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In my introduction to the CMC’s training courses, I always suggest the delegates take the short walk over to 22 Frith Street where a blue plaque commemorates the house in which John Logie Baird first demonstrated television to the public. It seems wonderfully fitting they have come from the far side of the world to learn about TV so close to the spot where the medium was born.
I don’t suppose we have anything to teach the Chinese about building a television set these days, but I do believe the creativity, professionalism, and flair of British TV professionals can challenge the delegates to raise their standards. The talented and hard-working Chinese producersmake the shows we make, but they don’t make them the same as we do. And their presence here in London indicates they want to see what they can learn from our practices.
The course starts by focusing on the development of new programme ideas, but not just any ideas, ideas that are fresh and bold, and have the audience’s needs at their heart. For producers from China, which in the past relied on importing – and sometimes copying – popular formats from the outside world, and where development can be a top-down process, this can be an exciting prospect. They certainly throw themselves into the task of brainstorming ideas with great enthusiasm.
Next come sessions with some of the UK’s most experienced programme makers, who talk about their shows, their companies, and their careers. These are people who have followed their passions, moved freely between companies or started their own, and operated without the burden of ever-shifting government controls. The delegates might be shocked by the language, behaviour, and ideas in some of the clips they are shown (even tattoos have to be covered up on Chinese TV), but this is what television looks like, for better or worse, in the Anglosphere.
As the course moves towards its end, the delegates meet production specialists who are respected for their skills and experience, and usually don’t have to live with the tinkering of politically appointed bosses. They hear about a culture where the management of budgets, schedules, and resources is done solely to produce better quality, better value programmes, and any abuse of this trust would spell the end of a career or contract.
Another of my favourite introductory comments is to stress we are not trying to tell delegates what to do, but rather to explain what wedo and encourage them to decide for themselves whether it will work in China’s very different media landscape. As one of the delegates explained to me, “It has to be Emperor’s Palace not Buckingham Palace.”
Nevertheless, along with their purchases from Oxford Street, Princes Street, and Bicester Village, I’m hopeful the delegates will also take home the best that British TV can offer, and get many years of use from it.
Although CMC was set up to be a research centre within the existing Culture and Media Research Institute, it was tasked with being self-supporting after two years. So early on, we sought contracts for consultancy or professional development courses and our first client was the Foreign and Commonwealth Office.
The FCO tasked us to persuade the Chinese government’s State Council Information Office (SCIO) to let us brief Chinese media handlers in advance of the 2008 Olympics. Then the FCO would pay us to deliver briefings. We argued to the SCIO that their people really didn’t know what was going to hit them when China would be opened to the world’s media in 2008. Their spokespersons, media handlers and ‘press officers’ needed to be prepared. The SCIO agreed and we subjected around 600 of them tour briefings, the senior, national ministry, spokespersons were in London and lesser fry in China. In China our courses were led by Ivor Gaber, the former ITN Executive Producer who is Emeritus Professor at Goldsmiths and now also a Professor at Sussex; Steve Hewlett, distinguished broadcaster and radio host; Dr Paul Lashmar, Nick Davies and Paul Kenyon, famous investigative journalists in the UK.
Briefing media handlers and journalists is a relatively small part of our portfolio of courses today but Chinese organisations still find it useful. The courses encompass four themes:
The roles of the media in Anglophone societies and the principles which underly them, principles such as impartiality, adversariality and detachment. How understanding where Anglophone journalists are coming from is essential to those who must deal with them.
Assumptions about and opinions of China in the Anglosphere. Here we expose them to, for example, how our media treat the Dalai Lama, view the Hong Kong demonstrations or the South China Sea issue and report the Xinjiang internment camps. And we tell them why we have strong views on these matters!
How the media are organised and regulated and the advantages and disadvantages to the polity of having a ‘Fourth Estate’ such as ours.
How journalists treat spokespersons, what they want to know from Chinese officials and the techniques they use.
The fourth theme is realised through practical sessions, typically a press conference and a crisis management scenario. Media handlers are asked questions that they would never be asked by their own journalists, such as:
How do you account for self immolation by Tibetan monks?
Admit that the dotted line justification for your South China Sea policy is nonsense and that your policy is imperialistic
How do you think of the corruption of China’s high-ranking officials?
How would you explain PLA’s aggressive activities in South China Sea area?
Don’t you think one of the purposes of China’s Belt and Road Initiative is to take resources from poor developing countries in Africa and Latin America?
Censorship of Internet and violation of freedom of speech such as in the case of Ai Weiwei and muslims in the Xinjiang area.
Rapid economic development at the high price of environment, serious air and water pollution.
The replies are often more imaginative than formulaic and demonstrate that the course participants do not have homogenous answers – at least while they are on a programme in the UK. Crisis management sessions have a similar function because the crises invented tend to be those which expose the negative – environment, exploitation of workers, persecution of religious and so forth.
The most valuable lesson from the Chinese perspective is that the participants are forced to see the other point of view; in so doing, they question their own ways of and their own policies. That is not to say that they are persuaded that West is Best but that they reflect on the differences between our two systems. Chinese officials from Liu Shaoqi to Zhu Rongyi have often championed a free-er media and I believe that our courses help to keep alive the idea that there are alternatives.
