FOCUS ON CHINA -MIPTV 2012 by MIPMarkets

April 2012

miptv

www.miptv.com An ofﬁcial MIPTV publication

Focus on china HU ZHANFAN

President, China Central Television

SEE PAGE 5

CHINESE DOCUMENTARIES

at MIPTV

SEE PAGE 10

Also inside: • CCTV vice-president Luo Ming • CCTV: a beginner’s guide • CCTV Documentary Channel’s Liu Wen • Coproducing with China • Chinese drama • CITVC’s Ma Runsheng • CITVC’s Cheng Chunli...

CONTENTS Message from Hu Zhanfan, president, CCTV s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s p5 Luo Ming, vice-president, CCTV s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s p6 CCTV: a beginner’s guide s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s p8 Chinese documentaries at MIPTV s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s p10 Liu Wen, managing director, CCTV Documentary Channel s s s s s s s s s s s p12 Co-producing with China s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s p15 Message from Ma Runsheng, president of China Radio, Film and Television Programmes Exchanging Center s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s p17 Cheng Chunli, China Radio, Film & Television Program Exchanging Center s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s p19 CCTV at MIPTV: schedule of events s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s p21

miptv focus on china MIPTV Special Edition April 2012. Director of Publications Paul Zilk Director of Communications Mike Williams ®

EDITORIAL DEPARTMENT Editor in Chief Julian Newby Editorial Consultants CMM Intelligence Sub Editor Debbie Lincoln Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Marie Moinier, Carole Peres Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators Nour Ezzedeen, Emilie Lambert, Amrane Lamiri Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Anne de Kerckhove Director of the Television Division Laurine Garaude Sales Director Sabine Chemaly Director of Market Development Ted Baracos Conference Director Lucy Smith Marketing Director Stephane Gambetta Programme Directors Karine Bouteiller Tania Dugaro Cathie Laven Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager Elizabeth Delaney Vice President Sales and Business Development, Americas Robert Marking Vice President Business Development, North America JP Bommel Sales Executive Panayiota Pagoulatos Sales Managers Paul Barbaro, Nathalie Gastone Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow Sales Manager Samira Haddi Digital Media Sales Manager Nancy Denole New Media Development Manager Bastien Gave Australia and New Zealand Representative Natalie Apostolou China Representative Anke Redl CIS Representative Alexandra Modestova English Speaking Africa Representative Arnaud de Nanteuil India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Latin America Representative Elisa Aquino Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Korea Representative Sunny Kim Taiwan Representative Irene Liu Germany Representative (Digital Media Sector) Renate Radke Adam Published by Reed MIDEM, BP 572, 11 rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France. Contents © 2012, Reed MIDEM Market Publications. Publication registered 2nd quarter 2012. Printed on 100% recycled paper

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EDITORIAL HU ZHANFAN PRESIDENT CHINA CENTRAL TELEVISION

A message from Hu Zhanfan

N BEHALF of China Central Television (CCTV), I would like to extend my warmest greetings to everyone from the TV industry worldwide at MIPTV 2012. CCTV operates the Chinese TV channels with the greatest international impact and our goal is to make it one of the leading media outlets in the world, serving as an important window for China to learn about the world and for the world to learn about China. In this global, multicultural context, CCTV launched its 7th international channel - CCTV Documentary - in 2011. With its Chinese, English, Russian, French, Arabic and Spanish channels, CCTV has built up a multi-faceted and multi-language global broadcasting network for quality programmes. Our international audiences reach hundreds of millions. Our 70 overseas bureaux have formed our own global news gathering network. CCTV programmes in all genres, are attracting an increasingly larger audience from all over the world, and are bridging the cultural gap between China and other nations. As China’s only national TV station, CCTV’s mission is to serve as a link between China and the rest of the world. We are trying to present

an open and inclusive China, both ancient and young, which is developing vigorously in step with global civilisation. MIPTV is one of the most dynamic and inﬂuential events for the exchange of TV programmes. I sincerely hope that through this platform we can increase mutual understanding, strengthen friendship and promote co-operation between CCTV and other major TV production organisations, to enhance communication between China and other countries. I wish MIPTV 2012 a complete success.

Hu Zhanfan President China Central Television www.miptv.com I Focus on China I April 2012 I 5

INTERVIEW China Central TV in Cannes Luo Ming is vice-president at China Central TV with responsibility for the national broadcaster’s economic affairs. He also guides programme investment strategy and plays an important role in CCTV’s international relations. Ahead of his ﬁrst visit to MIPTV since 1997, he spoke to CMMI in Beijing about CCTV’s current operations and his hopes for the Cannes market

an you start by giving an overview of CCTV’s television business today and the latest channel developments? CCTV is China’s national TV broadcaster and its biggest producer, distributor and buyer of TV content. In our domestic market, we serve an audience of over a billion people through 29 free-toair and 17 pay channels. Our latest channel is a 3D channel that results from a co-operation between CCTV and Beijing TV, Jiangsu TV, Shanghai TV, Shenzhen TV and Tianjin TV. Beyond broadcast, CCTV also has many subsidiaries engaged in the TV and related fields. These include the China International TV Corp (CITVC) which handles our commercial business and China Network TV (CNTV), our internet and mobile arm. Recently, CCTV has been projecting internationally, particularly in terms of your news gathering operations. What is driving this expansion? News remains one of our core strengths and responsibilities and we have invested significantly both inside and outside China. Our news operations employ over 3,000 people. Earlier this year, we opened our Tianjin news bureau and that means we now have CCTV news bureaux in all China’s 31 provinces and directly controlled municipalities. For readers not familiar with the Chinese administrative system, can you explain why CCTV has only just established its own local bureaux at home? In the past, most of CCTV’s news programmes were provided by local television broadcasters. This year, we finished establishing CCTV’s own local bureaux around the country, which will greatly reinforce capabilities on news gathering and covering emergencies or breaking news. While some TV news organisations are announcing bureau closures, you also mentioned investment into international operations. Can you explain?

