If You Are the One and SBS: the cultural economy of difference

Sun, W; Han, J

If You Are the One and SBS: the cultural economy of difference

Sun, W

Han, J

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Publisher:: SAGE Publications
Publication Type:: Journal Article
Citation:: Media International Australia, 2020, 175, (1), pp. 6-19
Issue Date:: 2020-05-01

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Field	Value	Language
dc.contributor.author	Sun, W https://orcid.org/0000-0002-8687-3739
dc.contributor.author	Han, J
dc.date.accessioned	2020-05-26T10:37:23Z
dc.date.available	2020-05-26T10:37:23Z
dc.date.issued	2020-05-01
dc.identifier.citation	Media International Australia, 2020, 175, (1), pp. 6-19
dc.identifier.issn	1329-878X
dc.identifier.issn	2200-467X
dc.identifier.uri	http://hdl.handle.net/10453/140959
dc.description.abstract	© The Author(s) 2020. If You Are the One (IYATO) is China’s most popular television dating show. Since Australia’s Special Broadcasting Service (SBS) bought it 6 years ago, the show has attracted a cult following among English-speaking viewers. SBS subsequently purchased several other Chinese reality shows, and the Seven Network launched its own version of IYATO. But none of these programmes have proven to be as enduringly popular as IYATO. Taking an industry studies approach, this article draws on the inside knowledge of one of the authors, and on interviews with several other SBS employees, to shed light on the media industry’s thinking behind importing cultural products from China, particularly against the backdrop of fear and anxiety about China’s influence. We also ask why IYATO has endeared itself to Australia’s English-speaking viewers in ways that the majority of Chinese media content has not, despite the Chinese government’s myriad soft power initiatives.
dc.language	en
dc.publisher	SAGE Publications
dc.relation	http://purl.org/au-research/grants/arc/DP180100663
dc.relation.ispartof	Media International Australia
dc.relation.hasversion	Accepted manuscript version	en
dc.relation.isbasedon	10.1177/1329878X20906894
dc.rights	info:eu-repo/semantics/openAccess
dc.rights	Sun, W., & Han, J., If You Are the One and SBS: the cultural economy of difference, Media International Australia (175(1)) pp. 6–19. Copyright ©2020 (Sage). DOI: 10.1177/1329878X20906894.	en
dc.rights	Media International Australia, 2020, 175, (1), pp. 6-19. Copyright © 2020 SAGE Publications. DOI: https://dx.doi.org/10.1177/1329878X20906894	en_US
dc.subject	16 Studies in Human Society, 19 Studies in Creative Arts and Writing, 20 Language, Communication and Culture
dc.title	If You Are the One and SBS: the cultural economy of difference
dc.type	Journal Article
utslib.citation.volume	175
utslib.for	16 Studies in Human Society
utslib.for	19 Studies in Creative Arts and Writing
utslib.for	20 Language, Communication and Culture
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/Public Communication Program
pubs.organisational-group	/University of Technology Sydney
utslib.copyright.status	open_access	*
dc.date.updated	2020-05-26T10:37:19Z
pubs.issue	1
pubs.publication-status	Published
pubs.volume	175
utslib.start-page	6
utslib.citation.issue	1

Abstract:

© The Author(s) 2020. If You Are the One (IYATO) is China’s most popular television dating show. Since Australia’s Special Broadcasting Service (SBS) bought it 6 years ago, the show has attracted a cult following among English-speaking viewers. SBS subsequently purchased several other Chinese reality shows, and the Seven Network launched its own version of IYATO. But none of these programmes have proven to be as enduringly popular as IYATO. Taking an industry studies approach, this article draws on the inside knowledge of one of the authors, and on interviews with several other SBS employees, to shed light on the media industry’s thinking behind importing cultural products from China, particularly against the backdrop of fear and anxiety about China’s influence. We also ask why IYATO has endeared itself to Australia’s English-speaking viewers in ways that the majority of Chinese media content has not, despite the Chinese government’s myriad soft power initiatives.

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http://hdl.handle.net/10453/140959