protection, under the Wild Animal Protection Law in China. Since 1955 there has been debate over the taxonomy of the François' and white-headed langurs. The whiteheaded langur was originally described by Tan (1955) as a new species of the genus Presbytis. Some authors have since suggested that the white-headed langur is a separate species in the genus Trachypithecus (T. leucocephalus;

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Since the mid-1980s, the Chinese audiovisual industry has gone through a series of institutional reforms aimed at decentralization and marketization. The reform measures from the mid-1980s to the mid-1990s affected the general trend in film production and criticism during the period. The outcome of film reform has been the commercialization and privatization of the Chinese film industry and the surge of entertainment pictures. Meanwhile, the global popularity of Hollywood pictures (re)defined what counted as quality films for Chinese audiences. As such, the industrial structure and market practice institutionalized by Hollywood have become the new model for the Chinese film industry. Approached from an institutional perspective, this article gives major attention to the structural formation of the market and the audiovisual industries, that is, the industries' ownership and control related to state policy. Chinese Cinema in the Era of MarketizationThe Chinese film industry was nationalized in 1953 under the direct guidance of Soviet film experts, following the Soviet-style command economy model from the mid-1950s to the late 1980s. Under such an economic system, production investment was made in response to commands from the central planners rather than in response to market demand. Manifested in the film industry was the management of a nationalized studio system dictated by the central government's political agenda. The state owned and subsidized production, and the studios produced ideologically motivated films according to the state's production target.

This essay contextualizes the phenomenal success, in the late 1990s, of the Chinese primetime television drama Yongzheng Dynasty. It provides a formal analysis of the show from a comparative perspective and discusses its role in cultivating Chinese primetime drama as an economically viable and a culturally significant enterprise.