If last year’s major Chinese smartphone trends were all about the big, beautiful & bezel-less screens, this year they are more about nifty features such as turbo-speed for mobile gaming or pop-up cameras.
One major trend that is ongoing and crystal clear is that ‘made in China’ brands are dominating the smartphone and tablet market, with no less than 8 of the top 10 best-sold phones being Chinese brands.
The sales data of Chinese big online shopping festivals offer valuable insights into what brands and models are most appreciated by Chinese consumers. Last month, when e-commerce giant JD.com wrapped up its ‘Black Friday’-like “6.18” anniversary sales event with a record in transactions, Xiaomi and Honor were among the big winning brands in smartphone sales.
Looking at the most-popular smartphone brands and models lists according to Zol.com, leading IT portal website in China, the brands Oppo and Vivo have also continually remained in the top 3 of most popular smartphone brands in China over the previous weeks.
Based on these lists, we’ve compiled the following top 10 of most popular Chinese smartphone brands of the past month.
Note: we have excluded non-Chinese brands Samsung and iPhone from this Chinese brand list; they currently, respectively, hold the no3 and no7 position in expert top 10 most popular smartphones in China lists.
Vivo is a Chinese domestic brand that has gained worldwide success, first entering the market in 2009. Its headquarters are based in Dongguan, Guangdong. In 2017, Vivo launched its Vivo X20 Plus and VivoX20, the successor of best-seller Vivo X9.
Vivo often cooperates with Chinese celebrities in its marketing campaigns, such as Chinese singer and actor Lu Han (born 1990) or Chinese actress Zhou Dongyu (born 1992), clearly targeting the post-90s consumer group.
Vivo’s current best-seller in China is the Vivo Nex, a futuristic device that is thin but quite big and heavy (6.6-inch FHD+ AMOLED screen, 199 gram – which is just about the same as the Samsung Galaxy Note 8).
The Vivo Nex has a bezel-less screen and a nifty front-facing camera that is tucked away inside the upper frame of the phone and will automatically slide out when the camera is set to front-facing (according to AndroidAuthority, this takes less than a second). It also has a fingerprint sensor that is built into the display.
With the way it is designed, almost the entirety of the front of the phone is a giant 6.59-inch high-definition display.
On Weibo, the Vivo Nex is praised by netizens for offering a “top-notch” mobile gaming experience. People also specifically like the vibrant red edition of the device.
Within China, the phone is currently for sale from 3898 RMB (±US$600). In Europe and the US, unfortunately, the latest Vivo is not for sale just yet.
Oppo is a Guangdong-based brand officially launched in 2004. It is mainly known for targeting China’s young consumers with its trendy designs and smart marketing. In 2016, the brand was ranked as the number 4 smartphone brand globally.
In targeting young people, Oppo has a special focus on its selfie-making camera; both its front and back cameras are therefore strong.
Previous popular models include the Oppo R11s, which was a top-selling model with its all-screen ‘bezel-less’ display and latest facial recognition technology.
Currently, the hottest Oppo model that is also scoring the highest in top 10 lists is the Oppo Find X. The Find X has a beautiful glass body and a motorized camera – like the Vivo Nex, it also pops up and also functions as a 3D facial scanner for biometric authentication.
The Oppo Find X really has many nifty features (which also seems to be a major trend: the one-phone-has-it-all); the phone’s bezel-less panoramic screen is curved, there’s a dual-camera setup on the back (16MP + 20MP), 25MP front camera, dual SIM slots, etc. Also innovative: the device is available in the cool colors ‘Bordeaux Red’ and ‘Glacier Blue.’
#3 Honor 荣耀
Honor, established in 2013, is the budget-friendly sister of the Huawei brand. The company’s sub-brand has been doing very well over the past years. Rather than focusing on hyping up its brand name through celebrity campaigns, Honor focuses on great value for money.
Last year, the brand released its Honor V9 and Honor V9 Play models. This year, the Honor Play model (sold from 1999 RMB/US$300 on JD.com) is its most popular model (6.3-inch display).
On Weibo, people praise the phone for its speed. The color-loving phone users praise the purple edition of the device, which indeed is pretty fashionable.
#4 Huawei 华为
Huawei remains to be one of China’s top smartphone brands. Its 2016 Huawei Mate 9 and 2017 Huawei Mate 10 were top-selling; the current hit phone is the Huawei P20 pro.