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INTERVIEW CCTV is committed to becoming a major global media player and this is reﬂected by our investment into international news operations. Last year we opened 10 new overseas bureaux and CCTV now has its own news capabilities in 70 countries and territories. We are producing between 600-800 news packages every day, a big increase on even a couple of years ago.

Of course, it is not just CCTV these days and we have the China United Pavilion that provides a platform for many of China’s provincial-level TV stations and independent production and distribution companies. Not all countries favour national pavilions and, when they do, many larger companies prefer to maintain an independent presence. Why do you choose to help your competitors via the China United Pavilion? In the domestic market we are competitors and partners. For example, the provincial level satellite channels are all fierce competitors, but they will often join up to acquire the best TV dramas with four or five showing them at the same time. By splitting the costs, they can reach for the big productions that CCTV is able to purchase on its own. Internationally we are all facing the same learning curve. As I mentioned, size is important at MIPTV and the higher the profile of Chinese content in general, the more interest there is in all our shows. to move

Where are your regional hubs and how many people do they employ? Are you employing foreign nationals in these bureaux? Well, we have major international hubs in Washington, Nairobi, Sao Paulo, Moscow, Dubai, London and Hong Kong. The biggest bureaux are in Washington with nearly 100 staff and Kenya with 70-80 staff. Typically, the regional hubs I mentioned have 15-20 staff. As for nationalities, CCTV news teams employ journalists and other professional “We hope staff from many countries. I think I am right to forward with say that nearly 50% of our staff in Washington a number of is American. Apart from bringing global news to documentary our viewers in China, CCTV’s English, French and other language news channels bring global co-productions and I and China news from a Chinese perspective, to would urge interested international audiences.

It is clear that TV drama is still king for domestic audiences and that the Olympics will once again be a major success. How do you respond to criticism that CCTV’s dominance inhibits the growth of the market? The Chinese TV drama is a very enduring parties to make genre and, over the last 40 years, it has earned contact via our stand” its place in our national culture. Again, I In 2011, CCTV made another major investwould stress that we co-operate a lot with othment with the launch of a dedicated factual er broadcasters and private companies, givchannel. Why the focus on this genre and how ing them an important national platform. 60% to 70% of our TV dradoes documentary play into your visit to Cannes? Actually, there are two feeds of CCTV Doc. In China, we broadcast a ma is acquired from other production companies in the Chinese market. mix of local content and high-end content acquired from international As for the Olympics, CCTV is the only broadcaster able to afford the partners, while outside China we showcase the best of Chinese factual very expensive copyrights. We will utilise several of our own channels to production. The channel was really the big success of 2011. Inside China provide the fullest coverage. Events such as this are highly collaborative. it is now accessible to nearly all viewers and ratings have increased 50% since we took over CCTV Channel 9. One of the reasons I will be in What other genres are you looking at for in-house, co-produced Cannes is to support CCTV Doc in its efforts to engage with internation- projects or acquired content in the next year? al partners on new co-productions. We believe we have the experience Increasing our in-house output of animation is an important part of our to engage in more prestige documentaries with the larger internation- plan. I would like to see CCTV producing two or three major 52-part anial players. Using this formula, we see markets inside China and around mation series annually, but we are still some way from that. As mentioned, the world. My aim is to see CCTV reaching 200 hours of original factual we hope to move forward with a number of documentary co-productions output a year and this can only be achieved by working with the best lo- and I would urge interested parties to make contact via our stand. cal and international partners. CCTV is less dominant in the new media sector. How are you copWhat are the budgets on these projects and are you still only looking with the challenges facing traditional broadcasters everywhere? We are very focused on this and CNTV is our main platform. I do think ing at China subjects? I think that we are looking at a number of projects with per-episode that CCTV retains many advantages. The internet is used princibudgets of RMB2-3m ($630,000 to $1.4m). In China, that can go quite pally by a young demographic, while television attracts all ages and a long way. Most of the productions to date do have China themes, but backgrounds. Chinese people still watch more TV than internet. CCTV Doc is not limited to that brief and we are seeing some examples. It is quick but, in terms of quality, it is not there yet. We will focus For example, Glamorous Kenya and Glamorous Slovenia were complet- on new media because that is where young people are going, but I am responsible for the hard numbers. Internet revenues might be ed recently. growing at 20-30% a year, but I can tell you that 90% of our revenue When you last visited MIPTV, China’s presence was limited to a is still from traditional TV advertising. TV is still able to grow with single small stand run by CITVC. How will this year’s presenta- huge power and in terms of high-end TV production, I think our industry is still achieving fantastic new breakthroughs with CGI, tion differ? I do remember that China just had one small stand organised by CITVC writing and music. Now 3D means we have to shoot the whole world and I remember looking in awe at the exhibition stands of those grand again. One of the challenges, and one I think we are very well posiAmerican and European companies. This year, our now very experi- tioned to face, is creating content with applications across TV, inenced team is organising a whole series of activities at MIPDOC and ternet and mobile platforms. This is also something I am interested to learn more about at MIPTV. MIPTV and I feel sure you will notice our presence this time. www.miptv.com I Focus on China I April 2012 I 7

