funinfo-7299549.shtml#p=262732538

The terms ‘vulgar man’, ‘loser’ or ‘pervert’ are given to a person making other people feel uneasy and uncomfortable. These men are said to be shameless and show an abnormal and inferior behavior caused by long-term sexual repression.

 

5. Mommy’s Boy (妈宝男,pinyin: mābǎonán)

 

Source: http://m.sohu.com/n/411935946/

The ‘mommy’s boy’ label refers to men who listen to everything their mother says. Whatever it is that their mother says, they regard it as the truth, and they live by the decisions their mother takes – including what job to take on, who to marry, and where to live.

 

For now, discussions on what a ‘real man’ is seem to be continuing on Chinese social media. In the meanwhile, the Weibo page of the ‘feminine-looking boyband’ New F4 already received 110 million views- a number that just keeps on growing.

Link to the New F4 performance on the CCTV program Back to School: The first class (开学第一课): here.

By Gabi Verberg

Spotted a mistake or want to add something? Please let us know in comments below or email us.

©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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China Arts & Entertainment

An Overview of Chinese Nominations at Busan Film Festival (Part I)  

These are the Chinese films that have been nominated for the Busan Film Festival.

Gabi Verberg

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From Chinese dissident filmmakers to government-funded films, you can find it all at Busan, Asia’s biggest film festival. In the weeks leading up to the event, What’s on Weibo’s Gabi Verberg provides an overview of the Chinese nominees. This week: part I.

On the 4th of October, the 23th Busan International Film Festival in South Korea will roll out its red carpet to open this year’s film festival season in Asia. With the screening of 323 films from 79 countries, it is one of Asia’s biggest international film festivals, with China as one of the main suppliers of films.

Popular sections of the festival include:

– ‘A Window on Asian Cinema’, which showcases new and representative films by Asian filmmakers;
– ‘New Current’, which features the first or the second work by future directors of Asian cinema; and
– ‘Wide Angle‘, an assembly of documentaries, short films, Cinekid, and showcases.
It is these three sections in which most Chinese directors received their nominations.

In the upcoming weeks, we will provide you with more in-depth information on the Chinese films nominated for the festival. Please note that most of these films have not been officially released yet, so it might take some time before the (subtitled) films are available for all audiences.

This week, we will introduce to you to the first five of the Chinese nominees.

 

1. Savages (Xuěbào 雪暴)

China Mainland
Genre: Drama, Action, Crime, Suspense
Selected in the category: New Currents
Director: Siwei Cui (崔斯韦)
Weibo hashtag: #雪暴# (240.000+ views)
Premiere: October 2018, Busan International Film Festival

Starring: Chen Chang (张震), Nini (倪妮), Fan Liao (廖凡), Jue Huang (黄觉), Hua Liu (刘桦), Guangjie Li (李光洁), Taili Wang (王太利), Xiaojun Yue (岳小军), Yicong Zhang (张弈聪)

About the Director:

Siwei Cui is best known for his successes as a screenwriter. In 2009, he got nominated for best screenplay at the Chinese Film Media Awards, and for best script at the Taipei Golden Horse Film Festival for his work Crazy Racer (疯狂的赛车). Other works he wrote include The Island ( 一出好戏), which is selected in the A Window on Asian Cinema section at this year’s Busan Film Festival, and No Man’s Land (无人区). Siwei Cui once before directed a film in 2013 in cooperation with Zusong Lü (吕祖松) named Piano Trojan (钢琴木马). Savages will be his second work as a director.

Storyline:

Set against the backdrop of a desolate mountain village in the midst of a snow storm, a confrontation between the police and a criminal gang goes down.

Why you should watch it:

It is interesting to see how a relatively unexperienced director assembled so many well-known actors, including Nini (20 million followers on Weibo), Guangjie Li (5.51 million followers on Weibo), Jue Huang (3.73 million followers on Weibo) and Chen Chang (1.69 million followers on Weibo).

 

2. Vanishing Days (Mànyóu 漫游)

China Mainland
Genre: Drama
Selected in the category: New Currents
Director: Xin Zhu (祝新)
Premiere: October 2018, Busan International Film Festival

Main Characters: Yan Jiang (姜郦), Jing Huang (黄菁), Yan Chen (陈燕), Xiaoxing Li (李小杏), Haiqing Luo (骆海清), Jiehe Lu (卢嘉禾), Jiajun Zhao (赵家俊)

About the Director:

The young director Xin Zhu was born in 1996 and recently graduated from the Film and Television Department of the China Academy of Art. His first short film Community (午山社区) was nominated for an Exploration Award at the Amphibia Youth Film Festival (双栖青年影展). Other works of Xin Zhu are the short films A Folk Song (山野之歌) and Homesick (嘉年华). Vanishing Days is Xin Zhu’s first feature film.

Storyline:

The film is set in a crazy hot summer in 2009. Li Senlin struggles with her essay project, when Aunt Qiuqiu suddenly pays a visit. Reality and memory entangle as her aunt recalls a strange homicide case on a deserted island, while everyone else seems more concerned about the heat.

