Journal articles on the topic 'Thai television drama'
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1
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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Chaudhry, Aisha Arshad, Rana Imran Ali, and Zakia Aslam. "Women Representation in Pakistani Television Dramas: A Critical Discourse Analysis." Global Language Review VI, no. III (September 30, 2021): 103–12. http://dx.doi.org/10.31703/glr.2021(vi-iii).11.
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The current study aims to investigate the representation of women in Pakistani television dramas that reflect the female stereotypical image of women in society. The drama discourse is analyzed through the lens of the critical discourse analysis model by Fairclough (1995). The study explores that women represented in Pakistani dramas are bold or assertive, or they are restricted to conventional norms by male-oriented society. The methodological approach adopted to analyze is suitable to study the independent and dependent variables. The critical discourse analysis model is applied to describe,explain, and interpret the drama discourse. For data analysis, three dramas, “Cheekh” and “Khaani,”have been selected from different Private television channels to ensure the validity of the analysis. The leading female roles in these dramas confront the feminist issues in a patriarchal society. Even in this modern era, Pakistani women are still struggling against odds for injustice and equality, where male-dominated culture is challenging as ever for women to survive. This research will help researchers to work on the different themes of television dramas related to feminist issues.
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Jacobsen, Ushma Chauhan. "Does subtitled television drama brand the nation? Danish television drama and its language(s) in Japan." European Journal of Cultural Studies 21, no. 5 (January 29, 2018): 614–30. http://dx.doi.org/10.1177/1367549417751150.
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This article explores the relationships between nation branding, authenticity, language and their ideologies by considering two themes. First, how language ideologies and language practices texture the transnational production, distribution and viewing of subtitled television drama. Second, the extent and ways by which subtitled television dramas, in languages other than English, brand the nation to which they are associated. Using the context of increasing exports of Danish television drama to other nations, the article draws its empirical material from fieldwork interactions with industry professionals and viewers in Japan to consider both themes. The article proposes that there are different intensities by which Danish television dramas brand Denmark and the Nordic region; it discusses the implications of the use of English, and how branding the nation involves processes that are intrinsically fragile and require symbiotic relations with other languages and other nations to be successful. This article forms part of the Theorizing Media in Nation Branding Special Issue.
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Farooq, Ummar, and Abdul Hameed Shahwani. "پی ٹی وی کوئٹہ؛ براہوئی و بلوچی ڈرامہ غاک." Al-Burz 8, no. 1 (December 20, 2016): 45–60. http://dx.doi.org/10.54781/abz.v8i1.145.
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This research article refers the Brahui and Balochi dramas telecasted from the Pakistan Television Quetta Centre. This article tells how and when the drama in these both languages got started it further leads that in folk literature of both the languages did the genre of drama had any presence or not. In spite of the dramas telecasted by PTV Quetta Centre Balochi short films made at private sector are also discussed. The main purpose of this article is to collect the scattered material of the Brahui and Balochi dramas and to present them for the new researchers of drama.
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Hameed, Muhammad Basharat, Dr Babrak Niaz, and Dr Malik Adnan. "Turkish Television Drama in Pakistan: Effects on University Students." Issue-2 04, no. 02 (September 30, 2020): 376–97. http://dx.doi.org/10.36968/jpdc-v04-i02-019.
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This study attempts to investigate the effects of Turkish drama on University students. Drama plays influential role in changing life style of its audience. Through drama viewers come to know the diverse values of different cultures and it has a different effect on different audience. University level students are more expose to media especially with television drama and current study is an attempt to gauge the effects of Turkish drama on youth. The students of Punjab University Lahore, GC University Faisalabad, University of Gujrat and The Islamia University of Bahawalpur are selected as respondents. The study is qualitative and quantitative in nature and non-probability sampling technique is used for data collection. Questionnaires were distributed in 400 respondents and hypotheses were also constituted to envisage the general perception. The data collected through questionnaire accepted two hypothesis while on of the hypothesis was rejected. The study finding states that Turkish dramas are good source of entertainment but these dramas are not challenging basic teachings of Islam and it has made no effects on our norms. On the basis of findings, suitable recommendations are suggested.
