Shaping the Stage: the CCP's Pervasive Influence on the Domestic Entertainment Industry

This dissertation aims to provide a focused exploration of the pervasive and multifaceted influence wielded by the Chinese Communist Party (CCP) over the domestic entertainment industry. As China undergoes rapid economic development and cultural transformation, the CCP plays a central role in guiding the content, production, and distribution of entertainment within its borders. Drawing on a combination of qualitative and quantitative methodologies, the present study attempts to dissect the regulatory frameworks governing the Chinese entertainment landscape, elucidating the mechanisms implemented by the CCP to exert control over content. By scrutinizing censorship practices, industry guidelines, and Party directives, the research delineates the boundaries within which entertainment professionals operate, highlighting the constraints on artistic expression and the suppression of dissenting voices. Furthermore, through an analysis of the involvement of State-owned enterprises (SOEs), Party-controlled entities, and private companies in the entertainment sector, this dissertation explores the impact of the CCP’s influence on market dynamics and industry structures: by examining the role of SOEs in film production, distribution, and exhibition, the present study tries to elucidate how State intervention shapes competition, market access, and the dissemination of cultural products, revealing the extent to which political imperatives shape industry practices. In addition, the study delves into the socio-cultural implications of the CCP’s influence on the country’s entertainment sphere, exploring its impact on public perceptions, values, societal norms, and the construction of a national identity. As well as considering the potential tensions between the Party’s desire for ideological control and the industry’s aspiration for artistic innovation and diversity. By providing a nuanced understanding of the CCP’s sway over the domestic entertainment sector, this dissertation aims to contribute to broader discussions on the interplay between political authority and cultural expression in contemporary China: the findings offer insights into the intricate relationship between the CCP and the entertainment industry, shedding light on the challenges and opportunities faced by industry stakeholders operating within the confines of the Party’s ideological framework. To provide concrete examples, this dissertation examines high profile case studies, such as the film “The Battle at Lake Changjin” (《长津湖》) which exemplifies the intertwining of entertainment and State propaganda in China, illustrating how the government actively supports and promotes projects that reinforce its ideological goals, shape public perception, bolster national pride and solidify support for the Party and its policies. Additionally, two case studies showcase the symbiotic relationship between the CCP and influential entertainment figures, emphasizing the party’s ability to either leverage its authority to promote politically aligned voices and narratives or blacklisting celebrities deemed politically undesirable. These cases involve two of China’s most well-known and highest paid actresses: 1) Fan Bingbing, who in 2018 found herself embroiled in a high-profile scandal related to tax evasion. 2) Zheng Shuang, who was banned from the industry and whose works were removed from streaming platforms after a series of scandals involving tax evasion and the abandonment of children she conceived through surrogacy, which, in itself, is illegal in China.