CCTV: a beginner’s guide China Central Television (CCTV) is the national TV station of the People’s Republic of China and one of China’s leading news broadcasters …

CTV has become one of China’s most influential CCTV’s production equipCCTV’s new headquarters in Beijing media outlets. In addition to its TV programmes, ment now meets the requireCCTV has also built up a multi-media broadcasting ments of the digital age and platform and business operation, which includes mov- the broadcasting proceies, newspapers and the internet. CCTV is the main dure has been automated. news source for the Chinese people. It is also an im- CCTV is a domestic pioneer portant window for Chinese to learn about the outside in adopting digital hi-defiworld, and for the world to find out more about China. CCTV is mak- nition television, stereo TV ing efforts to become a global media network with increased internaprogrammes and DAB. The state broadcaster also estional influence. CCTV currently has 29 public channels and 17 pay-TV channels in op- tablished the country’s largeration, covering almost every aspect of Chinese social life. Currently est audio and video archive, CCTV is offering six international channels in six different languages — which has a storage potenChinese, English, French, Spanish, Russian and Arabic. CCTV has also tial of one million hours of started business across new media platforms such as internet TV, mobile programmes. CCTV has also launched a central proTV, mass-mobile TV (for public transport) and IPTV. CCTV’s strategy is to develop each of its specialised channels as the mar- duction management system ket leader with its own well-defined brand identity and character. In this and a caching system for proway, CCTV has made full use of the overall advantages of its powerful gramme files. All these have network to improve the quality and selection of content of all its broad- ensured the TV station has a fully-digital network for production and casts. Among CCTV’s top rated regular strands are News Broadcast broadcasting. Nationwide, Topics In Focus, China News, Economy 30 Minutes, Legal In the near future, CCTV will move into its new headquarters. It’s the Report, Lecture Room and Art Life. CCTV is also committed to large- largest single building used for cultural causes that China has built since scale performance and sports events and many shows have become fa- the founding of the People’s Republic in 1949. It has become one of mous brands in their own right. The CCTV Spring Festival Gala, the Beijing’s landmarks. Part of the facilities in the new headquarters were Heart To Heart Art Ensemble and the National Youth Spring Contest used for the broadcast of the 2008 Beijing Summer Olympics. are prime examples. Many CCTV programmes have also won major do- Facing new opportunities and challenges, CCTV will continue with the mestic and international prizes. CCTV is available around the world. strategy of creating branded programme strands, going global and proIts programmes reach 140 countries and regions. CCTV has set up ducing large-scale and high-quality shows. To that end, CCTV will make the Great Wall Platform with 19 domestic TV companies for sending even greater efforts to enhance its role as a public opinion leader and its Chinese programmes abroad, and has expanded the platform to the US, capabilities to have China’s voice heard throughout the world. CCTV is also committed to speeding up its digitalisation process, deepening its Canada, Latin America, Asia, Europe and Southeast Asia. CCTV maintains co-operation with 241 media outlets in 140 countries management reforms, and steadily implementing the strategy of “extensive development and inand regions, and has 70 tensive management”. correspondent offices and CC T V plans to push regional centres around the traditional TV inthe world, with the goal dustry to develop sideof increasing news gatherby-side with new meing and promoting interdia technologies and new national communication. business, and will conCCTV is taking an active tinue to make efforts to role to expand exchangexpand the areas covered by es and co-operation with its programmes and boost major foreign media and its ratings. With its expanddeepen co-operation with ed presence at markets such countries around China. as MIPTV, CCTV aims CCTV will make consistto “open up new prosent efforts to improve its pects to reach its objecglobal influence. CCTV’s tive to be a major internaprogrammes have been tional television player, and broadcast through digital one of the world’s leading optical cables, satellites broadcasters”. and the internet. All of CCTV boasts world-class advanced equipment and facilities

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Chinese documentaries at MIPTV The launch of the CCTV Documentary Channel at MIPTV means there is a wealth of documentaries from China on show in Cannes. Here are some of the highlights …

THE FORBIDDEN CITY 100

THE FORBIDDEN City was an imperial palace that is now the Palace Museum. It is also a showcase of Chinese civilisation. This documentary consists of 100 six-minute parts and tells the stories behind 100 buildings in the Forbidden City. It shows many areas that have never before been open to the public, including some private spaces and sites for religious rites used by the imperial family, as well as traditional and mysterious architecture and art. A variety of cinematography techniques are used in the documentary, and the first Sony SRW9000 digital camera available in the world ensures the highest quality images of the Forbidden City ever made, clearly showing the functional and aesthetic value of the buildings. The Forbidden City 100 will be shown on the CCTV Documentary Channel in 2012

THE NANHAI I

THE NANHAI I, a ship dating from the early Southern Song Dynasty (1127-1279 AD) was used to transport chinaware through the Marine Silk Road before it sank in the South China Sea. It was discovered in 1987, providing a precious source of information for the study of the Marine Silk Road and China’s ceramic history. The three-part documentary shows for the first time the entire process of refloating the ship, showing the scientific methods employed and images from all angles. The recovery of the Nanhai I demonstrates the progress being made in China’s underwater archaeology. The valuable cultural relics shown in their original state and underwater scenes captured by HD camera demonstrate the vitality and wonder of Chinese civilisation and history. The Nanhai I was shown on the CCTV Documentary Channel in 2011 10 I

