Relevant bibliographies by topics / Thai television drama

Academic literature on the topic 'Thai television drama'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Thai television drama"

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Kannaovakun, Prathana, and Albert C. Gunther. "The Mixing of English and Thai in Thai Television Programs." MANUSYA 6, no. 2 (2003): 66–80. http://dx.doi.org/10.1163/26659077-00602003.

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This study set out to systematically observe and describe the mixing of English with Thai-based discourse, often termed code-mixing, in Thai television programs. Data came from 100 hours of programming randomly sampled from five genres of Thai television programs - Thai drama, talk or variety shows, academic or hard talk shows, game shows and sports programs.
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Kanchana Chokriensukchai, Kanchana Chokriensukchai. "Plots and Thai Cultural Contents for Asean Television Drama." International Journal of Communication and Media Studies 7, no. 3 (2017): 13–20. http://dx.doi.org/10.24247/ijcmsaug20172.

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Sueroj, Kulnaree. "How to Decode Gestures and Facial Expressions in Thai TV Drama for Audio Description." KnowEx Social Sciences 1, no. 1 (July 7, 2021): 53–62. http://dx.doi.org/10.17501/27059901.2020.1105.

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The Thai Audio Description (AD) Policy for television was officially published in 2016, but its practical implementation has been slow. A salient limitation is the lack of knowledge and research feeding into the creation of AD guidelines. Therefore, the main objective of this study is to focus on the AD strategies for television drama by studying how to communicate the meaning of gestures and facial expressions of characters to visually impaired audiences. Most of the themes in the television drama relate to human emotions, and people express their emotions through gestures and facial expressions. The difficulties of describing gestures and facial expressions audially are due to the complexities of cluster of physical actions. The concept of creating a character, the functional discourse of AD and the concept of gestures and facial expressions are applied to the textual analysis of the sample clips and their scripts. The methods used include three steps to decode gestures and facial expressions in order to select the key visuals to be described in the AD scripts. The first step is that, the entire scene must be divided into small parts, taking emotional changes into account. Secondly, to identify the functions of the audio description and finally to analyse the sequences of physical actions of the gestures and facial expressions, which represent the intent of the communication. These results suggest that the audio describer should not use a single strategy for all cases and the selection strategy of AD depends on four key conditions which were: 1. the sound gap length; 2. the appropriate position for the insertion of the AD; 3. the number of words used in AD writing must not affect the optimal speed of the description; and 4. the genre of the TV drama. Further research should study on how Thais people with visual impairment perceive gestures and facial expressions. Keywords: audio description, gestures, facial expressions, emotions, television drama, sight loss, disability, accessibility
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Kim, Sangkyun, and Hua Wang. "From television to the film set." International Communication Gazette 74, no. 5 (July 17, 2012): 423–42. http://dx.doi.org/10.1177/1748048512445152.

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Daejanggeum ( DJG) is a popular Korean television serial drama that boosted the Korean Wave cultural phenomenon in the mid-2000s and led to screen-tourism in South Korea, attracting international visitors to many DJG filmed locations. This study examines the relationship between level of media exposure, audience involvement and on-site screen-tourism experiences. Data were collected at the Daejanggeum Theme Park, an outdoor DJG film set in Yangjoo, South Korea. A total of 701 international tourist visitors completed a survey in Chinese, Japanese and Thai. The study validated a three-dimensional scale of audience involvement and a three-dimensional scale of on-site screen-tourism experiences. This study found that the level of media exposure significantly influenced both audience involvement and on-site screen-tourism experiences; audience emotional and behavioural involvement with DJG significantly affected their on-site screen-tourism experiences.
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Gozansky, Yuval. "Fifty Years of Drama on Israeli Children’s Television." Israel Studies Review 33, no. 2 (September 1, 2018): 123–47. http://dx.doi.org/10.3167/isr.2018.330208.

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This article analyzes the changes in drama series in the first five decades (1966–2016) of Israeli children’s television. Based on interviews with 27 central producers, this cultural-historical study seeks to explain the significance attributed to children’s drama over the years. Early children’s drama series in Israel were instructional or educational, but they also sought to control the representation of childhood under the direct supervision of the state. The neo-liberal privatization process in Israeli society led to the creation of locally produced, Hebrew-speaking daily dramas on private channels for children. In the multiscreen environment created by the age of multichannel television and digital media, original Israeli daily drama shows functioned as a central branding tool for children’s channels. The article contends that these shows became one of the producers’ key answers to the changes in children’s viewing habits and, more particularly, linear television’s strategy for success in a world of multiple online screens.
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Park, Noh-Hyun. "The Journal of Korean Drama and Theatre and Television Drama: Focusing on Quotation of Lines/Scenes in Research on Television Drama." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 1119–33. http://dx.doi.org/10.33645/cnc.2022.10.44.10.1119.

