Narrative Storytelling In Chinese And Vietnamese Idol Survival Program: The Comparison Between Produce Camp 2021 (CHUANG 2021) And Vote For Five

Abstract

This study investigates the narrative storytelling elements in Chinese and Vietnamese idol survival shows through a comparative analysis of CHUANG 2021 from China and Vote For Five from Vietnam. Using Meir Sternberg's narrative dynamics and Saussure’s Semiotics Theory, the research examines how storytelling is constructed through semiotic and narrative techniques in each program. A qualitative content analysis was conducted, focusing on key components such as visual elements, contestant interactions, performance settings, and linguistic diversity. Saussure’s Semiotics Theory provides a lens to analyze the use of semiotic elements, such as costumes, set designs, and visual consistency, in shaping audience perceptions. In CHUANG 2021, a high level of visual cohesion is evident across performances and behind-the-scenes footage, with contestants’ dormitory life and multilingual conversations adding depth to their portrayals. In contrast, Vote For Five demonstrates less visual consistency, with performance costumes and set designs varying significantly across episodes. Moreover, contestant interactions and behind-the-scenes content are minimally featured, focusing more on the performances themselves. Meir Sternberg’s concept of narrative dynamics—prospection-suspense, retrospection-curiosity, and re-cognition-surprise—reveals differing approaches to storytelling. In CHUANG 2021, these narrative values are systematically embedded across the show’s semiotic and narrative elements, creating a cohesive and engaging story arc. Conversely, Vote For Five applies these dynamics inconsistently, leading to less structured storytelling. This research highlights how cultural and production contexts influence the narrative strategies of idol survival shows. The findings provide insights into how storytelling techniques can enhance audience engagement, offering recommendations for producers to refine their approaches in emerging markets like Vietnam, where the idol industry is still developing.