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A BITE OF CHINA

CHINESE food is becoming more and more popular all over the world. It is easier to learn about China through cuisine than through history, geography or any other aspect of its culture. This seven-part series from the CCTV Documentary Channel is the first-ever made about high-end Chinese cuisine. We travel to 60 different locations across the country to film hundreds of Chinese dishes. The programme introduces the ingredients, cooking techniques, processing methods and flavours used in Chinese cuisine. This show is a comprehensive look at China’s grand gourmet culture that also illustrates the longstanding traditions and culture of the country. Through this look at Chinese cuisine, viewers can learn more about Chinese people and their life. As they say, ‘You are what you eat!’ A Bite Of China will be shown on the CCTV Documentary Channel in May 2012

CHINA’S MEGA PROJECTS

THIS five-part documentary series focuses on major large-scale construction projects under way in China, including the Beijing subway network, which will be one of the largest in the world. Other projects include the Shanghai Central Tower, the world’s highest eco-friendly building now under construction, and the Hong Kong-Zhuhai-Macao Bridge, which will be the longest sea bridge in the world. China’s Mega Projects will be shown on the CCTV Documentary Channel in October 2012. A tanker ship for super-liquefied natural gas now being built is one of the most difficult civilian shipbuilding projects ever tackled and has been called, “the pearl in the crown of the shipbuilding industry”. This series has great visual impact through the use of aerial and underwater photography, and gives viewers a thrilling look at a rapidly developing China. China’s Mega Projects will be shown on the CCTV Documentary Channel in October 2012

THE SILK ROAD

THE SILK Road, the longest road in the ancient world, not only linked East and West, but also changed the course of civilisation. This the first documentary to present the complete history of the Silk Road, and explain the coming together of eastern and western civilisations. The Silk Road will be shown on the CCTV Documentary Channel in December 2012. The eight-part series traces both the geographical and temporal route of the road as well as its political, economic, cultural and military past through two millennia of Eurasian history. The documentary also uncovers fantastic stories from the Silk Road. From a historical perspective, the series follows the extraordinary history of cultural exchange between ancient civilisations. Silk Road will be shown on the CCTV Documentary Channel in December 2012.

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INTERVIEW CCTV Documentary Channel one year on As the managing director of the CCTV Documentary Channel, Liu Wen is tasked with presenting China’s best factual output to the world as well as acquiring international content for domestic audiences. He tells CMMI about the channel’s growth and his strategy for co-productions

OU HAVE been on air for a year now. How is the channel performing? What have you learned and what changes have been implemented? “CCTV Documentary Channel began broadcasting worldwide on January 1, 2011, in both Chinese and English. In the past year, the channel’s coverage has extended to over 60 countries and regions. We have more than 25 million international subscribers, and over 660 million domestic viewers. The highest daily audience number exceeded 94 million, and the channel’s audience share has doubled in its first year. With well-educated and influential viewers, CCTV Documentary Channel has had a sustained impact and gained widespread recognition in the industry, attracting well-known international advertisers. “In 2011, CCTV Documentary Channel’s contractual income from advertising exceeded RMB200m ($31.7m). Within the industry, CCTV Documentary Channel is the largest production and acquisition platform. We are a driving force in both the domestic and international markets. “All of the above suggests that CCTV Documentary Channel is the fastest growing channel in the CCTV family, and we try to give our audience a multi-dimensional view of China.” Your channel is taking a very high profile position at MIPTV this year. What do you hope to gain? “MIPTV is the biggest and most influential TV festival in the world. We hope that this time, more production companies will have a better understanding of CCTV Documentary Channel. So far, the channel has established long-term co-operation with many international TV organisations, including BBC, NGC, ITV, NHK and KBS, etc. We would like to work with more of our colleagues from around the world, particularly on some co-production projects.” Can you give producers at MIPTV an indication of the type of projects and deals you are looking for? What is the budget range for these deals? “As far as co-production is concerned, CCTV Documentary Channel 12 I

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has ﬁve approaches. First, on topics related to China: This is jointly funded by C C T V D o c u ment a r y Channel and international partners and produced by experienced documentary makers. Secondly, on topics of common interest: This is jointly funded and produced by both parties. Thirdly, on global topics: CCTV Documentary C h a n n el c o nt r i but e s to part of the funding. Fourth, regarding international editions of CCTV Documentar y Channel programmes: This is jointly produced by CCTV Documentary Channel and international partners, and it can be distributed worldwide by a third party. Lastly, on special topics: We invite experienced documentary makers to participate in the production process. “Since the beginning of 2012, CCTV Documentary Channel has initiated seven co-production projects, including China’s Hidden Landscape – Sinkholes, jointly funded by CCTV Documentary Channel and NGC and distributed by ITV GE; the BBC production Generation Earth (a three-part series); and Wonders Of Life (a ﬁve-part series), funded by CCTV Documentary Channel; Himalayan Gold Rush, co-produced by CCTV Documentary Channel and Kwanza, and directed by Eric Valli, who was twice nominated for an Oscar for best documentary. For common topics, we normally invest €500,000; for major productions, we are prepared to spend between €1m and €2m. “We would like to work with companies that have abundant resources