Why you should watch it:

Xin Zhu is amongst the youngest directors at the Busan Film Festival, and instead of professionals, Xin casted amateur actors for this film. The blog Deep Focus also mentions director Xin Zhu when they talk about the start of ‘a new wave’ of Chinese directors – those born after 1995. Xin Zhu uses an unclear tone to, presumably, let the viewers again experience the feeling of novelty, surprise, and doubt we had when we were younger. The film is full of mismatched stories, dreams and fantasy.

 

3. A Family Tour (Zìyóu xíng 自由行)

Taiwan/China Mainland/Hong Kong/Singapore/Malaysia
Genre: Drama
Selected in the category: A Window on Asian Cinema
Director: Liang Ying (应亮)
Premiere: 1st August 2018 on Locarno International Film Festival

Main Characters: Zhe Gong (宫哲), An Nai (耐安)

About the Director:

It’s not the first time Liang Ying attends an international film festival. In 2012, he was nominated for a Golden Leopard Award and won an award for best direction at the Locarno International Film Festival for his film When Night Falls (我还有话要说). It is this award-winning film that caused Liang Ying to flee the country after the government allgedly intimidated him and his family members to sell the government the rights of the film. Liang Ying refused, and then continued to live in exile in Hong Kong. A few years later, he won an award at the Taipei Golden Horse Film Festival for his work A Sunny Day (九月二十八日·晴) in the category Best Short Feature Film. Liang Ying’s other famous works include The Other Half (另一半), and Taking Father Home (背鸭子的男孩) – which both received nominations from film festivals worldwide.

Storyline:

The film revolves around Yang Shu, a Chinese director, who has been exiled from Hong Kong for making a film that offended the government. After 5 years, she desperately wants to reunite with her ailing mother who is visiting Taiwan and let her hold the grandson she misses.

Why you should watch it:

The story is semi-biographical from the director’s experiences since his exile from China in 2012. Variety wrote about the film: “[it is an] intelligently affecting story of exile and displacement,” and said it is “Ying Liang’s most highly polished film to date.” Indiewire called the film “heartbreaking.” The film was nominated for the Golden Leopard Award at the 71st Locarno International Film Festival.

 

4. The Enigma of Arrival (Dǐdá zhī mí 抵达之谜)

Mainland China
Genre: Crime
Selected in the category: A Window on Asian Cinema
Director: Song Wen (宋文)
Reads on Weibo: 35000 (#抵达之谜#)
Premiere: October 2018, Busan International Film Festival

Starring: Xian Li (李现), Borui Dong (董博睿), Xuan Gu (顾璇)

About the Director:

Some might know director Song Wen as the founder of FIRST International Film Festival, a festival for young directors, which celebrated its 12th edition this year. In 2015 Song Wen started his career as a producer and director. The Enigma of Arrival is his first work.

Storyline:

After many years, a group of high school friends reunites. They have not seen each other since the disappearance of Dondong, a girl they all secretly fancied. The circumstances of her disappearance cause the end of their friendship. Although a long time has passed, there are still things unspoken about what exactly happened during those crucial years.

Why you should watch it:

The main character in the film is played by the popular young actor Xian Li (李现), who currently has over 3.8 million followers on Weibo. He is best known for his roles in Chinese TV dramas such as Medical Examiner Dr. Qin. The second reason to watch this film is the contribution of Berlin Film Festival and The Golden Rooster award-winning producer Fei Xie (谢飞). He and Song Wen have been closely cooperating for this work for over three years.

 

5. Jinpa (Zhuàng Sǐle Yī Zhǐ Yáng 撞死了一只羊)

China Mainland
Genre: Drama
Selected in the category: A Window on Asian Cinema
Director: Pema Tseden (万玛才旦)
Weibo Reads: 340.000 (#撞死了一只羊#)
Premiere: 4th September 2018, Venice International Film Festival

Leading Actors: Jinpa (金巴), Genden Phuntsok (更登彭措), Sonam Wangmo (索朗旺姆)

About the Director:

Pema Tseden is an acknowledged director, screenwriter, producer and writer from Tibet. He started his career as a writer and started publishing stories in 1991. In the years that followed he published more than forty short stories in Tibetan and Chinese. His writing has been acknowledged with many awards. In 2002. he first entered the film industry as editor of the film The Silent Holy Stone (静静的嘛呢石) which received international attention. This is where Pema Tseden’s film career took off. His famous other works include The Search (寻找智美更登) and Tharlo (塔洛) which both received several nominations from in and outside China.

Storyline:

On a dusty highroad in Tibet, a truck-driver gives a young man a ride. As he chats with the hitchhiker, he notices a knife strapped to his leg…

Why you should watch it:

The film is an adaption of the short story Killer (杀手) by Cirenluobo (次仁罗布), and from a short story of the director himself. They are both rewarded writers from Tibet who give a rare glimpse into the lives of the Tibet people. Jinpa was shortlisted for this year’s 75th Venice International Film Festival in the Orizzonti section.

Stayed tuned for more! Meanwhile, also check out our must-see Chinese film list of 2017 here.

By Gabi Verberg

Spotted a mistake or want to add something? Please let us know in comments below or email us.

©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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What’s on Weibo provides social, cultural & historical insights into an ever-changing China. What’s on Weibo sheds light on China’s digital media landscape and brings the story behind the hashtag. This independent news site is managed by sinologist Manya Koetse. Contact info@whatsonweibo.com. ©2014-2018

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