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The Journal of Korean Drama and Theatre published by the Learned Society of Korean Drama and Theatre is the most representative journal for research on Korean television dramas as a kind of drama act. The number of theses that have been gathered by a total of 75 journal series is as many as 615, which have been issued until 2020, since 1991 when it was launched. Of them, the theses on television dramas began to be initially published by the 21th series issued in 2005, and then 76 theses investigated by 35 researchers are currently published. The scenes beyond/post sheet, which appear in television dramas as image literature, become main texts, due to the genre characteristics. Lines and scenes in screens are naturally mobilized for any quotations. The current research on television dramas, however, do not give any academic guidelines regarding the quotation of lines and scenes. This paper, therefore, attempts to provide a direction of examining the current conditions of the lines and scenes quoted by research on television dramas based on 76 theses gathered in The Journal of Korean Drama and Theatre and helping both the society and the journal improve them. The measure may be largely specified as five proposals. The key point of them lies in the essence of the quotation properly certified by research, in other words, the practice of it, which make it possible to realize scholarly conversations with academic value.
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Kanaker, Osama, and Zulkiple A. Ghani. "BROADCASTERS’ PERCEPTION OF TELEVISION PROGRAMS: A STUDY ON AL-HIJRAH ISLAMIC MALAYSIAN TELEVISION CHANNEL." ‘Abqari Journal 13, no. 1 (January 18, 2019): 7–17. http://dx.doi.org/10.33102/abqari.vol13no1.52.

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This paper identifies four main characteristics of Islamic television programs. They are reality and objectivity, comprehensiveness, moderation and application of Islamic distinctive features. A questionnaire was distributed to the broadcasters of Al-Hijrah Television to determine their perception on the characteristics of applying the aforementioned characteristics to their programs. Programs of Al-Hijrah Television were also observed to further investigate the application of the characteristics to Al-Hijrah Television programs. The main finding of this paper is that despite the satisfaction of Al-Hijrah Television broadcasters, the application of the four characteristics to Islamic television programs does not suffice the need of the audience. It was also found out that drama programs are more effective than traditional programs in delivering the Islamic message despite the rarity of Islamic drama. Keywords: characteristics, programs, Islamic television, Al-Hijrah Television. Abstrak Kajian ini mengenal pasti empat ciri utama program televisyen Islam. Antaranya adalah realiti dan objektiviti, komprehensif, kesederhanaan dan ciri-ciri Islam yang tersendiri. Satu borang soal selidik telah diedarkan kepada semua penyiar Al-Hijrah untuk menentukan persepsi mereka terhadap penggunaan ciri-ciri tersebut ke atas program mereka. Program - program Al-Hijrah juga telah dipantau untuk diteliti lebih lanjut lagi dalam mengaplikasikan ciri-ciri tersebut. Walaupun dapatan kajian ini dapat memberi kepuasan kepada semua penyiar Al-Hijrah, namun penggunaan empat ciri tersebut untuk program - program televisyen Islam masih tidak memenuhi kehendak penonton. Kajian mendapati bahawa program - program drama lebih berkesan berbanding program - program tradisional dalam menyampaikan mesej Islam walaupun kurangnya drama versi Islam. Kata kunci: ciri-ciri, program, televisyen Islamik, Televisyen Al-Hijrah.
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Cooke, Lez. "A ‘New Wave’ in British Television Drama." Media International Australia 115, no. 1 (May 2005): 23–32. http://dx.doi.org/10.1177/1329878x0511500104.

