Cultural Impact of Chinese Drama Towards Malaysian and Chinese Audiences

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Cultural Impact of Chinese Drama towards Malaysian and Chinese Audiences
Research · September 2021
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International Journal of Social Science Research
eISSN: 2710-6276 | Vol. 3, No. 3, 1-10, 2021
http://myjms.mohe.gov.my/index.php/ijssr
International Journal of Social Science Research (IJSSR)

eISSN: 2710-6276 | [Vol. 3 No. 3 September 2021]
Journal website: http://myjms.mohe.gov.my/index.php/ijssr
CULTURAL IMPACT OF CHINESE DRAMA TOWARDS

MALAYSIAN AND CHINESE AUDIENCES
Chan Pee Ven1*, Sriganeshvarun2 and Karen Sabina Freeman3

123
Faculty of Business, Communication and Law, INTI International University, Nilai, MALAYSIA
*Corresponding author: peeven.chan@newinti.edu.my
Abstract: It cannot be denied that of late the phenomena of

Article Information: Chinese TV dramas penetrating the Asian market has gained
Article history: the attention of media and audience. The ‘Story of Yanxi
Palace’ in particular has shattered records with 15 billion
Received date : 8 June 2021 viewers and was dubbed one of the top searches in Google
Revised date : 12 July 2021 search engine in 2018. This paper attempts to explore
Accepted date : 23 August 2021
Published date : 4 September 2021 various Chinese cultural values portrayed in this TV drama
and to understand whether the values portrayed in the
To cite this document: drama are authentic. It also aims at finding out the impact
this TV drama has on Chinese viewers and Malaysia’s
Chan, P., Sriganeshvarun, S., & Freeman,
K. (2021). CULTURAL IMPACT OF
younger generation. In the case of ‘The Story of Yanxi
CHINESE DRAMA TOWARDS Palace’, the values portrayed are authentic and in line with
MALAYSIAN AND CHINESE the Qing dynasty era but with a modern twist. It is also
AUDIENCES. International Journal of interesting to note that the Chinese audience are far more
Social Science Research, 3(3), 1-10. certain of their culture compared with the Malaysian
audience. This TV drama is found to have tremendously
impacted the Malaysian and Chinese audiences. Many
social media content creators continue to discuss related
issues such as culture and history.
Keywords: Cultural, impact, Yanxi Palace, Chinese drama,

Malaysian audience, Chinese audience.
1. Introduction
China today produces about 15,000 episodes of TV Dramas each year and has nearly 55,000 movie
screens (CGTN, 2018). In addition, with the advancement of technology, anyone can stream live
videos. The industry has added value to the country’s Gross Domestic Product (GDP) with nearly 3.5
trillion yuan in 2018 (up to 4.2% of China’s total GDP). China’s largest studio is in Hengdian (SCMP,
2019).
Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

eISSN: 2710-6276 | Vol. 3, No. 3, 1-10, 2021
Meanwhile, in Malaysia’s landscape, most Chinese TV dramas produced in Malaysia are in