The Huawei P20 is especially marketed for its camera functions. On Weibo, Huawei users praise this phone’s nightmode camera which is great to capture darker environments such as concerts or the city by night. Digital Trends even calls it “one of the best cameras ever put in a smartphone.”
The phone has a long-lasting battery and also noteworthy: it comes with one of the coolest color schemes ever inspired by the Northern Lights.
Like the Oppo Find X, this phone also does not come cheap; JD.com sells it from 5488 RMB (±US$827).
#5 Xiaomi 小米
Since the launch of its first smartphone in 2011, Beijing-brand Xiaomi has become one of the world’s largest smartphone makers.
The Xiaomi (Mi) brand was initially often called an ‘iPhone copycat,’ but it is now a trendsetting brand in the smartphone business. With its 2016 Mi Mix model, the brand was among the first to ditch thick bezels and go beyond the 16:9 aspect ratio to introduce the ‘all screen’ or ‘bezel-less’ screens, which are all the buzz now. The Mi Mix became one of last year’s hottest smartphones.
The Xiaomi 8 is promoted by Chinese actor Kris Wu as the “cool smartphone.” Not just cool because of how it looks, but also due to its dual frequency GPS tracking. It is priced starting from 2699 RMB (±US$406). (The upcoming Xiaomi Max 3 Pro is also one of the most-anticipated smartphones of this moment.)
#6 Meizu 魅族
Meizu is another Chinese homegrown brand, established by high school dropout Jack Wong (黄章) in 2003. Since then, it has grown out to be the 11th best-selling smartphone maker in the world.
The brand recently ranks in the top 10 of best smartphones in China, either on the 6th or 8th place.
The Meizu Pro 7 and the upcoming Meizu 16 are the phones that are currently most promoted by Meizu. The Pro 7 has a small colored screen on its back.
Despite its high ranking, Meizu is less popular among younger people and does not get a lot of attention on Weibo recently.
#7 OnePlus 一加
OnePlus is a Shenzhen based Chinese smartphone manufacturer founded by Pete Lau and Carl Pei in December 2013. The company officially serves 32 countries and regions around the world as of January 2018.
The OnePlus 6 is in the top three of most popular phones in China at this moment.
#8 LeNovo 联想
Lenovo Group Ltd. or Lenovo PC International, often shortened to Lenovo, is a Chinese multinational technology company with headquarters in Beijing, China and Morrisville, North Carolina.
Outside of China, the brand is more commonly associated with laptops rather than smartphones, but in China, the LeNovo Z5 flagship device currently scores number 8 in the top 10 smartphone lists.
The phone is an attractive device within the more budget-friendly category; it starts at 1299 RMB (±US$195).
#9 Qiku 360手机
The Qiku (360手机) brand was founded in 2015 in Shenzhen as a joint effort between Chinese internet giant Qihoo 360 and manufacturer Coolpad.
The N7 model (360手机N7) is their 2018 flagship model and is available from 1699 RMB (±US$256) for the 64GBmodel. ALong with the latest trends, it has a curved glass, fast charging, and long-lasting battery.
#10 Smartisan 坚果
Smartisan is a Beijing-based tech company founded in 2012. Its Smartisan R1 flagship model is promoted as “the computer of the future,” and GSMarena even calls this phone “record-breaking” with “top-notch specs and an amount of memory no other device in the market can match” (the most expensive version of ±$1400 comes with 1TB internal memory!)
All in all, when it comes to the latest trends in Chinese smartphones, it is all about the more advanced functions.
For those going for GPS tech, there’s Xiaomi, for camera lovers, there’s Huawei’s latest, for gaming fans, there’s Honor, for data-heavy users, Smartisan’s a (pricey) option, but for people loving overall innovative design, Vivo and Oppo are the winners this summer.
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Weibo’s Digital Graveyard: Remembering the Dead on Chinese Social Media
‘The Dead’ honors the deceased and tries to break existing taboos on death in China.
“My grandmother passed away due to illness in 2016. She was 78 years old. My grandmother was a kind soul. She married my grandfather after his divorce. They had never even seen each other before [her] mother and father prepared the marriage, and yet she lovingly cared for him her entire life.” This eulogy was posted on Weibo on February 12th of this year.