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In recent years, American television drama series have been celebrated as ‘quality television’ at the expense of their British counterparts, yet in the 1970s and 1980s British television was frequently proclaimed to be ‘the best television in the world’. This article will consider this critical turnaround and argue that, contrary to critical opinion, the last few years have seen the emergence of a ‘new wave’ in British television drama, comparable in its thematic and stylistic importance to the new wave that emerged in British cinema and television in the early 1960s. While the 1960s new wave was distinctive for its championing of a new working-class realism, the recent ‘new wave’ is more heterogeneous, encompassing drama series such as This Life, Cold Feet, The Cops, Queer as Folk, Clocking Off and Shameless. While the subject-matter of these dramas is varied, collectively they share an ambition to ‘reinvent’ British television drama for a new audience and a new cultural moment.
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Tahir, Huma, and Dr Bushra H. Rehma. "Rethinking Gender Roles: Perception of Female Viewers of Pakistani Television Dramas." Journal of Peace, Development & Communication me 05, issue 2 (June 30, 2021): 177–84. http://dx.doi.org/10.36968/jpdc-v05-i02-16.

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Television drama is always an attraction for women. It has considerably contributed in defining gender roles to its viewers. This study was aimed to investigate that how females from different socioeconomic backgrounds perceive and interpret gender roles shown in Pakistani television drama. For data collection qualitative research strategy was applied. Data was collected by conducting eight focus groups. Each group consisted of eight participants (females) aged 20-40 years. Emergent themes from the data were non stereotypic representation of gender roles in Pakistani Television drama. This study concluded that tendency of Pakistani TV drama to redefine gender roles have contributed in conformity with the change in perception of female viewers interpreting gender roles shown in these dramas.
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Tahir, Kiran, Atif Ashraf, and Majid ul Ghafar. "Portrayal of Parents and Children Behavior: A Study of TV Drama Serials in Pakistan." Global Digital & Print Media Review IV, no. III (September 30, 2021): 20–32. http://dx.doi.org/10.31703/gdpmr.2021(iv-iii).03.

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This paper endeavors to explore the portrayal of parents in prime-time entertainment television dramas of Pakistan. Representation of the parenting style and children's response to their parents in the top three entertainment channels has been analyzed. Total 147 episodes of targeted drama serials of ARY, Hum, and Geo TV were selected through purposive sampling. The study found that the authoritative parenting style was most prevailing in the drama serials. The behavior of the children towards their parents was respectful except in the Drama serials broadcasted by ARY Digital. As Parents' respect is dominant in private entertainment channels of Pakistan, so the findings indicate that Pakistani entertainment television dramas play a vital role in safeguarding cultural norms of the country.
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Dissertations / Theses on the topic "Thai television drama"

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Van, Fleet Sara. "Everyday dramas : television and modern Thai women /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6576.

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Msibi, Bongumusa Collen. "Transvaluative analysis of Zulu terms that relate to women : a case study of a TV drama series, Kwakhalanyonini, with reference to gender stereotypes." Thesis, 1996. http://hdl.handle.net/10413/6173.

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The aim of this study is to explore the relationship between media, language and gender stereotypes. It assumes that language usage in mass media creates and reproduces gender inequalities. Its main objectives are firstly, to randomly select terms for Zulu women from the chosen TV case study, Kwakhalanyonini. Secondly, selected terms will be analyzed, using the 'transvaluative analysis technique', in order to explain their meaning and hierarchy. This having been done, an attempt will be made to show how the usage of these terms reflect gender stereotypes, by locating women into subordinate positions. A question may well be asked; why Zulu language? I am a native Zulu speaker, with Zulu speaking parents.
Thesis (M.A.)-University of Natal, Durban, 1996.
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Books on the topic "Thai television drama"

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ʻAdirēkchōttikun, Nanthaphō̜n. Rāingān kānwičhai rư̄ang phrưktikam kānrapchom lakhō̜n thōrathat Thai læ kānchai prayōt nai kānnampai phatthanā tonʻēng khō̜ng naksưksā Sathāban Rātchaphat Nakhō̜n Rātchasīma: Thai television drama exposure and perceived utility for self development of Rajabhat Institute Nakhon Ratchasima students. [Nakhon Ratchasima]: Prōkrǣm Wichā Nithētsāt, Khana Witthayākānčhatkān, Sathāban Rātchaphat Nakhō̜n Rātchasīmā, 2002.

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Tibballs, Geoff. Kavanagh Q.C.: Starring John Thaw : the official story behind the hugely popular ITV drama. London: Carlton Books, 1996.

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Hilmes, Michele, Matt Hills, and Roberta Pearson. Transatlantic Television Drama. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.001.0001.