collaboration with Singaporean media such as Media Corporation. Malaysia produces very few
Chinese TV dramas and is dependent on other countries.
2. Literature Review
Culture (Martin & Nakayama, 2014), can be defined as everything inside and outside of individuals.
Culture is learned. The way one eats, sleeps, seeks shelter, and, the motivation to love and be loved
are all part of culture. It involves patterns of perception, values and behaviour that is shared by a
group of people. Culture is not static; it is always changing and is heterogeneous. It also involves our
emotions and feelings.
Asian culture in China is very much embedded in Confucian values such as paternal authority,
educational emphasis and family values (Jocelyn Yi-Hsuan Lai & Liew Kai Khiun, 2020). In
Singapore, one of the earliest TV dramas, ‘The Little Nyonya’, reflects on its female ‘Nyonya’ as the
protagonist. It reflects a traditional Chinese culture called neo-Confucianism.
However, with the latest TV drama, ‘The Story of Yanxi’ that has become a hit across East Asia in
Sinophone areas, it has altered the culture of Confucian values. Instead, this TV drama portrays a
culture that reflects values contrary to Confucian values during the Qing era.
The ‘Story of Yanxi Palace’ has seen the most phenomenal audience growth in the history of Asia. It
was streamed 15 billion times during its premier in July to August 2018 and was acclaimed the ‘drama
king’ of the year. It was also one of the top searches in Google search engine (BBC, 2018) despite
Google being banned in China. It was then distributed to 70 markets worldwide (BBC, 2018).
Its leading actor and actresses have won numerous awards in the 5th China Actor Award Ceremony.
The drama represented China and won the Best Soap Opera in Asian Creative Awards in 2019 (Asian
Academy Creative Awards, 2019).
Despite the overwhelming achievement attained by this TV drama, critics believe that the drama has
defiled the social norms promoted by socialists. An official government newspaper, Beijing Daily,
criticized the program for failing to promote socialist values (Sina Entertainment, 2019). The drama
was later banned in China. Cable News Network and other media outlets called it Chinese censorship
(Andreas I., 2019).
This paper specifically investigates the TV drama called the ‘Story of Yanxi Palace’ and its
authenticity and impact on its audience from a cultural perspective.

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2.1 Problem Statement

By understanding the definition of culture, this paper seeks to explore the various Chinese cultural
values portrayed in Chinese TV drama in Malaysia. It also aims at understanding whether these TV
dramas portray authentic values and the extent of its impact on the younger generation.
The research objectives are:
1. To explore the various cultural values portrayed in the Chinese TV drama among
Malaysians.
2. To understand whether the values portrayed in the Chinese TV drama are authentic.
3. To investigate the extent of the Chinese TV drama’s impact on the younger generation of
Chinese and Malaysians.
3. Method
For the purpose of this study, the researchers chose the qualitative methodology as it involves relevant
methods to understand the rich content delivered in ceremonies, interpersonal communication and
soap opera dialogue. The researchers studied the influence of the rich Chinese culture and its
authenticity portrayed in the drama. Deetz, S. (1977) argued that the qualitative textual analysis is a
type of research where the researcher focusses and tries to find meaning by highlighting how the
social context is placed by using an interpretive means. The researchers handpicked certain scenes
and episodes portraying cultural authenticity by taking screen shots and studying the dialogue in the
drama.
Lewis-Beck, Bryman & Liao (2004, p. 341) stated that to understand and bring light to the thoughts
and feelings of a small group of subjects, a well-suited method is the focus group interview. In order
to achieve the desired outcome on understanding the authenticity of the portrayal of Chinese culture,
and, its influence on the Chinese people from two different countries, that is, Malaysian Chinese and
China Chinese, the researchers carried out the focus group research method. This method is valuable
to gain a better understanding of the rich cultural values portrayed in the TV drama and its impact on
the audience.
3.1 General Research Questions

The research questions are:
1) What are the various cultural values portrayed in the Chinese TV dramas among
Malaysians?
2) Has the producer of the TV drama portrayed the Chinese culture authentically, or, is there an
element of dramatization?
3) Has this drama created an impact on the audience?
The focus group discussion centred on these three questions.

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Besides conducting textual analysis, the researchers divided the focus group participants into two
groups namely: Malaysian and Chinese participants. Participants were required to watch at least 50
out of 70 episodes of the ‘Story of Yanxi Palace’. All participants reported watching all episodes and
only one participant from China reported watching 57 episodes. As the number of episodes were
extensive, the researchers provided participants with questions and handpicked scenes to help aid
with recall during the focus group session.
The scenes include ceremonies (ancestor worship, eating meat without salt, weddings, funerals,
release of new life), selecting concubines, ancient hierarchies, clothes and dining etiquette. A free
flow of thoughts and discussions ensued during the focus group based on participants’ recall of the
scenes. Below are some of the cultural scenes shown to the participants.
Figure 1 Figure 2
Figure 1 Ancestor Worship practice during the Qing dynasty is still practiced in some Sinophone cultures today.
Figure 2 Eating meat without salt symbolizes the suffering of ancestors as they could not enjoy a proper meal when
they were out for war.
Figure 3 Figure 4
Figure 3 Eating raw fish or meat symbolizes giving birth to babies to pass on the culture to the next generation.
Figure 4 The Emperor always dines alone and is not accompanied by concubines. The Emperor’s concubines are not
to interfere in the state affairs.
3.2 Collection of Information