Within hours after it was posted, over 100 people had replied with the most popular emoji for these type of posts: the candle.
Since 2011, thousands of these kinds of posts have appeared on Weibo, one of China’s biggest microblogs, thanks to “The Dead” (@逝者如斯夫dead), an account run by a small team dedicated to memorializing the deceased. Through their online memorials, they have encouraged conversation of a taboo topic.
HUNTING FOR THE DEAD ON WEIBO
“We wanted to provide a place for people to remember those who had passed away”
Starting small, ‘The Dead,’ which borrows its Chinese name from the Confucian phrase “All passes like a river” (逝者如斯夫 Shì zhě rú sī fū), has amassed over half a million followers. “We wanted to provide a place for people to remember those who had passed away,” a team member recently explained to What’s on Weibo.
Weibo users typically contact the account requesting eulogies about their deceased loved one, but such direct requests were rare just a few years ago. Instead, the account started by hunting for the dead among Weibo’s pages. They searched for signs of a user’s passing, like comments about mourning, and then monitoring the account for inactivity.
‘The Dead’ told What’s on Weibo that “while at present most of our information comes from Weibo users,” its team will still “go through the deceased’s page…looking through comments in the discussion section and asking about the user’s current condition” to confirm a death and glean facts for a memorial posting.
Few of its half a million followers personally know the people in the obituaries. But their reaction to its eulogies reveals a deep and often emotional connection to the topic of death.
“Every now and then I go to their page and scroll through the memorials,” one follower writes: “Those people, who were so full of life, passed away just like that. It’s so moving that sometimes I scroll until my eyes fill with tears.”
Another follower comments: “Whenever I’m feeling low I go and scroll through [the page], it always calms me down. I’ve been very inspired by it, thank you.” For many Chinese, such an open discussion of death would have been unthinkable in the past.
DEATH AS TABOO
“This taboo has an independent power in shaping human action”
Every culture confronts death differently and few do it well. Traditional Chinese culture shunned discussions of death, notes Cheris Shun-Ching Chan, professor of sociology at Hong Kong University.
Chan believes that Confucian silence on questions of death and folk Buddhist references to “a dark world (yinjian) and a cruel hell (diyue)” account for the topic’s avoidance. She also points to fears that a premature death could mark the end of one’s lineage (Chan 2012,37).
Chan’s survey research found that avoidance of any discussion about death was so widespread that it had become taboo. “The taboo manifests as an observable avoidance of the topic,” Chan writes, “particularly unexpected, accidental, or premature death, among not only the elderly but also the generation in their late 20s and 30s” (Chan 2012,36).
While religious belief waned during the tumult of the 20th century, the taboo persisted. “Today, this taboo has an independent power in shaping human action,” Chan argues: “In other words, one does not need to hold beliefs about hell, the dark world, ghosts, evils, and precipitating death in order to observe the taboo” (2012,38-40).
Stifling discussion about death has consequences, big and small. Individuals unwilling to acknowledge death are reluctant to write wills or register as organ donors. Respecting the death taboo, doctors avoid delivering a terminal diagnosis to patients, informing family members instead.
One news story from 1993 exemplifies this taboo on death; when residents near China’s first hospice care center protested the presence of death in their neighborhood, matters turned violent. They started shattering the center’s windows, driving doctors and their patients from the center in the middle of the night. As the health needs of China’s population evolves with its economic growth, the death taboo threatens much more.
In a rapidly aging China, people live longer and deaths cost more than ever before. The World Health Organization reports that eight of the top ten causes of death in China are now due to non-communicable diseases.
As deaths caused by accidents and communicable diseases have dropped, death by stroke, heart disease, Alzheimer’s, and cancer have jumped double digits and with that jump, a commensurate increase in the costly treatments of these diseases.
A 2013 study of the cost of non-communicable disease on the Chinese economy predicted that between 2012-2030, China will spend 27.6 trillion dollars remedying non-communicable disease. The death taboo threatens to leave China unprepared to care for a population living longer thanks to better medical care but dying at higher rates of chronic illness.
Health care in China is free, to a point. According to the Economist, China’s national health-insurance system caps reimbursements for treatment of serious chronic illness like heart disease and end of life care. The death taboo poses a risk to families in a country where it is still considered unfilial by many to pursue a course of treatment other than one meant to cure the patient.