Every year students from all over China come to London to attend one of the summer schools organised by the China Media Centre. This year we had the pleasure of welcoming students from the Communications University of China, Guangdong University of Foreign Studies, Shandong University, Hubei University and Beijing Normal University-Zhuhai campus.
Spanning over three weeks the summer schools are a unique chance for Chinese students to learn about the UK’s Creative Industries in one of the most exciting cities in Europe — London! Besides attending a series of lectures delivered by leading experts and academics in the field, the students also have the opportunity to explore the capital’s vibrant artistic and cultural scene by taking part in a guided tour of London’s famous graffiti sites, as well as visiting the National Gallery, the British Museum and Wembley Stadium. During the weekends they even venture to Greenwich, Brighton and Cambridge, in study trips organised by the CMC.
The courses usually start with Professor Hugo de Burgh
delivering an introductory lecture of the UK’s media industry and the BBC’s role in British society.
Nino Cirone, former director R&D at Fremantle Media, lectures about the latest trends in TV and film in Britain and the USA.
Iain Overton, acclaimed author and investigative documentary maker, focuses on universal themes and structures in storytelling are important not just in fiction but also in documentary films.
Paul Youngbluth, expert on programme formats, discusses the latest trends in global entertainment.
Jacqueline Springer, Lecturer on Music at the University of Westminster, shows the students how different audiences and their taste help shape both the profile and the daily schedule of public and private radio stations in Britain.
David Morgenstern, former BBC Head Entertainment Development, explains in detail the process of developing a format for television from brainstorming to broadcast. It was a unique chance for the students to work in groups and come up with creative ideas for tv programmes.
David Sheppard, editor of Saatchi Gallery Magazine, provided a more detailed account of the creative industries and their relations to history, culture and politics in the UK.
Hugh Wooldridge, acclaimed theatre and television director, lectured on William Shakespeare’s legacy and the reasons for his continued cultural significance and global reach. David Sheppard, editor of Saatchi Gallery Magazine, provided a more detailed account of the creative industries and their relations to history, culture and politics in the UK.
The students’ creativity was put to the test by Maxine Relton, lecturer at West Dean College, who encourage them to develop their ideas into a work of art and design, by painting with different types of ink.
Paul Kenyon, BAFTA winning broadcast journalist and writer, draws on his own professional experience to show how exciting and rewarding (but also dangerous) can be the life of an investigative journalist.
Dr Li Jin, senior lecturer at University of Westminster, discusses in detail the latest developments in the gaming industry.
After learning about filming principles and techniques with Rob Benfield, former Senior Lecturer at UoW, the students need to complete the final task of producing in groups a short film that would capture the essence of London in just a few minutes. Their graduation depends on the successful completion of this challenging task!
Upon their return to China, some of our students shared their experiences with us:
“I am so pleased and privileged that the teachers at the University of Westminster helped me improve my self-confidence and determination to do something further in the field of media in the future!!! I remember our module leader’s thoughtful kindness and encouragement from beginning to the end, as well as Nino Cirone who highly encouraged me to go to the television station to show my talent in the graduation ceremony, Paul Kenyon who stimulated us not to be afraid of investigative journalism as before, now I rather want to have a try when I graduate! I also remember professor Hugo de Burgh who talked a lot with me about the academic sector of media and news as well as giving me many papers and books to read and think independently. I am so grateful for everything and hope to devote myself to the field of news media in the future to do something really significant!”
—– Tian Yuchen, 2nd
year undergraduate student of Journalism, Communications University of China
“Firstly, I’m deeply impressed by the curriculum of UoW, which is not only a comprehensive introduction of British cultural industry, but also intended to embrace critical thinking and creativity, especially the painting class and the ‘Hero’s Journey’. Secondly, through this study tour, London became my favourite city to visit again. Ancient Chinese thinkers raised the idea of ‘travel ten thousand li and read ten thousand books’. Undoubtedly, the study tour in the UoW added enormous charm to London’s cityscape through sightseeing. I found that London boasts vibrant and diverse dimensions. It means that the cultural industry in this city would enjoy an enormous potential. China has a lot to learn in its push for cultural industry. I hope that there will be closer exchanges and cooperation between UoW and CUC in a wide range of areas, in which I could have one more opportunity to visit the UoW again.”
—– Liu Xiaoyan, student of MA in Journalism, Communications University of China
“My learning experience at the summer school of University of Westminster is an experience I will never forget. There are the most professional and interesting courses, the most senior and amusing lecturers, and a perfect learning environment. What I have learned here gave me a comprehensive understanding of the Creative Industries as well as clarifying my career plan. Besides, I would like to express my gratitude to Professor Hugo de Burgh, the two books he gave me are thought-provoking. London is a lovely city, and the University of Westminster is fabulous, miss everything there!”
—– Li Yuchen, 2nd
year student of Broadcast Journalism, Communications University of China
Professor Hugo de Burgh visited the set of 《忘不了餐厅》Forget Me Not Café，the extraordinary hit among Young people in China. A reality show based in a restaurant run by people with Alzheimer’s and China’s top comedian Huang Bo (Chinese:黄渤). The Executive Producer and several of the large team are Westminster/CMC alumni. The programme is made by Tencent and broadcast on its Iqiyi platform.