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A tide of high-quality television drama is sweeping the world. The new transnational television series has developed not only global appeal but innovative new modes of production, distribution, and reception. Nowhere is the transnational exchange of television drama more vital than between Britain and the United States, where it builds on more than sixty years of import, adaptation, coproduction, and fandom. This edited volume explores the transatlantic flow of television drama, focusing on key programs, industry strategies, critical debates, and audience reception, from an international roster of scholars and researchers. The chapters explore some of the most widely discussed programs on the transatlantic circuit. The book's first part focuses on media industries, tracing the history of transatlantic exchange and investigating contemporary practices such as coproduction, digital distribution, global partnerships, promotion, and branding. The second part concentrates on specific television texts and their negotiation of meaning across cultural contexts, exploring critical issues in the creation of transnational drama, such as heritage, proximity, performance, and self-reflexivity. Part III turns to the lively sphere of transatlantic fandom and commentary, including fan conventions, fan fiction, the role of both traditional and social media, and fan strategies for negotiating cultural differences. Transatlantic Television Drama provides a wide-ranging analysis of a phenomenon at the forefront of today’s television universe. It is focused on the serial dramatic programs that have gained the bulk of critical and popular attention and is particularly concerned with the impact of digital technologies on the production, distribution, and reception of television drama.
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Holdsworth, Amy. On Living with Television. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478022060.

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In On Living with Television, Amy Holdsworth examines the characteristics of intimacy, familiarity, repetition, and duration that have come to exemplify the medium of television. Drawing on feminist television studies, queer theory, and disability studies as well as autobiographical life-writing practices, Holdsworth shows how television shapes everyday activities, from eating and sleeping to driving and homemaking. Recounting her own life with television, she offers a sense of the joys and pleasures Disney videos brought to her disabled sister, traces how bedtime television becomes part of a daily routine between child and caregiver, explores her own relationship to binge-eating and binge-viewing, and considers the idea of home through the BBC family drama Last Tango in Halifax. By foregrounding the ways in which television structures our relationships, daily routines, and sense of time, Holdsworth demonstrates how television emerges as a potent vehicle for writing about life.
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Sepinwall, Alan. Revolution Was Televised: From Buffy to Breaking Bad - the People and the Shows That Changed TV Drama Forever. Black Inc., 2013.

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All in the Family: The Show That Changed Television. Universe Publishing, 2021.

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Hughes, Kit. Television at Work. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855789.001.0001.

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This book explores how work, television, and waged labor come to have meaning in our everyday lives. However, it is not an analysis of workplace sitcoms or quality dramas. Instead, it explores the forgotten history of how American private sector workplaces used television in the twentieth century. It traces how, at the hands of employers, television physically and psychically managed workers and attempted to make work meaningful under the sign of capitalism. It also shows how the so-called domestic medium helped businesses shape labor relations and information architectures foundational to the twinned rise of the technologically mediated corporation and a globalizing information economy. Among other things, business and industry built extensive private television networks to distribute live and taped programming, leased satellite time for global “meetings” and program distribution, created complex closed-circuit television (CCTV) data search and retrieval systems, encouraged the use of videotape for worker self-evaluation, used videocassettes for training distributed workforces, and wired cantinas for employee entertainment. Television at work describes the myriad ways the medium served business’ attempts to shape employees’ relationships to their labor and the workplace in order to secure industrial efficiency, support corporate expansion, and inculcate preferred ideological orientations. By uncovering industrial television as a prolific sphere of media practice—one that continually sought to reshape the technology’s cultural meanings, affordances, and uses—Television at Work positions the medium at the heart of Post-Fordist experiments into reconfiguring the American workplace and advancing understandings of labor that increasingly revolved around dehumanized technological systems and information flows.
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Hiltunen, Ari. Aristotle in Hollywood: Visual Stories That Work (Studies in Scriptwriting). Intellect L & D E F a E, 2001.

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Malley, Shawn. Excavating the Future. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941190.001.0001.

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Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future treats archaeology as a trope for exploring the popular archaeological imagination and the uses to which it is being put by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to contemporary geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.
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Bodroghkozy, Aniko. Bringing “Urgent Issues” to the Vast Wasteland. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036682.003.0007.

