罗薇编著的《中国真实电视的初征(广东电视台生存大挑战系列节目案例分析)》研究了“广东卫视“和”中国首档真实电视节目《生存大挑战》“都是极具代表性的研究对象。全书为英文表述，通过个案调查，本书不仅探讨了广东电视市场的前沿性和广东电视人的原创意识，也深入分析了真实电视在本土化过程中所面临的一系列问题，例如如何直面真实模式中纪实和虚构的冲突、如何化解中国挑战者中庸精神和游戏精神的对立，如何平衡节目内容里娱乐性和政治性的关系、以及如何协调商业化运作与国有化电视台管理机制的矛盾。作者旨在通过个案研分析和调研，引申出中国电视人在本土化海外电视模式的过程中所面临的共同的课题。

Abstract

Chapter One: Introduction

 1.1 An Overview

 1.2 Personal and Intellectual Engagement

 1.3 The Significance of the Research

 1.4 The Key Argument

 1.5 The Structure of the Book

 1.6 Conclusion

Chapter Two: Television Media and Reality TV in China

 2.1 Television in Mainland China

2.1.1 Television in the Pre-reform Period

2.1.2 Television in the Reform Period

 2.2 The Guangdong Television Market

 2.3 Reality TV in China

 2.4 Some Important Issues Concerning Chinese Television Reform

2.4.1 Television Entertainment

2.4.2 A Social Interest in Ordinary People

2.4.3 The Priority of Political Responsibilities of Television Media

 2.5 Conclusion

Chapter Three: Theoretical Frameworks

 3.1 Defining Reality TV

 3.2 Western Studies on Reality TV

3.2.1 Some Problematic Approaches to the Reality TV Phenomenon

3.2.2 Two Important Theoretical Speculations

3.2.3 Recent Western Studies on Reality TV

 3.3 Studies on Chinese Reality TV

 3.4 Chinese Documentary

3.4.1 Theoretical Debates on "Special Topic" Programme

 3.5 Localization

 3.6 Cultural Discount

 3.7 Conclusion

Chapter Four: Considerations of Methodology

 4.1 The Research Approach: A Case Study

 4.2 Tripartite Framework: Text-Production-Reception

4.2.1 Textual Analysis

4.2.2 Audience

4.2.3 Production Research

 4.3 The Ethnographic Approach

 4.4 Data Collection

 4.5 Semi-structured Interviewing

 4.6 Production Observation

 4.7 Some issues about Production Research

4.7.1 Preparation for the Changes

4.7.2 My approach to Production Crew and other Interviewees

4.7.3 Researcher's Influence

4.7.4 The Coverage of the Interviewees

4.7.5 Interview Practice

4.7.6 Recording the Data

 4.8 Conclusion

Chapter Five: The Origins of the TGCFS

 5.1 GDTV's Travel Documentary Tradition

 5.2 Airwave Boys: A Predecessor of Reality TV

5.2.1 The Emergence of an Outdoor Sports Culture

5.2.2 Life Experience Format

5.2.3 Concerns of Safety

5.2.4 The Crew's Pioneer Spirit

 5.3 Survivor: A Paradigm of Game-doc

5.3.1 Infotainment Approach

5.3.2 Ethical Considerations of Privacy

 5.4 Conclusion

Chapter Six: Documentary Approach and Dramatic Effects

 6.1 The Documentary Approach

6.1.1 A Non-Interventionist Approach

6.1.2 The Presence of the Camera

6.1.3 An Expositional Mode of Televisual Presentation

6.1.4 Communication between the Director and Editor

 6.2 Public's Suspicions of Authenticity

 6.3 Generic Confusion

 6.4 The Act of Intervention

 6.5 Reconstruction

6.5.1 Presenting Emotional Truth

6.5.2 Innovating the Voice Over

 6.6 The Application of Dramatic Devices

6.6.1 Emotional Appeal

6.6.2 An Exploration of Romance

6.6.3 Planting Suspense

6.6.4 Conspiracy

6.6.5 The Transience of the Production

 6.7 Conclusion

Chapter Seven: The Role and Experience of Participants

 7.1 The Role of Chinese Participants

 7.2 The Criteria of Casting

7.2.1 Urban Young Middle Class

7.2.2 Occupational Appeal

7.2.3 Regional Division

 7.3 The Experience of Chinese Participants

7.3.1 Lack of Game Spirit

7.3.1.1 Against the Elimination Strategy

7.3.1.2 Sharing the Reward

7.3.2 Avoiding the Camera

7.3.3 Concerns of Expression

 7.4 Conclusion

Chapter Eight: Entertainment Function and Political Purpose

 8.1 Survivor Meets the Long March

 8.2 Cultural Conflicts

 8.3 Political Apathy

 8.4 Portrayal of Role Models

 8.5 Emotionalized Narrative

 8.6 Edutainment Approach

 8.7 Ritualized Ceremony

 8.8 Long March "Hands-on History" Strand

 8.9 Conclusion

Chapter Nine: Commercial Operation and Institutional Environment

 9.1 The Dominance of Advertising Revenue

 9.2 Commercialist Approach

 9.3 The Importance of the Local Market

 9.4 The Ambivalent Marketing Concerns

9.4.1 Revenue Building

9.4.1.1 Sponsorship

9.4.1.2 Distribution

9.4.2 The Foregrounding of Brand Influence

9.4.3 Risk Control of Production Investment

9.4.4 Multimedia Collaboration

 9.5 Controversial Publicity Strategy

 9.6 Conclusion

Chapter Ten: Original Format and Creative Approach

 10.1 A Request for New Game Rules

 10.2 The "1+2+3" Model of Game Rules

10.2.1 The Multi-Polarization of Competition

10.2.2 Breaking up the Chinese-Style Alliance

10.2.3 Balancing Competition and Collaboration

10.2.4 The Culturally-Preferred Competition Model

10.2.5 The Unique Rescue System

10.2.6 A Six-Member Contest Team

 10.3 New Functions of Training

 10.4 Conclusion

Chapter Eleven: Conclusion

Bibliography

Appendix 1 : The Synopsis of the Studied Productions

Appendix 2 : Data of TGCFS