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Hameed, Muhammad Basharat, Dr Babrak Niaz, and Dr Malik Adnan. "Turkish Television Drama in Pakistan: Effects on University Students." Issue-2 04, no. 02 (September 30, 2020): 396–417. http://dx.doi.org/10.36968/jpdc-v04-i02-21.
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This study attempts to investigate the effects of Turkish drama on University students. Drama plays influential role in changing life style of its audience. Through drama viewers come to know the diverse values of different cultures and it has a different effect on different audience. University level students are more expose to media especially with television drama and current study is an attempt to gauge the effects of Turkish drama on youth. The students of Punjab University Lahore, GC University Faisalabad, University of Gujrat and The Islamia University of Bahawalpur are selected as respondents. The study is qualitative and quantitative in nature and non-probability sampling technique is used for data collection. Questionnaires were distributed in 400 respondents and hypotheses were also constituted to envisage the general perception. The data collected through questionnaire accepted two hypothesis while on of the hypothesis was rejected. The study finding states that Turkish dramas are good source of entertainment but these dramas are not challenging basic teachings of Islam and it has made no effects on our norms. On the basis of findings, suitable recommendations are suggested.
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Mohammed Akram Abd Uljalil, Mohammed Akram Abd Uljalil. "Employing the mediator elements in the aesthetics of the television image through the children's drama: توظيف عناصر الوسيط في جماليات الصورة التلفزيونية عبر دراما الأطفال." مجلة العلوم الإنسانية و الإجتماعية 5, no. 11 (September 29, 2021): 50–33. http://dx.doi.org/10.26389/ajsrp.k090221.
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Given the importance of the subject of aesthetics of the television image in children's drama and its great impact in raising the level of artistic production of children's drama, and the interest of most satellite channels in this type of production that simulates different age groups for children, this research comes as a scientific attempt through which the researcher seeks to become familiar with the topic of the aesthetic of the television image in Children's drama, and its functions and all its parts in children's dramas, including dramas, cartoons, dolls, and children's cinema films, by analyzing scenes from different samples in order to reveal the aesthetics of the television picture and its parts and all its functions. Where the research in the first chapter reviewed the methodological framework indicating the introduction and problem of the research with an indication of the importance of the research and the extent of the need for it and its objectives, as well as identifying the definition of the search terms. Elements of cinematic language and its expressiveness and aesthetic connotations in children's drama, while the title of the second topic was the dramatic forms directed at children, through which the research reviewed the role of digital technologies and forms of drama, and the last topic represented the aesthetic of the artistic elements in children's drama, which was addressed through it to the directing artistic treatment and its aesthetics in Children’s drama, and the researcher came up with a set of indicators that were a tool for analyzing the research sample. Then the research reviewed the third chapter, which included the research procedures. The final chapter represented in the analysis of the research sample, through which he reached results, among which the works were distinguished by the simplicity of their events and the characters embodied in them that make the child He interacts with it being close to his reality. Among the conclusions that the aesthetic of the television picture is a means of conveying and expressing various contents through children's drama. Based on the foregoing, the research deals with an important aspect of the creative process in producing television drama for children, through the audio-visual medium, by identifying the aesthetics of the television image in children's drama.
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Rosidi, Imron, and Khotimah. "Negotiating Representation of Islamic Values on Korean TV Dramas Among Indonesian Muslim Youth." Jurnal Komunikasi: Malaysian Journal of Communication 36, no. 4 (December 11, 2020): 230–42. http://dx.doi.org/10.17576/jkmjc-2020-3604-14.
