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The entertainment industry is driven to sell certain commodities transnationally, particularly in a world where borders are becoming increasingly diffused through the access afforded by the Internet. Media content is easily consumed, making cultural exporting fast and easy. Similar tropes and plot have been replicated in the East Asian film and TV industry, perhaps in hopes of replicating the success. This paper looks at the manufacture of ideal masculinities within East Asia, particularly China. From ex-members of K-pop group EXO to the successful TV series, cross-influence of East Asian popular culture is prominent. Through this paper, I look at the influence of K-dramas on the Chinese TV industry and particularly the manufacturing of a militarized masculinity on Chinese TV. Far from portraying brute and fearsome soldiers, ideal masculinity on TV is portrayed as "steely exterior but gentle internally" and thus desirable romantic partners to heterosexual women. By exploring the basic conception of Chinese masculinity, I then discuss representations of militarized masculinity on the silver screen (Wolf Warrior II) and C-dramas, with particular focus on the series, You Are My Hero (2021). [ABSTRACT FROM AUTHOR]

Over the past decade, production in China’s television sector have reshaped media cultures across the country as well as the geocultural region of East Asia. Through analysis of licensed reality television programs such as China’s Got Talent, this paper examines transnational television formats and their circulation and replication in contemporary China, challenging the traditional concept that television format trade falls within a West-Rest narrative. While highlighting the cultural and media phenomena of interactive ‘glocalization’ of cultural products, this paper calls for de-westernization in approaching Chinese and East Asian media studies. It does so by pointing out unique imitating and adaptive practices of Chinese unscripted television programs, which serve as case studies to the existing literature of television business and cultures. The practice of licensing formats provides a unique perspective into analyzing China’s media strategies in a globalized industry and reviewing the current scholarship on media globalization. With a comparative analysis, the paper attempts to reconceptualize the spatiality of East Asian media production and consumption. I also include my observations while working on the production teams for these programs. [ABSTRACT FROM AUTHOR]

Exploring prehistoric variation in human–environmental interaction is critical for understanding the historical patterns and mechanisms of long-term human–land evolution. In this paper we review the published radiocarbon and optically stimulated luminescence (OSL) data from Late Paleolithic, Neolithic and Bronze Age sites in China, analyze the spatial–temporal distribution of these sites, and compare it with the results of recent paleoclimatic and archaeological studies. We seek to study the trajectory and influencing factors of human–environmental interactions in late prehistoric China. We detect changing patterns in the relationship between humans and the environment during different phases of the prehistoric era in China. Climate change clearly affected the environment of hunter-gatherer groups between 50,000–10,000 BP (before present, defined as 1950AD), and variation in human population in Neolithic China (∼10,000–4000 BP) was likely influenced primarily by the development of agriculture, in addition to substantial climate events. The spatial scale of human settlements expanded in the Bronze Age (∼4000–2200 BP) in a period of cooling climate. During this time the impact of human activities on the environment increased significantly, primarily caused by technological innovations related to the onset of prehistoric transcontinental cultural exchange in Eurasia. [ABSTRACT FROM AUTHOR]