Hospice care, which should be cheaper, is rarely considered and seldom available. While hospice care is now part of the standard course of treatment for end of life care in EU and North America, the death taboo undermines demand for the service. This, in turn, removes pressure on medical insurers to provide hospice coverage. Insurance coverage for hospice care is so limited that families are forced to pay out of pocket for most hospice care.
“Everyone ought to admit death’s existence and face up to its realities”
Addressing these challenges starts with acknowledging death as a part of life. “People have slowly become more willing to discuss death,” the Weibo ‘The Dead’ team observes: “You can see this in Weibo users openly posting about the passing of loved ones.”
Beyond Weibo, the account’s rejection of the death taboo has also found powerful allies elsewhere. In Beijing, Chen Yi and Luo Ruiqing, children of prominent CCP members, launched the Beijing Living Will Promotion Association, advocating for individuals and families to openly discuss and plan for end of life care.
Yi and Ruiqing explain to Caixin that watching the slow and painful death of their parents with few options for palliative care moved them to take action.
Their website provides information to help individuals decide about the kind of end of life care they want and how to ensure their wishes are followed through the use of a living will, a standard feature of Western health care but new to China.
In Shanghai, Wang Ying, a psychologist who now specializes in end-of-life, is taking a different approach to addressing the same problem. Ying founded Hand in Hand, an organization that encourages individuals to openly discuss their deaths as a form of preparation.
Like Yi and Ruiqing, Ying’s determination to challenge the death taboo stemmed from her conviction that repressing a discussion about end of life care and death causes his elder relatives needless suffering at the end of their lives.
Noting the rising interest in their Weibo account, ‘The Dead’ has recently started a Wechat mini app where users can send manage their own memorials and share them with others. The team believes that Weibo and Wechat allow them to reach out to a large audience all over the country.
They admit, however, that problems of economic disparity have limited their reach, and guess that most of their subjects and contributors are urban dwellers. Still, they are hopeful that their work can help change many people’s perspectives.
“Everyone ought to admit death’s existence and face up to its realities,” they say: “Working hard to live with an understanding of death is a lesson every Chinese person must learn.”
By Brydon Brancart
References (other sources in-text through hyperlinks)
Chan, Cheris Shun-Ching. 2012. Marketing Death: Culture and the Making of a Life Insurance Market in China. Oxford: Oxford University Press.
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Mimeng and ‘Self-Media’ under Attack for Promoting Fake News Stories to Chinese Readers
Chinese ‘zimeiti’ or ‘self media’ have become a topic of discussion after this Mimeng scandal.
It was one of the most-discussed topics on Weibo and WeChat right before the Chinese New Year: the scandal involving Chinese blogging account ‘Mimeng’ (咪蒙), which sparked discussions on Mimeng herself and on the regulation and responsibility of ‘we media’ accounts on the Chinese internet.
Who or what is ‘Mimeng’? First and foremost, Mimeng is an online social media account with an enormous fanbase: 13 million followers on WeChat, 2.6 followers on Weibo.
The person behind the Mimeng blogging account is Ma Ling (马凌), a Chinese female author and Literature graduate who was born in 1976 in Sichuan’s Nanchong.
Over the past few years, ‘Mimeng’ has grown into a so-called ‘we media’ or ‘self media’ platform (zimeiti 自媒体), referring to private, independent, online publishing accounts that get their content across through blogs, podcasts, and other online channels. Mimeng is now more than Ma Ling alone: there’s an entire team behind it.
Mimeng has been controversial for years because of its clickbait titles and controversial stances on various issues. The topics most addressed in Mimeng’s publications are relationships between men and women, love, marriage, quarreling, and extramarital affairs.
Previous articles published by Mimeng, who is a self-labeled ‘feminist’ (and often mocked for it), include titles such as “This Is Why You’re Poor,” “Jealously Means Progress,” “I Love Money, It’s True,” “Men Don’t Cheat for Sex,” or “How to Kill Your Wife.”
Besides its content, there are also other reasons why Mimeng has triggered controversy in the past. The fact that Mimeng charges a staggering amount of money to advertisers, for example, is also something that previously became a topic of discussion – Mimeng allegedly charges some 750,000 yuan ($113,000) for a post mention.