INTERVIEW and rich experience in every field. On China-related topics, we may be going into joint productions, including on war and many other themes. “We would also like to work together with those who specialise in a particular field, such as underwater filming, special cinematography, animation, music composition and special effects.” How many hours of foreign documentaries will you buy this year? What are the major sub-genres you are interested in? Which regions and companies have you bought from? “CCTV Documentary Channel transmitted over 1,000 hours of programming obtained overseas in 2011, and that will only increase in 2012. CCTV Documentary Channel has introduced documentaries covering many aspects, such as nature, history, technology, culture and society, etc. These programmes have attracted a large audience and have helped boost the image of the producers. We are currently selecting documentaries from over 60 companies in 20 countries. These programmes include: Human Planet, Frozen Planet, Life, Planet Earth and Wonders Of The Solar System from the BBC; Treasure Seekers from NGC; Clash Of The Dinosaurs and Speed Of Life from Discovery; How It Was, Up and Words Of The Titanic from ITV; Apocalypse: The Second World War and Global Food from France 2, etc.”

CCTV’s doc channel: aiming for quality

HE CCTV Documentary Channel management and production team is dedicated to producing documentaries that have impact in China, and its goal is “to make the channel among the best in the world”. The CCTV Documentary Channel also has a team of consultants including some of the world’s leading documentary makers, award-winning producers and production houses. Their experience and knowledge has helped build up the channel’s network brand and worldwide distribution.

Award-winning programmes include: The Forbidden City; Rediscovering The Yangtze River; Rise Of Nations; Forest China; Hong Kong 10 Years On; Macao 10 Years On; The Power Of Corporations; The Summer Palace; When The Louvre Meets The Forbidden City; The Bund; Nanhai I; The Forbidden City 100; and Behind The CCTV Spring Festival Gala. Consultants to the CCTV Documentary Channel include: French actor and ecological documentary producer Jacques Perrin; American documentary ﬁlmmaker and writer Steve Burns; British documentary maker Phil Agland; French documentary producer Yves Jeanneau; and Yukihiko Amagi, former executive vice-president of NHK Enterprises.

Can you give us your top ﬁve list of suitable subjects for Sino-foreign co-production in 2012-2013? “Co-productions between CCTV Documentary Channel and international agencies do not have to focus on topics only related to China. We are also looking at global issues. As I see it, many Chinese topics are of interest to documentary makers, such as the economy, cultural heritage, nature and wildlife, as well as environmental protection. The efforts and changes the Chinese people have made in recent years are all possible topics for co-production. On global issues, CCTV Documentary Channel will focus on topics of major signiﬁcance, such as big events in human civilisation, notable wars and other historic events that greatly impacted the world, etc.”

The CCTV Documentary Channel management team: Chen Xiaoqing (left), director of programme operations; Shi Yan, deputy managing director; Liu Wen, managing director; Zhou Yan, deputy managing director; Shi Shilun, director of programming department

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CCTV’s doc channel: aiming for quality

CCTV Documentary Channel’s eight international consultants at the Sichuan TV Festival in 2011, from the left: Rosa Crescente, general director of independent production company Capito; Michel Noll, president of Solferino Images/ICTV; Georges Leclere, founder and president of LGMA; Christopher Oliver, senior manager of state and industry partnerships at Screen Australia; Phil Agland, multi BAFTAand EMMY-winning director amd producer; Yukuhiko Amagi, former executive controller of NHK Enterprises; Steve Burns, former executive vice-president of global content for the National Geographic Channel and Discovery Networks; and Yves Jeanneau, founder and general commissioner of Sunny Side of the Doc.

Liu Wen, managing director of CCTV Documentary Channel, presenting awards to honoured consultant Jacques Perrin, in 2011

CCTV DOCUMENTARY CHANNEL - PRIMETIME SCHEDULE 18:00 – 24:00 CCTV Documentary Channel (Chinese Language): first runs

19:00 – 23:00 CCTV Documentary Channel (English Language): first runs

18:00: Top Pick; top domestic documentaries 19:00: Kaleidoscope; documentaries from around the world. 20:00: Geography And Humanities, nature, geography and science programmes 20:30: Portrait Of Real Life, real life stories in contemporary China 21:00: Outlook, nature documentaries from around the world 22:00: Special Edition, award-winning domestic documentaries 23:00: Road To Discovery, archaeology and discovery topics 23:30: Legends Of History, famous figures and events from history

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FEATURE Co-producing with China

With factual genres now forming a key part of China’s strategic plan to engage the world with high-quality content, Rowan Simons investigates the state of the domestic industry and looks at how CCTV Doc is using coproduction to tackle major topics