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This chapter examines how entertainment television addressed the theme of race relations and “black and white together” by focusing on CBS's East Side/West Side, one of the first prime-time shows to feature an African American in a continuing role. Many cultural critics complained about the perceived decline in quality of television programming. Federal Communications Commission Chairman Newton Minow even described network television as “a vast wasteland.” This chapter considers the television networks' inauguration of a new form of programming dubbed “New Frontier character dramas” as they tried to soothe their presumed white audiences about race relations. It explores how East Side/West Side presented to its viewers issues of racism, black rage, white guilt, the place of African Americans in American society, and the appropriate response by white liberals. It explains how East Side/West Side became a terrain of struggle for mostly Northern, mostly white Americans trying to negotiate positions around race and Kennedy-era liberalism. It also argues that the series was out of step with the story that television really wanted to tell.
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Book chapters on the topic "Thai television drama"

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Phillips, Het. "‘A Woman Like That Is Not A Woman, Quite. I Have Been Her Kind’: Maxine Peake and the Gothic Excess of Northern Femininity." In Social Class and Television Drama in Contemporary Britain, 149–64. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-55506-9_11.

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Jirattikorn, Amporn. "Thai Television Dramas, a New Player in Asian Media Circulation: A Case Study of Full House Thai." In Asian Cultural Flows, 167–82. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-0147-5_10.

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Messenger Davies, Máire. "‘Just that kids’ thing’." In Popular television drama. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125392.00016.

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Oh, Youjeong. "Spectacular Places." In Pop City, 72–100. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755538.003.0003.

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This chapter focuses on Korean cities' marketing strategies. It analyses how cities create the sites that are used as settings for dramas and then reuse them to attract tourists. The chapter deciphers the process by which cities have become one of the major sponsors of Korean drama production since the 2000s. Cities became directly involved in the production of television dramas through their provision of space, place, and funding. The chapter then elaborates on how cities are placed in dramas through the practice of city sponsorship. Ultimately, the chapter reviews how urban spaces are inserted into television dramas in a manner similar to product placement; how media representation creates new meanings for these places; how drama-driven tourists reshape those meanings; and how municipalities capitalize on their representation in drama, on media spectacles, and on users' engagement in their promotion.
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Oh, Youjeong. "Speculative Producers." In Pop City, 38–71. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755538.003.0002.

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This chapter discusses how Korean television dramas are produced, covering funding channels, sponsorship practices, and the ways the dramas cater to their export markets. It redirects attention to the industrial arena and analyses “why such stories are told in particular ways.” Rather than accounting for the popularity of Korean dramas, the chapter investigates how Hallyu has reconfigured their industrial dynamics and production practices. It argues that the Korean Wave has turned the Korean drama industry into a speculative field in which the industrial players have vested interests in export. Despite the independent drama producers' sizable numbers and mounting expectations of achieving a megahit in foreign markets, their industrial positions are marginal on account of their being exploited by the broadcasters' monopolistic power. Their suppressed status causes independent producers to engage in even more speculative practices, pushing them to seek more and more sponsors. The chapter then turns to demonstrate how the speculative nature of their business has, in turn, affected the production practices, forms of sponsorship, and storytelling methods typical of Korean television dramas.
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Bignell, Jonathan. "Beckett and Television: Anachronism as Innovation." In Samuel Beckett and Technology, 157–71. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463287.003.0011.

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Beckett’s television dramas can be understood as reflexive analyses of television’s uneasy position as an ‘old’ and also a ‘new’ medium. The history of television can be written by describing processes of co-option of aesthetic features and processes deriving from ‘old’ media like theatre and figurative painting, which are visible in Beckett’s staging of dramatic action and his ideas for TV image composition. But television also differentiates itself from antecedent or competing media, offers a wide range of genres, modes and forms, and repudiates features associated with its competitors. This chapter analyses how Beckett’s TV dramas cite past forms anachronistically and innovate by refusing them. Their temporality of apparent liveness links the dramas to technologies for relaying live theatre, but none of the dramas is ‘live’. Beckett’s experience with filmmaking, on Film, connects his television work with cinematic concerns, such as framing and point of view, but the TV dramas disrespect conventions of filmic storytelling and the relationship of sound to image. By analyzing the aesthetic implementation of television technologies in Beckett’s dramas for TV the chapter argues that they innovate by processes of repudiation and displacement, going back to move forward.
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Rojas-Lamorena, Álvaro J., Salvador del Barrio-García, and Juan Miguel Alcántara-Pilar. "No More Drama." In Handbook of Research on Contemporary Storytelling Methods Across New Media and Disciplines, 274–99. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6605-3.ch015.

