In Zoning China, Luzhou Li investigates why the Chinese government regulates online video relatively leniently while tightly

controlling what appears on broadcast television. Li argues that

television has largely been the province of the state, even as the

market has dominated the development of online video. Thus

online video became a space where people could question state

media and the state’s preferred ideological narratives about the

nation, history, and society. Li connects this relatively unregulated arena to the “second channel” that opened up in the early

days of economic reform—piracy in all its permutations. She

compares the dual cultural sphere to China’s economic zoning;

the marketized domain of online video is the cultural equivalent of the Special Economic Zones, which were developed

according to market principles in China’s coastal cities

Li explains that although the relaxed oversight of online video may seem to represent a loosening of the partystate’s grip on media, the practice of cultural zoning in fact

demonstrates the the state’s strategic control of the media

environment. She describes how China’s online video industry developed into an original, creative force of production

and distribution that connected domestic private production

companies, transnational corporations, and a vast network of

creative labor from amateurs to professional content creators.

Li notes that China has increased state management of the

internet since 2014, signaling that online and offline censorship

standards may be unified. Cultural zoning as a technique of

cultural governance, however, will likely remain.