N DECEMBER 2010, the State Administration of Radio, Film & TV (SARFT) issued a landmark document that propelled the word ‘documentary’ to the forefront of China’s domestic media agenda. In doing so, it delivered all China’s TV stations and production companies with an executive order to achieve the largest expansion in production and broadcast of factual content in history. Modestly called Suggestions On Accelerating The Development Of The Documentary Industry, the document demanded a sharp reversal of a situation in which the broadcast ratio of domestic to foreign productions is widely reported to have reached between 1:15 and 1:20 over the last decade. The notification obliged provincial broadcast regulators to recommend a maximum of ﬁve China-made documentaries to SARFT on a

quarterly basis. Meanwhile, national players such as CCTV, the China Film Group, CND Film Group and China Education TV, are invited to directly recommend films to SARFT. A year later, the 2011 China Documentary Development Report, China’s first ever annual review, was released in Beijing, showing the status of the industry at the start of the new national effort. According to the report, production of TV documentaries by provincial and above broadcasters reached 5,094 hours in 2010. CCTV contributed 3,027 hours with provincial-level TV broadcasters producing a total of 2,067 hours. The top provincial producers were Shanghai Media Group (599 hours), Chongqing TV (199 hours) and Yunnan TV (192 hours). Meanwhile, just seven documentary films screened in theatres in China in 2010, with total box office reaching RMB26.295m (US$4.141m) or 0.25% of China’s total box office. www.miptv.com I Focus on China I April 2012 I 15

FEATURE is also ensuring it benefits from China’s The report also noted that social life- and strong diplomatic relations. For example, history-related documentaries accounted 2012 is the 40th anniversary of the estabfor 88% of productions approved by the lishment of diplomatic relations between Ministry of Culture, while only 12% foChina and a number of countries, includcused on natural history and environmening the UK. tal protection. The report also said that As Tian explains, the Olympics and only 155 China-made documentaries were Paralympics in London this summer prosold and distributed overseas during 2010. vide the perfect backdrop for a landmark Just 14 months from the original suggesco-operation. “As an important cultural tions, we are starting to see how the new component of the London Olympics, the impetus is affecting production at the British Museum and V&A Museum will top end. Hot on the heels of that notice, be putting on an exhibition of Chinese exthe launch of the CCTV Documentary port porcelain at the National Museum of Channel (CCTV Doc) on January 1, 2011 China and we are working with the British reflected the global importance attached side on a documentary. In addition to to the genre at national government level showing how the two museums prepare and it is the first broadcast platform deand ensure the safety of the relics, we will signed to showcase the best of Chinese give viewers a better understanding of poroutput. celain culture and the history of trade beWhile all broadcasters are being encourtween China and Britain. It also shows the aged to invest more into stand-alone docdifferent lifestyles in each country and umentaries, CCTV Doc is starting at the clearly demonstrates the impact that East top with some of the biggest names in the and West have had on each other.” international game. With unrivalled access CCTV Doc is not just investing in interto China’s incredible natural landscapes national co-pros, but also co-produces and unique insight into its human achievewith Chinese partners and acquires local ments, the scale of ambition is clear. titles. Domestic output across all factual In a prelude to the channel’s official interHimalayan Gold Rush, a CCTV and Kwanza co-production categories is still dominated by in-house national launch at MIPTV, CCTV Doc held a Key Programs Promotion Conference in Beijing in late February TV station productions and it is only at the higher end that dedicated at which details of a series of partnerships first announced at the Sichuan production companies have emerged to trouble CCTV Doc or internaTV Festival in November 2011 were released. Among them, an episode tional markets. Nevertheless, CCTV Doc is committed to bringing through domestic with NGC and ITV GE called China’s Hidden Landscape – Sinkholes. According to Tian Yuan, head of international acquisitions & co-pro- films and several of the 14 new documentaries it aired in March 2012 duction at CCTV Doc, “the documentary takes viewers inside one of are local productions. Those to win coveted slots included Wild Animal the most extraordinary landscapes on earth. In a small area of Guangxi Photographer, Stephon Marbury In China and the feature length Zhuang Autonomous Region, there are more giant sinkholes — known Searching, all productions that came to CCTV Doc’s attention as a rein Chinese as sky pits — and more supersized caves than anywhere else sult of the ‘Vigor China’ creative tendering process it ran last year. on the planet”. The co-pro is expected to finish production by September CCTV Doc is understood to have a pipeline of deals ready for inking at MIPTV, including co-productions with major independent producers and to premier in 120 countries around the world. Building on the success of Wild China (2008), CCTV Doc also an- from Europe and Asia. nounced further deals with the BBC with which it will jointly produce episodes of the strand Generation Earth, which captures the scale of man’s ambition to reshape the face of our world in an era of extraordiDOCUMENTARY CELEBRATIONS IN CHINA nary change. Also on the BBC-CCTV slate is Wonders Of Life, which THERE ARE two dedicated international-level awards for documentary recognised by SARFT, both discovers how a few fundamental laws gave birth to the most complex, held as part of larger documentary festivals. diverse and unique force in the universe. The Sichuan TV Festival (SCTVF) has been held on alternate years since 1991 and the Festival’s In an experimental approach which uses the latest advances in camera Golden Panda Awards are still regarded as one of the premium factual accolades for foreign technology as well as the spontaneous demos used in the popular Wonders documentaries in China. Meanwhile, the Guangzhou International Documentary Festival has set its sights on becoming the Of The Solar System, the series will uncover the secrets of life in the most premier awards event within three years and welcomed over 680 documentaries from 56 countries at unexpected locations and in the most stunning detail. The films are exits last edition in December 2012. pected to premiere on BBC 1 in the UK in December this year. Several national-level awards and networking events are emerging in line with the increased focus Also on the list of productions set for global distribution in Autumn 2012 on factual content. These include the first China Documentary Academy Awards that was jointly is Himalayan Gold Rush, directed by twice Oscar-nominated French launched by the Communications University of China and the China Documentary Research Center in documentary maker, Eric Valli. A co-production with French producDecember 2012. tion company Kwanza, the documentary tells the story of a Nepalese The China Documentary Film Working Committee under the China Radio and TV Association also family as they make their living searching for caterpillar fungus in the organises events through the year. Other specialist events include the bi-annual China International most dangerous parts of the Himalayas. Conference of Science And Education Producers and the China Family Documentary Film Week. With its status as the national documentary flagship channel, CCTV Doc 16 I