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This article describes one of the effects of globalization on young Muslims in Indonesia. They interact with a variety of cultural products from all corners of the world. Focusing on Indonesia, this article argues that the emergence of globalization has provided opportunities for young Muslims to negotiate Islamic value representations of Korean TV dramas. Using ethnography method, this article selects young Indonesian Muslims who like Korean television drama as informants. The emergence of transnational cultural products was believed to play an important role in the process of 'cultural imperialism' among young people. The information and views presented are not considered to be a ‘healthy’ menu for Muslim youth. In fact, in cultural studies, media imperialism or cultural imperialism is famously contested. By interviewing and observing 42 informants, this article finds that Muslim youth do not receive all the messages from the media passively. During their consumption on Korean television dramas, young Muslims are negotiating their representations. They are capable of selecting values from the television dramas. These Muslim consumers in this context do not just accept all the messages and representations of Korean television dramas. Indonesian Muslim youth have an innate cultural identity and conscious knowledge, which they have obtained from their learning environments such as education and culture. Muslim youth interpret "stories" in drama by relating them to their Islamic values. Keywords: Negotiation, representations, Islamic values, youth, Korean TV dramas.
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Nazir, Farrukh, Arshad Ali, and Muhammad Farooq. "Social Taboos in Pakistani Prime Time Urdu Dramas." Global Regional Review IV, no. II (June 30, 2019): 67–77. http://dx.doi.org/10.31703/grr.2019(iv-ii).08.
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The occurrence of social taboos and their frequencies on Pakistani television dramas was the core objective behind the conduction of this research work. The ultimate purpose was to find out the possible types of social taboos, frequently exposed social taboo, occurrence per drama and comparison of social taboos in these dramas. The analysis was carried out by using purposive sampling technique. The results showed that there were nine types of social taboos i.e. obscene language, nudity, disrespectful attitude, violence, drug abuse, racism, divorce, extra-material relation and abortion in Pakistani primetime Urdu dramas. The finding of the study demonstrated that obscene language was exposed more than the other social taboos, whereas the drama serial Sabaz Qadam was found having more social taboos as compare to other dramas. The occurrence of frequency of these social taboos was recorded as well. Drama Qissa Chaar Darvesh was highest in occurrence of disrespectful attitude and nudity.
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Xue, Mengjie. "The Transmission Effect of Costume Dramas on International Social Media." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 82–85. http://dx.doi.org/10.54097/ehss.v1i.642.
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C-dramas are launched on YouTube platform, and the update speed overseas is the same as that at home. Overseas audiences can understand costume dramas through language symbols, star symbols, and they love costume dramas more than modern dramas. They have the ability to share joys and sorrows with film and television characters. The viewing of costume dramas leads to Chinese fever and star chasing behavior. In order to better spread costume drama, it can create contact opportunities for overseas audiences within the acceptable range of culture, reduce the cultural inaccuracy part of costume drama, provide background knowledge and provide quality dramas. Film and television works are an important way to tell Chinese stories. Story-based communication makes overseas audiences willing to learn about Chinese culture and history through film and television works. Swordsmen film is a folk hero myth in the Chinese world, similar to western cowboy in the United States and Bushido in Japan. Swordsmen films is the most complete in China film, and the most national characteristics of film type.In terms of TV dramas, costume dramas are rooted in traditional Chinese culture, displaying rich Chinese elements and carrying cultural symbols such as Chinese history, mythology, classical Musical Instruments, traditional costumes, architecture and Chinese food. They are unique types of dramas attracting overseas audiences with distinctive national characteristics.With the open, convenient, timely and effective features of the Internet, Chinese films and TV series have been released on overseas network platforms such as Netflix and YouTube, changing from passive communication to active communication. On YouTube, film and television organizations with copyright have opened channels to upload Chinese films and TV works.This study takes Tencent Video as the research object to analyze what efforts the online video platform has made for the spread of costume dramas? What are the comments of international audiences? How to improve the overseas communication effect of costume dramas?