SELLING FAKE STORIES
“As an influential We Media source, we must take on our social responsibility”
This time, however, Mimeng is hit by the biggest controversy thus far. The media group is under attack after publishing a story that turned out to be (partly) fabricated. The story was published on a WeChat account called Talented Limited Youth (才华有限青年), which is registered under the same legal entity as Mimeng. Its primary author, according to Sixth Tone, is a former intern of Ma Ling called Yang Yueduo.
The publication in question is a long story titled “The Death of a Top Scorer from a Poor Family” (“一个出身寒门的状元之死”) which allegedly portrayed the short life of the author’s old classmate: a young, bright mind, born in an impoverished family in Sichuan province. In the story, the protagonist did all he could to create a better life for him and his family.
He studied hard, got the best university entrance score of his city, and successfully graduated from university. But despite his efforts to start a life in the big city, he failed to succeed and tragically died of cancer at the young age of 24.
Shortly after publication, the moving and tragic story went viral on social media. However, several details made online readers doubt the story’s authenticity. It did not take long before readers proved that several aspects of the story were indeed untrue.
In light of the fake news allegations, Talented Limited Youth quickly deleted the story from WeChat. They also issued a statement defending the story’s authenticity, explaining that for privacy reasons, various details of the story were altered. According to Beijing News, Talented Limited Youth was then banned from posting on WeChat for 60 days.
In response to the allegations, Mimeng offered its “sincerest apologies” on Weibo on February 1st, saying: “The Mimeng Group has decided to completely withdraw from Weibo and take a two-month break from WeChat. We will use that time to carry out serious and profound self-reflection.” The post continued saying that “as an influential We Media source, we must take on our social responsibility and pass on positive energy and values.”
The announcement went trending under the hashtag “Mimeng Shuts Down Weibo Indefinitely” (#咪蒙微博永久关停#), which has received over 210 million views at time of writing.
POISONED CHICKEN SOUP
“Mimeng, for you, patriotism is only business”
On social media, there is a clear divide between those who support and oppose Mimeng. While some are calling for a “complete shutdown” of Mimeng, there are also those who say they will keep on following Mimeng and that they enjoy their publications.
The controversial Mimeng account has even brought about a so-called “Following Mimeng Rate” (含咪率), a number based on how many of your WeChat friends are following Mimeng‘s public WeChat account (by checking Mimeng’s account on WeChat, WeChat users can see how many of their friends are following this account).
Mimeng opposers allege that the more friends you have that follow the Miming account, the more likely you are “to fail in life.”
The official Weibo account of the Jiangsu Public Security’s Bureau of ‘Internet Safety’ (@江苏网警) is also a clear Mimeng opposer. Last week, they lashed out against Mimeng in a post titled “Mimeng, for you, patriotism is only business.”
The post hints at Mimeng’s inconsistent stance on patriotism, and it included screenshots from two earlier Mimeng posts from 2013 and 2016, one in which patriotism is referred to as a kind of “forced love,” and the other one saying: “I’ll love my country forever, its greatness will forever move me to tears.”
The post by the Jiangsu Bureau itself then also blew up on Weibo, with the hashtag “Jiangsu Internet Police calls out Mimeng” (#江苏网警点名咪蒙#) soon gaining over 210 million views. In the comment sections, many people criticize Mimeng for “deceiving people,” “promoting negative values” and “using anything to get clicks.”
One person wrote: “These self-regulated media only care about making money, they have no sense of social responsibility.”
Others said that the fake news story was nothing but ‘poisoned chicken soup’ (毒鸡汤).
This is a term that is often used to describe Mimeng’s content, and that of other self-media accounts, meaning that from the outside, it looks like “feel-good content” or “chicken soup [for the soul]” while it is actually ‘poisonous’ content with a marketing strategy or money-making machine behind it.
“Self- media cannot become a spiritual pyramid scheme”
The Mimeng case has led to discussions in Chinese media on the status of ‘we media’ or ‘self-media’ platforms and their influence.
People’s Daily responded to the Mimeng scandal with a post on February 1st titled “Self-media Cannot Become a Spiritual Pyramid Scheme” (“自媒体不能搞成精神传销”), which argued that unless self-media accounts such as Mimeng actually work on establishing “healthy social values,” their apologies are only a way to temporarily dodge negative public attention.