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The undeniable development of the television series sector in recent years has resulted in viewers having access to a large amount of television content, thanks largely to the development of technologies such as the internet and the emergence of video on demand. Given the scarcity of academic works that categorise these television contents, this chapter comes to conceptually delimit the television drama genre, as well as its different sub-genres. With this, the authors seek to centralise in a single academic work the main characteristics of each dramatic sub-genre that causes a series to be ascribed to a certain category, serving as a guide for potential academic works related to this growing sector.
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Hills, Matt. "Black Mirror as a Netflix Original." In Transatlantic Television Drama, 213–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0014.

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This chapter explores a “Netflix discourse” of fandom where it is claimed that Netflix can “unveil” fandom even when audiences do not self-identify as fans. This creates tensions between lived experiences of fandom and the data-driven targeting of multi-niche fan audiences. Rather than arguing that Netflix displaces national (US/UK) mainstreams, the chapter considers how national/transnational fan identities remain relationally in play. It focuses on Black Mirror as a case study, with this Channel 4 show having become a Netflix production from 2016 onward. The program’s creator, Charlie Brooker, mocked fears of “Americanization,” with the program’s fandom on Reddit following his lead and tending to read Netflix-produced seasons in terms of an “extended universe” rather than via US/UK-oriented meanings. However, fans have also carried out “coded” readings of “authentic” (British / Channel 4) Black Mirror by suggesting a “secret downer ending” to a Netflix episode that appeared to have an unusually happy ending.
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Becker, Christine. "BBC America." In Transatlantic Television Drama, 69–86. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0005.

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This chapter explores the corporate state of transatlantic television via a case study of BBC America, which is co-owned by the British BBC Worldwide and the American AMC Networks. The chapter details BBC America’s shift from an independent cable channel oriented around Britishness to an asset in AMC Networks’ portfolio, with a programming strategy more AMC than BBC. The study thereby illustrates that the value of a cable channel is no longer just in its individual brand; now its worth lies in the larger corporate network of program ownership and access to transnational platforms. BBC America’s prime-time scripted drama strategy is driven accordingly by the overarching goal to reach upscale, engaged viewers on both linear TV and video-on-demand platforms, in line with the global aspirations of its corporate parent.
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Ward, Sam. "Branding Bridges." In Transatlantic Television Drama, 87–102. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0006.

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In 2011 the United Kingdom’s leading pay TV provider launched a new channel, Sky Atlantic. Central to the channel’s promotional appeal was the sourcing of “quality” American drama, primarily via a £150 million deal with HBO that secured exclusive rights to its past and future productions. Building on ideas of importation as a process of assimilation with the national market, this chapter considers how, for Sky Atlantic, interaction between transnational and national industrial spheres has not simply served as a means of acquiring content, but has itself formed a key brand narrative. Through close reading of promotional texts surrounding the channel’s launch, as well as industrial data and press reception, the chapter demonstrates that recent commercial and technological developments in British television are leading not to a dissolution of national borders, but to the intense monetization of control over the flows that take place across them.
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Conference papers on the topic "Thai television drama"

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Shi, Yaxin. "An Analysis of the Popularity of Thai Television Drama in China, 2014–2019." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.587.

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Borch, Njål, and Ingar Arntzen. "Client Side Dynamic Aspect Ratio Based on Automated AI Analysis." In 3rd International Conference on Machine Learning Techniques and Data Science (MLDS 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.122109.

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Abstract:
Media is to a large extent consumed on devices that have non-standard aspect ratios, both physically or while rendering content. For example, social media platforms, televisions, tablets, and android devices, most commonly utilise varying aspect ratios of 1, 16:9, 4:3/3:4, 16:9/9:16, respectively. Web pages tend to use responsive design and can therefore have almost any aspect ratio. As current solutions are static, multiple encoded versions of the content must be created to cater for different aspect ratios, increasing workload, storage space requirements and content management complexity. With this in mind, there is a case for client side dynamic aspect ratios that adapt suitably to the user's device to improve their viewing experience based on a common encoded version of the content. In this paper we make the case for a client side dynamic aspect ratio solution, present work on implementation and experimentation, and finally provide some insights into how such a system could be implemented and provided in real world systems. Our solution was tested on content provided by NRK, including both drama series and TV debates.
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Reports on the topic "Thai television drama"

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Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson, and Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.

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This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.
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