Due to the Covid-19 pandemic, the researchers collected online secondary and primary data.
Secondary data is valuable in determining various categories and the conceptual refinement, while,
primary data is useful to keep focused on meaning and interpretation. The researchers recorded all
primary data from the focus group discussions on the Learning Management System.

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The participants were from China, aged 20-21 years, and mainly from the Sichuan, Shannxi, Anhui
and Jiangxi provinces. Participants from Malaysia, aged 19-22 years, and were from Selangor, Negeri
Sembilan, Melaka and Johor states. The focus groups were conducted on 10th & 24th April 2021.
3.3 Transformation of Data and Interpretation of Data

To ensure that the data collected during the focus group sessions are valid and reliable, the moderator
focused on asking questions related to the research questions. The researchers have also omitted the
moderator’s views when transcribing the interview transcripts. Similarity of themes and perspectives
between Malaysian and Chinese participants were then checked against each other to ensure their
statements are valid and reliable.
4. Results and Discussion

Below are the results and discussion after transcribing both focus group transcripts.
Research Objective 1: To explore the various cultural values portrayed in the Chinese TV
dramas among Malaysians.
It is interesting to note that most Malaysian participants in the focus group did not find any cultural
values portrayed in the TV drama. All of the Malaysian participants explained and agreed that most
content of the Chinese TV drama had little or no relation to cultural values.
The closest they felt that expressed cultural values is the cultural history (during the Japanese
occupation) and the collective culture (love story, human relationships in a family, friendships or
community) that kindled the emotions of the participants. One participant mentioned that some of the
episodes are similar to a novel that was adapted into a Children’s TV series called Pebbles (鹅卵石).
There was also similarities with other TV shows like The Quarters (猪仔馆人家) and The Little Nyonya
story, which are joint productions with Singaporean media.
Most Chinese TV dramas in Malaysia are imported from other countries. The first research question
was not applicable to participants from China. As such, they were not involved with this question.
Research Objective 2: To understand whether the values portrayed in the Chinese TV drama
are authentic or dramatized.
The second research question was posed to both the Malaysian and Chinese participants. It is
interesting to note that the Chinese participants were able to deliberate well on the cultural issues.
Almost 90% of participants answered “Yes” when asked if the values portrayed in the ‘Story of Yanxi
Palace’ were authentic. However, in the matter of restoration of cultural history, the accuracy of
cultural restoration in the TV drama according to the Chinese participants is between 40-50%.
The Chinese participants found that the Chinese cultural elements were authentic in scenes of
weddings, funerals, ancient hierarchies’ system of inferiority and interpersonal communication.

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Further, details about handicrafts such as the embroidery of velvet flowers on silk cloth and women
wearing three earrings on one ear are also true and authentic.
The ancient hierarchies’ system (the ancient feudal society of China) has a very powerful hierarchy.
For example, the leader of China is the Emperor and the Emperor can make decisions on anything.
However, the leader of the harem is the Empress. Although the Empress is the head of the palace,
nevertheless, the Empress Dowager restrains her. This finding is consistent with Jocelyn Yi-Hsuan
Lai & Liew Kai Khiun (2020) that emphasizes on paternal authority.
Other authentic parts of Chinese culture include the Kunqu Opera (My TV Super, 2018) in Figure 5
as portrayed in the drama. It was recognized as an intangible Chinese cultural heritage in 2001. The
Fire Tree of Yinhua (Figures 6 & 7) in Episode 32 is also very famous in China. However, the Chinese
participants expressed concern that the skill is becoming less and less common and is in danger of
becoming extinct.
Figure 5 Figure 6
Figure 5 Imperial Noble Gao performing Kunqu Opera.