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Williams, Rebecca. "‘The past isn't dead … it's deadly’: Horror, History and Locale inWhitechapel." Journal of British Cinema and Television 11, no. 1 (January 2014): 68–85. http://dx.doi.org/10.3366/jbctv.2014.0192.
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This article analyses the ITV crime drama Whitechapel (2009 –), contributing to academic understandings of the horror and Gothic genres on television. It does so by examining the importance of place in TV horror, expanding on prior work that has concentrated on the rural by focusing on television horror within the urban London district of Whitechapel which has a specific history and legacy. Given the recent boom in history television programming and the ‘potential and variety of the popular history drama in engaging with the past’ (de Groot 2009: 207), it also contributes to work on televising the past by examining how history is ambiguously represented in the Gothic crime drama. The piece explores how the past can be used to create television horror, depicting events from history as potentially threatening and as a source of dread and unease which is indebted to the Gothic's emphasis upon the past. In portraying a more nuanced relationship between the present and past, the potential limits of partial knowledge and an over-reliance on historical precedent, Whitechapel offers an instructive convincing case study regarding the intersections of place, history and Gothic/horror tropes in contemporary television drama.
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Bignell, Jonathan. "Performing television history." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (August 21, 2018): 262–79. http://dx.doi.org/10.1177/1749602018782860.
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An expanded conception of performance study can disturb current theoretical and historical assumptions about television’s medial identity. The article considers how to write histories of the dominant forms and assumptions about performance in British and American television drama and analyses how acting is situated in relation to the multiple meaning-making components of television. A longitudinal, wide-ranging analysis is briefly sketched to show that the concept of performance, from acting to the display of television’s mediating capability, can extend to the analysis of how the television medium ‘performed’ its own identity to shape its distinctiveness in specific historical circumstances.
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Nguyen-Thu, Giang. "Nostalgia for the New Oldness: Vietnamese Television Dramas and National Belonging." Media International Australia 153, no. 1 (November 2014): 64–72. http://dx.doi.org/10.1177/1329878x1415300108.
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This article uses the Foucauldian framework of governmentality and the particular concept of dispositif to analyse two Vietnamese television dramas, Hanoian (1996) and The City Stories (2002). I argue that the first drama presents a memory dispositif of the recent wartime to express dissatisfaction about contemporary situations. Meanwhile, the second drama sought to build a ‘new yesterday’ to engage Vietnamese viewers in the ongoing economic transformations.
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Malik, Aisha. "Transnational Feminist Edutainment Television in Pakistan: Udaari as Case Study." BioScope: South Asian Screen Studies 10, no. 2 (December 2019): 129–44. http://dx.doi.org/10.1177/0974927619896774.
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First created in the context of state-controlled broadcast television of the 1960s, the Urdu serial drama form has proven enduringly popular in Pakistan. This article examines how institutional changes, including the appearance of nongovernmental organisations in this space, have altered the production and reception of these serial dramas and their thematic content, which has recently included such highly charged topics as sexual abuse, harassment and rape. First, I look at how transnationally funded content has impacted modes of production in a liberalised and deregulated Pakistani television industry. Second, I give a case study of the internationally funded drama serial Udaari as an example of agenda setting television intended to create public dialogue and galvanise change, to which I give the name feminist edutainment (FE) that intentionally recalls the form of entertainment education (EE) associated with the work of Miguel Sabido. Finally, I draw on my ethnographic research to argue that contemporary serial dramas, while engaging a domestic reception space primarily occupied by women, have expanded into the online space through the social media activism of feminist influencers.
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Özalpman, Deniz. "Transnational Viewers of Turkish Television Drama Series." Transnational Marketing Journal 5, no. 1 (May 1, 2017): 25–43. http://dx.doi.org/10.33182/tmj.v5i1.386.