In late January, Chongqing Internet authorities launched an investigation into 48 ‘self-media’ accounts, suspending two for spreading “fake news.”
State media outlet China News published an article, also this week, that describes ‘self-media’ as a ‘hypermarket’ where publishers will go to extreme measures, such as selling ‘fake news’ for clicks, spreading negative influences and anxiety among the people.
But these discussions are somewhat blurred, as it is not entirely clear what ‘self-media’ actually is in this context. Generally speaking, the term could include any micro-blogger who identifies themselves as ‘self-media’ or ‘we media’ (zimeiti 自媒体). But in the current discussion, it seems to only relate to those publishing accounts that have a certain influence on social media and the (online) media environment, posing a challenge to traditional news outlets.
Some definitions of Chinese ‘we media’ say it is basically is “an umbrella term for self-posted content on social media platforms” (Qin 2016; Jiang & Sun 2017) – this suggests that everyone who is active on WeChat and Weibo or elsewhere is basically in ‘self-media.’
A clearer description is given by Week in China, writing that “zimeiti typically operate as social media accounts run by individuals or as small firms established by a handful of former journalists.”
What makes it different from any other social media account, is that in ‘we-media’ or ‘zimeiti’ “the blogging has been professionalized and that the authors can make a living from it” (WiC 2018). It is a trend that has become especially visible in China’s online environment since 2012-2014.
This highly commercial side of ‘we media’ matters. If a publisher, such as Mimeng, charges advertisers exorbitant amounts of money, they also have to maintain a certain number of readers. They don’t just post as a hobby, it is serious business.
In a highly competitive online media environment, where hundreds of media outlets are fighting over the clicks of China’s online population of over 800 people, clickbait titles have almost become somewhat of a necessity for some of these publishers, with some even resorting to publishing “fake news” to get the attention – and the clicks.
China’s Newsweek Magazine (新闻周刊) calls the situation at hand a “self-media chaos” (自媒体乱象) that poses an “unprecedented challenge” for governing society in the 3.0 era. They call for “healthy development of self-media” and better legislation to control the mushrooming zimeiti, that, despite strong online censorship, are not as tightly controlled as China’s traditional media.
“Nowadays, we have less and less intellectuals, and more and more ‘people selling words.’ The chaos of self-media needs to be controlled,” one commenter on Weibo says (@ZY盒子).
But other people deem that readers themselves should pick what they read instead of authorities regulating it for them: “The important thing is that every reader must have the independence to judge for themselves [what they read]; just let the ‘poisonous chicken soup’ [naturally] lose their market.”
The Mimeng scandal shows that for social media accounts with a large following, one misstep can have huge consequences. This is something that Papi Jiang, a ‘self-media’ personality who became huge in 2015/2016, also experienced; she was reprimanded for disseminating “vulgar language and content” in April of 2016.
Very similar to Mimeng’s statement, Papi also issued an apology at the time, saying she supported the requirement for correction, and that she would attempt to convey “positive power” (正能量) in the future. “As a media personality,” she said, “I will watch my words and my image.” Papi’s CEO also expressed the company’s willingness to produce “healthier contents.” At the time, her videos were temporarily taken offline.
Meanwhile, some people think that the fact that Mimeng will stay silent for the coming two months is not necessarily a bad thing for the publisher: “They can take an extra long Spring Festival holiday.” As for Mimeng’s Weibo ‘holiday’ – that one is likely to be permanent.
-Qin, Amy. 2016. “China’s Viral Idol: Papi Jiang, a Girl Next Door With Attitude.” New York Times, 24 Aug https://www.nytimes.com/2016/08/25/arts/international/chinas-viral-idol-papi-jiang-a-girl-next-door-with-attitude.html [2.6.19].
-Sun, Yanran and Jiang. 2017. “A Study on the Effectiveness of We-Media as a Platform for Intercultural Communication.” In New Media and Chinese Society, Ke Xue & Mingyang Yu (Eds.), 271-284. Singapore: Springer.
-WiC. 2018. “Headline earnings – Zimeiti hunt media profits but they still need to play by the rules.” Week in China, 15 June https://www.weekinchina.com/2018/06/headline-earnings/ [2.6.19].
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