Figure 6 A worker carrying a fire element before displaying fireworks during ancient times.
Figure 7 Figure 8
Figure 7 Fire Tree of Yinhua.

Figure 8 An embroidery needle was found in the collar of Emperor Qianlong’s clothes.
In Episode 7, in a scene, the character Wei Yingluo used the Emperor’s clothes as bait to hide
embroidery needles (Figure 8). This case is in ancient history books and is said to have happened in

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1751 during the rule of the Qianlong emperor. For context, Wei Yingluo is a protagonist in the drama
who rose from a palace maid to become an Empress. She hid embroidery needles in the collar of the
Emperor’s clothes. The significance of hiding embroidery needles in the Emperor’s clothes can be
seen as an attempt to assassinate him. This was recorded in ancient history books and is an example
of the authenticity of the content portrayed in the drama.
Nevertheless, participants from Malaysia and China felt the portrayal of a character called Fucha
Fuheng, was inauthentic. This is because judging from real events, Fucha Fuheng actually had another
wife and he did not have strong feelings for Wei Yingluo. However, in the TV drama, Fucha Fuheng
is depicted as being devoted to Wei Yingluo from the beginning to the end. Another point of
inaccuracy is how he was addressed in the drama. It is incorrect to address Fucha Fuheng using his
first name. He should be addressed as Master Fu, using his surname.
One Malaysian participant also highlighted similar inaccuracies stating that while the love between
the Emperor Qianlong and first Empress Fucha Rongyin is real, the love between Fucha Fuheng and
Wei Yingluo is not portrayed accurately. In fact, even the attire and hairstyles may have some small
inaccuracies, but these do not affect the whole drama.
The Malaysian participants generally agreed that the cultural elements portrayed in the TV drama
such as weddings, funerals and the release of new life (the release of birds and fish) are authentic.
However, in the Malaysian context, the cultural aspects of weddings, funerals and the release of new
life are similar with China with some modifications. For example, in funerals, the attire worn is
usually black and white but in Malaysia, the use of colors are modified to indicate the different
generations such as children, grandchildren and great grandchildren who would wear different colors.
On the matter of wedding gowns, instead of the usual red as observed by Chinese culture, some people
have used other colors like black and even posted it in social media, because it is their favourite
colour. This is an indication that despite originating from a similar Sinophone background, cultural
experiences can vary and can change through time.
Interestingly, most participants from Malaysia think that the authenticity of the Chinese culture
portrayed in the TV drama is at about 50%. This is an indication they are not sure of the cultural
aspects themselves compared with the Chinese participants. In other words, Malaysian participants
do not see as much cultural significance in the drama.
Research Objective 3: To investigate the extent of the Chinese TV drama’s impact on the
younger generation of Chinese and Malaysians.
The third research objective finds that the Chinese drama has created a tremendous impact on the
younger generation of Chinese and Malaysians. Among key areas of impact are the Chinese presence
in the international arena, business and social cultural values and cultural dynamism with a modern
feminist twist.