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Since the mid-2000s, Turkish television drama series have been exported to many countries and attracted an unprecedented transnational audience. However, despite popularity, there is paucity of research focusing on the transnational understanding(s) of Turkish television drama audiences in different geographies. Through a reception analysis of three mostly cited television series among participants Muhteşem Yüzyıl (Magnificent Century), Aşk-ı Memnu (Forbidden Love), Kuzey Güney (North South), this study aimed at offering an understanding beyond overly stated cultural/religious proximity explanations to ascertain traces and elements of empowerment that citizens feel coming through their act of consuming Turkish dramas. For that purpose, in-depth interviews were conducted with Iranian viewers of Turkish television series living in the Austrian capital Vienna. Interpretation of that collected qualitative material suggests re-thinking of the transnational audience’s consumption practices that expand tourism and trade flows and other related businesses between the two countries.
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Dunleavy, Trish. "A Soap of Our Own: New Zealand's Shortland Street." Media International Australia 106, no. 1 (February 2003): 18–34. http://dx.doi.org/10.1177/1329878x0310600104.
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Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and ‘public service’ objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national television culture and within the genre of locally produced TV drama, this paper explores several key facets of the program, including: its creation as a co-production between public and private broadcasting institutions; its domestic role in a small television market; its relationships with New Zealand ‘identity and culture’; its application of genre conventions and foreign influences; and its progress — as a production that was co-developed by Grundy Television — in a range of export markets.
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Rosidi, Imron, Masduki Masduki, and Dony Arung Triantoro. "NILAI-NILAI ISLAM DALAM DRAMA KOREA PERSPEKTIF ANAK MUDA MUSLIM PEKANBARU." Jurnal Dakwah Risalah 30, no. 2 (December 31, 2019): 215. http://dx.doi.org/10.24014/jdr.v30i2.8492.
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This article describes one of the effects of globalization on young Muslims in Indonesia. This article argues that the emergence of globalization has provided opportunities for young Muslims to take 'Islamic' values from the non-Arab world, not solely from the center of Islam (Muslim Arab countries). The purpose of this study is to find out how Pekanbaru Muslim Youth take Islamic values contained in Korean drama. This research uses ethnographic methods, by identifying informants namely young Muslim Muslims who are pious from Islamic educational backgrounds and like Korean television dramas. They have a good understanding of Islam so that in daily life they used to do the obligatory prayers five times a day and fasting is obligatory in the holy month of Ramadan. Even some of them do the teachings of Islam that are sunnah such as reading the Qur'an, sunnah prayers in congregation in the mosque and others. This article found that Korean television dramas encourage Muslim young people to negotiate Islamic values displayed in Korean television dramas. The results of this study reveal some Islamic values such as aspects of hard work, and never give up are often portrayed in television dramas.
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Ta Park, Van My, Joyce Suen Diwata, Nolee Win, Vy Ton, Bora Nam, Waleed Rajabally, and Vanya C. Jones. "Promising Results from the Use of a Korean Drama to Address Knowledge, Attitudes, and Behaviors on School Bullying and Mental Health among Asian American College-Aged Students." International Journal of Environmental Research and Public Health 17, no. 5 (March 3, 2020): 1637. http://dx.doi.org/10.3390/ijerph17051637.
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The limited research on bullying, mental health (MH), and help-seeking for Asian American (ASA) college students is concerning due to the public health importance. Korean drama (K-Drama) television shows may be an innovative approach to improve knowledge, attitudes, and behaviors (KAB) on bullying. This study examined whether the KAB about school bullying improved after watching a K-Drama and asked participants about their perspectives of using a K-Drama as an intervention. A convenience sample of college students (n = 118) watched a K-Drama portraying school bullying and MH issues. Pre-/post-tests on KAB on bullying were conducted. Interviews (n = 16) were used to understand their experiences with K-Dramas. The mean age was 22.1 years (1.6 SD), 83.9% were female, and 77.1% were ASAs. Many reported experiences with anxiety (67.8%), depression (38.1%), and school bullying victim experience (40.8%). Post-test scores revealed significant differences in knowledge by most school bullying variables (e.g., victim; witness) and MH issues. There were varying significant findings in post-test scores in attitudes and behaviors by these variables. Participants reported that they “love” the drama, felt an emotional connection, and thought that K-Dramas can be an educational tool for ASAs. K-Dramas may be an effective population-level tool to improve health outcomes among ASAs.