Focus on China I April 2012 I www.miptv.com

Chinese dramas on show in Cannes Ma Runsheng, president of China Radio, Film & Television Program Exchanging Center, and assistant to the president of China International Television Corporation, invites MIPTV delegates to the China Pavilion to experience Chinese content …

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H E C H I NA Radio, Film & T V Program Exchanging Center is part of the China International TV Corporation (CITVC), China’s largest TV media industry group. A wholly owned subsidiary of China Central TV (CCTV), the corporation has a chain of enterprises across the TV industry and has developed an operational system, putting traditional media industries at the core. “Our content library is one of the biggest in China, our target is to develop with the

global ﬁlm and TV industry and share highquality programming content with the world,” Ma says. “Since we ﬁrst set up our exhibition stand in 1994, we have not missed any MIPTV festivals. We have gained a great deal from sharing excellent programmes and negotiating our industry’s development in Cannes, and we bring our updated high-quality programmes to this year’s MIPTV with our sincere hopes for co-operation.

New dramas from China include: MYSTERY IN THE PALACE (37 X 47 MINS/HD), STARRING GAN TINGTING, ZHENG JIAYING, MI XUE AND LIU TINGYU

This is a drama about the court conspiracies and politics between royal wives, princes and officials during the reign of Kang Xi. Though royal by lineage after a tryst between her mother and the Emperor, Han Xiang works as a maid at the imperial palace in order to find out who murdered her mother 18 years before. Han Xiang discovers that the crime involves Kangxi, the Empress Dowager, the concubine Lotus, the Prince and her mother’s birth parents. But who is really to blame?

CHINESE DETECTIVE (30 X 47 MINS/HD), STARRING NICHOLAS WU, WALLACE HUO, YAN KUAN, HE ZHUOYAN AND WANG WENJIE

Set in ancient times, this series concerns two legal advisors in China — Tianchu Meng, an Italian-Chinese who comes to China to find his father and Ping Duan, a well-meaning peaceful man. Both have their skills, and though they are good friends and good partners, they fall in love with the same girl. They have to deal with their complex relationship as well as tracking down criminals.

SWORD HEROES’ FATE (33 X 47 MINS/HD), STARRING NICHOLAS TSE, CHARLENE CHOI, KENNY KWAN W. JR, YUMIKO CHENG AND WU YAQIAO

In the year 2030, a huge online game called JX003 allows gamers to enter by using special sensors that take them through time as avatars. In a trial run, the gamers are transported to the era of the Sword Heroes, 753 AD in the Tang Dynasty. But the system is hacked and the gamers’ memories are blocked, sealing off their exit from the game. The hacker discovers the secret of the Jade Of Nine Heavens, and tries to become a multirole player who brings chaos to the swordsman world, leading to a series of revenge killings. Meanwhile, those in pursuit of the hacker begin a battle that takes place in both the virtual and real worlds.

INTERVIEW CITVC’s Cheng Chunli Cheng Chunli, deputy general manager of China Radio, Film & Television Program Exchanging Center, China International TV Corporation (CITVC), was the ﬁrst recipient of Reed MIDEM’s Platinum Award for her services to Chinese television exports. She has 20 years experience in the business, has brought the best Chinese content to international markets, and has made a considerable contribution to the growth of Chinese broadcasting outside of China

OU HAVE been coming to MIPTV for nearly 20 years. How has China’s involvement has changed over this time? China’s involvement has endured a lot of changes. In the past, only four or five influential provincial television stations joined forces to hold a small exhibition in the China United Pavilion. They had few marketable programmes and limited experience of the international stage. During the past five years, China has attached great importance to co-operation with international media organisations. As a consequence, dozens of exhibitors have joined in the event. They have set up increasingly-bigger exhibition stands, as well as putting more investment into advertising. Television stations have made full use of the platform to sell China’s high-quality programmes overseas and organise a variety of television programme forums. They have widely sought opportunities for international co-operation, ranging from producing together with foreign counterparts, packaged re-versioning and introductions to mutual programme broadcasting in certain time periods. China is opening to the world with an open mind and an internationalised view. This year, you are pushing the documentary sector. What are the major productions you are presenting for sale this year? China Central Television (CCTV) set up a new channel for documentaries on January 1, 2011. Since its establishment, the channel has won rising influence and ratings. Apart from producing outstanding documentaries, the channel has introduced a number of excellent programmes of high quality from other regions and countries. To allow more people to experience Chinese culture and more international media to understand how China’s television programmes are produced, we will hold a forum on China’s documentaries and display many good new documentaries during this year’s MIPTV. To name a few, Nanhai 1 tells a little-known and amazing story about the salvage operation of a shipwreck from the Song Dynasty. The Forbidden City 100 is a story about the ups and downs of the 100 buildings in the Forbidden City. The Silk Road introduces the history of the trade route that has been of worldwide significance over centuries. China’s Mega Projects reports on the unknown story of the top buildings in the country. A Bite Of China helps people to understand China and get a taste of life by casting light on Chinese food. I’d like to take the