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Cultural Reflection - Chinese presence in the international arena

In comparison, the Chinese participants were found to be more reflective of their own cultural and
social problems. For example, one of them questioned:
“Why has China’s international status gradually declined since Emperor Qianlong?
Is it due to the ancient feudal system?”
The Chinese believe that the Qing dynasty golden era was during the rule of these three Emperors:
Kangxi, Yongzhen and Qianlong. After which, the dynasty began to diminish until the abolishment
of the monarchy in 1912. It is held that inequality of social status such as nepotism and corruption
led to the decay of talent development in their country. As such, one of the ways to solve this problem
is by having equal social status. The Chinese are eager to restore their long lost international presence
that it once enjoyed long ago.
Consequently, after watching the drama, another Malaysian participant was prompted to do an online
search about its history and in particular about Emperor Qianlong and Master Fu. The drama appears
to have triggered a shared sentiment of reflecting on the changes in the historical culture.
Business and Social Cultural Values

According to Dominic, J.R. (2013), media is able to transmit values. Among the values transmitted
from the storyline are related to business and social values. One of Chinese the participants said:
“There is a saying in China that people are always kind, and you know how to protect
yourself. People, in general are negotiable, but the defensive heart is indispensable.
This should be a principle of dealing with things…. there are only eternal interests
and no eternal enemies.”
These principles above indicate to that when dealing with the Chinese in business, one should be kind
but at the same time be wary of the situation. When one works with the Chinese, they regard you as
a friend, but when you work for their competitors, they regard you as an enemy. Today, you may be
an enemy but tomorrow you can be their friend. Being a friend or enemy is not permanent in nature
but the Chinese believe that that there is no eternal enemies but only common interests with others.
As for social values, it is important to note that the first Empress of Qianlong, Empress Rongyin, had
exceptional qualities that far transcended the moral values of people today. Another Chinese
participant said:
“If your kindness wants to be seen by others, it is not true kindness. Nowadays, people
do some things as if they always do it for a reason. Maybe other people’s inner thoughts
have hidden agenda, but the Empress’ words, she has always been there for others from
beginning to end. In order to make everyone feel better, the Empress has always been
simple and selfless to do something. This is a relatively rare quality.”

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The rare quality that the Empress Rongyin portrayed throughout her life is being simple and selfless,
that is doing something without expecting anything in return. This quality is hard to come by in the
world today.
Other Cultural Aspects

Several participants said the drama had allowed them to learn more about the cultural aspects such as
traditional calligraphy, embroidery, crafts and lettering. One participant specifically mentioned that
the velvet flowers, jewellery and etiquette stood out. Other participants stated that it has ignited their
interest in cultural history such as learning about the golden area of the Ming dynasty starting from
the Emperors Kangxi to Yongzheng and Qianlong.
Cultural Dynamism with a Modern Feminism Twist

While it is rare to have a TV drama bring ancient characters to life, the ‘Story of Yanxi Palace’ has
succeeded in doing so. It not only shows the dynamic characteristics of culture as mentioned by
Martin, J. & Nakayama, T. (2014), but also the values of feminism.
The drama saw many different female characters being portrayed with strong personalities such as,
the Empress Rongyin as selfless and kind, Mingyu as a naive and dedicated Empress servant, and,
Erqing as selfish and ambitious, who later betrayed the Empress’ feelings for personal gain. Another
example is Concubine Xian, who later became the second Empress of Qianlong, Empress Nara. From
a well-behaved concubine, the story shows how Empress Nara had a change of heart and cut her hair
off towards the end of her life. This was symbolic of a curse toward the Emperor.
Two Chinese participants found that the protagonist, Wei Yingluo showed “An eye for an eye”
attitude, meaning, if others bullied her, she would bully them back. A Malaysian participant also
agreed that Wei Yingluo’s character was not the norm.
Many Malaysian participants agreed that the storyline was different given the different facades
portrayed by the characters and the twist of events in the storyline. The episodes are full of “ups and
downs” and this intrigued the participants to continue watching.
The drama proved compelling that many of the Malaysians followed it through into Season 2:
Princess Adventure. Two Malaysian participants mentioned that they hardly ever watched TV drama
but because they felt that this TV drama was “excellent”, they watched it with their parents.
5. Conclusion
In summary, all participants found that the values portrayed in the TV drama were authentic with
some minor exceptions with character portrayals. It is important to note that some aspects of the
Chinese culture portrayed in the drama such as weddings and funerals were changed to cater to the
local context. This aligns with Martin and Nakayama’s (2014) definition that the context of culture
is dynamic. In addition, the said drama has created a tremendous impact in its international presence,
business and social cultural values and cultural dynamism with a modern twist of feminism.