opportunity to tell friends in the industry that these documentaries may not be tailored for you but they probably suit your broadcasting plans and may bring good ratings. The programmes are made with integrity and will not let you down. I am looking forward to sharing them with you! Every year, CITVC introduces some major TV dramas that have been successful in China. What are the top picks this year? It is widely known that MIPTV is the world’s biggest programme trading fair with an international footprint. As different countries differ in their programme demands, we have prepared newly made historical dramas for those interested in Chinese television series. King’s War is a history of the lifetime of Emperor Gaozu of the Han Dynasty, Liu Bang, and the war between the states of Chu and Han. Chinese Detective tells an engaging story about two leading actors solving a series of complicated and thrilling cases. Mysteries In The Palace presents hidden mysteries that took place in the imperial palace. Sword Heroes’ Fate is a high-end TV costume drama. We will also introduce the modern drama Beijing Love Story, which tells of the romance encountered by three young male graduates as they enter society. There will also be other categories of programmes, including documentaries and cartoons. CITVC has several businesses, what other opportunities are there for international companies to co-operate with CITVC? www.miptv.com I Focus on China I April 2012 I 19

China Central TV Events In Cannes We have promoted further co-operation with foreign media in the ﬁeld of international coproduction. We have launched Project China together with National Geographic Channel (NGC) to select outstanding documentaries across the country. Thanks to our investment, the selected documentaries will be broadcast on NGC and CCTV, then introduced to a worldwide audience and will be shown at MIPTV. Our international projects have covered a wide range of topics. Seven Wonders Of China, jointly produced with British-based Lion Television, displays seven incredible wonders from a distinctive new point of view. Through co-operation with Japan’s ACC, we produced the programme Renaissance Of Confucianism which charts the growth of Confucianism in China, Japan and South Korea. Maritime Silkroad, an outcome of our co-operation with Germany’s 2K Media, is about the well-known navigation channel linking the three continents of Europe, Asia and Africa. We are looking forward to discussing more co-operative programmes during MIPTV.

A number of events have been scheduled to coincide with the expanded China presence at MIPTV this year. Put these dates and times in your schedule … CCTV Documentary Channel - China Networking Lunch 13:00, March 30, 2012 Salon Croisette – Majestic Hotel An Hour With CCTV Doc: Meet The Decision Makers 9:30 - 10:30, April 2, 2012 Audi K, Palais des Festivals SARFT Production Workshop 17.00 – 18.30, April 2, 2012 Blue Lounge, Producers’ Hub, Gare Maritime Producing Chinese Content For International Markets, hosted by SARFT – The State Administration of Radio, Film and TV, China Moderated by Rowan Simons, director CMM Intelligence Address: Cao Yin, deputy director-general of international co-operation department, SARFT Speakers:

CITVC organises the China United Pavilion at MIPTV. Why is it beneﬁcial for China to join together at major markets? Which other groups or companies can we ﬁnd at the Pavilion this year? China’s media companies are coming together at MIPTV to help delegates to get to know China and to understand fully the country’s development in programme creation and production. CCTV’s documentary channel will debut at MIPTV, making this year’s China United Pavilion different from previous ones. At the same time, many Chinese media companies will participate in MIPTV, including the BBPA, the State Production Base of China Film Group Cinema Animation Company, JSTV, Hubei Universal Film & Television Corporation, Chongqing Xianghong Film & TV, Changzhou Creative Industries Park, International Distribution Department of Fantawild Animation Inc. and Beijing Orient Henghe TV & Movies. To come together at this event as a whole will help the exhibitors better communicate with each other. At this year’s MIPTV, we will invite outstanding directors and producers from home and abroad to be present at a special forum hosted by the State Administration Of Radio Film and TV (SARFT) and organised by CITVC, to share their experiences. We hope that our Chinese friends will bring some new Chinese elements to MIPTV and colleagues from around the world are sincerely welcome to the China United Pavilion.

Ma Runsheng, president of China Radio Television & Film Program Exchanging Center and assistant to the president of China International Television Corporation Topic: Serving the international market with international versions Bruce Johnson, senior producer and president of FoxField Entertainment, USA Topic: How can we present Chinese stories worldwide Pierre-Richard Muller, senior producer and developer in France, and president of Artedis Topic: Multi cultural subjects which should be developed to create a worldwide interest Liu Wen, managing director of CCTV Documentary Channel, China Topic: International co-production of documentaries Pedro Tinoco, president of Venevision Studios, Venevision International Productions and Venevision Productions Topic: The experience of Venevision in establishing a television production company in a foreign country Michael Mu, deputy general manager of Beijing Zhongbei TV Art Center, China Topic: The problems we face in international co-productions Igor Prokopenko, producer general of REN-TV, Russia Topic: Chinese Elements in documentary production Hanson He, deputy general manager of Gcoo Entertainment, Croton Media, China Topic: How to further the inﬂuence of Chinese drama in global markets Yair Sklan, vice-president marketing at Dori Media America Topic: TV drama formats are the ideal way to overcome cultural and historical differences Sean Chu, executive producer, vice-president of Ciwen Kid + Ciwen Rights, Ciwen Media Group, China Topic: How to partake in international co-productions

CCTV In Cannes Dinner A senior level networking event for Chinese and international TV executives

19:45 - 21:30, April 2, 2012 Salon Acajou 1, Hotel Martinez