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Overall, the ‘Story of Yanxi Palace’, with its strong theme and plot can be summarized as, “A cultural
TV drama with a modern twist.” This is consistent with cultural norms that cover values, perspectives,
clothing, etiquette, and, ancient feudal hierarchies that stirred many social media users to talk about
it. However, it was seen as lacking in showing socialist core values.
6. Acknowledgement
We would like to acknowledge all focus group participants who volunteered and helped throughout
the research. They are Malaysian participants: Audrey Lum, Hiew Hui San, Chin Jiaxuan, Chin
Jiaying, Kristine Tan, Soh Chen Yu, Gan Ruo Ying. Chinese participants are Dang Wanying, Wei
Shengmao, Yao Haoran, Zhang Yang and Zhou Yuqi.
Conflict of interest: The authors declare no conflict of interest.
References
Andreas, Illmer. (2019, February 8). Yanxi Palace, why China turned against its most popular show.
British Broadcasting Corporation (BBC). Retrieved from https://www.bbc.com/news/world-
asia-china-47084374
Asian Academy Creative Awards. 2019 Final Winners List (2019, December 7). Retrieved June 7,
2021 from https://www.asianacademycreativeawards.com/2019-final-winners-list/
Deetz, S. (1977). Interpretive research in communication: A hermeneutic foundation. Journal of
Communication Inquiry, 3(1), 53-69. doi:10.1177/019685997700300106
Dominic, J.R. (2015). The dynamics of mass communication. (12th edition). New York, N.Y.:
McGraw Hill
Jocelyn Yi-Hsuan Lai & Liew Kai Khiun. (2020). Introduction: confucian values and television in
East Asia, Continuum, 34(5), 647-650. doi.org/10.1080/10304312.2020.1812214
Hengdian World Studios: How was ‘Chinese Hollywood’ built? (2018, December 25). China Global
Television Network (CGTN). [Video file] Retrieved from https://www.youtube.com/
watch?v=2M9-QAA57Eg.
Lewis-Beck, M.S., Bryman, A., & Liao, T.F. (Eds.). (2004). The Sage Encyclopedia of Social Science
Research Methods. thousand Oaks, CA: Sage Publications.
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NewYork: McGraw-Hill Companies Incorporated.
Inside China’s largest film studio. (2019, January 1). South China Morning Post (SCMP) [Video file]
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Cultural Impact of Chinese Drama towards Malaysian and Chinese Audiences

Research · September 2021

Chan Pee Ven Sri ganeshvarun Nagaraj

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International Journal of Social Science Research (IJSSR)

CULTURAL IMPACT OF CHINESE DRAMA TOWARDS

Chan Pee Ven1*, Sriganeshvarun2 and Karen Sabina Freeman3

*Corresponding author: peeven.chan@newinti.edu.my

Abstract: It cannot be denied that of late the phenomena of

Keywords: Cultural, impact, Yanxi Palace, Chinese drama,

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

Meanwhile, in Malaysia’s landscape, most Chinese TV dramas produced in Malaysia are in

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

2.1 Problem Statement

The research objectives are:

3.1 General Research Questions

The focus group discussion centred on these three questions.

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

3.2 Collection of Information

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

3.3 Transformation of Data and Interpretation of Data

4. Results and Discussion

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

Figure 5 Imperial Noble Gao performing Kunqu Opera.

Figure 7 Fire Tree of Yinhua.

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

Cultural Reflection - Chinese presence in the international arena

Business and Social Cultural Values

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

Other Cultural Aspects

Cultural Dynamism with a Modern Feminism Twist

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

Conflict of interest: The authors declare no conflict of interest.

Copyright © 2021 ACADEMIA INDUSTRY NETWORKS. All rights reserved.

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