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Creeber, Glen. "It’s not TV, it’s online drama: The return of the intimate screen." International Journal of Cultural Studies 14, no. 6 (May 24, 2011): 591–606. http://dx.doi.org/10.1177/1367877911402589.
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This article will focus on the subject of ‘online drama’, i.e. drama made specifically to be viewed on the Internet. It aims to investigate and account for this new and unique form of serialized drama, explain and clarify its historical origins, locate its generic characteristics and account for and understand its role in the contemporary media landscape. In particular, it will argue that online drama reveals much about the future of broadcasting as a whole and points the direction towards many of the fundamental changes that are taking place in the very aesthetics of contemporary ‘television’. However, while some critics may argue that drama made for the Internet will simply offer another illustration of an increasingly digitized world, this investigation will focus on ways in which it may actually be seen to enhance the original power of early television – particularly its re-construction of ‘the intimate screen’. In direct contrast to contemporary television’s increasingly ‘cinematic’ sensibilities, this article will argue that it is online drama that can now most successfully recreate the psychological and emotional terrain of the small screen – reinventing the ‘electronic theatre’ for the new digital age.
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Saidpudin, Wawarah, and Wan Amizah Wan Mahmud. "Naratif Drama Islamik: Motif Visual Mior Hashim Manap Melalui Latar Lokasi." Al-i’lam - Journal of Contemporary Islamic Communication and Media 1, no. 2 (December 30, 2021): 4–22. http://dx.doi.org/10.33102/jcicom.vol1no2.15.
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The location of the drama is one of the types of setting chosen in a drama and is one of the production process of television dramas. The selection of the location requires in-depth study and recce to ensure that the play is more interesting and has a specific meaning for the audience to understand. Thus, this study aims to analyze the extent to which the selection of location backgrounds chosen by the director is tailored to the scene, having elements of da'wah besides influencing the visual beauty of the drama. This study uses content analysis on three Islamic dramas directed by Mior Hashim Manap on TV Al-Hijrah titled Cinta Kun Fayakun, Warkah Cinta, and Cinta dan Wahyu. This study carries out in-depth interviews with Mior Hashim Manap to discuss the issue of this study. The results reveals the location of the drama chosen by the directors in these three dramas have the characteristics of da'wah that show the beauty of Islam, the power of Allah S.W.T and bring the audience closer to Allah S.W.T. Overall the location can be made as an element of da'wah in Islamic drama whether as unseeded or implied through the scenes portrayed in the location.
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Wibowo, Ari. "Komodifikasi Agama: Studi Analisis terhadap Tampilan Agama di Media Televisi." Edugama: Jurnal Kependidikan dan Sosial Keagamaan 6, no. 1 (July 30, 2020): 56–74. http://dx.doi.org/10.32923/edugama.v6i1.1325.
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The appearance of religion in television media tends to be colored by the principles of commercialization and capitalism. The religious program is presented not only has an impact on the exchange of values (change values) but also on the exchange of money (change money). With a descriptive qualitative approach, this article seeks to explain the appearance of religion in several religious programs broadcast by several Indonesian television media. The observation method was used to identify several religious programs and controversial dramas, such as the drama "Bubur Naik Pilgrimage" on RCTI, Haji Medit drama on SCTV, and drama "Azab" on Indosiar. The result is that religious programs and dramas where shown on television are commercialized to attract the attention of the audience and increase ratings. So this is what led to the commodification of religion in several television media in Indonesia. The commodification of religion in Indonesian television media appeared during the month of Ramadan.
Tampilan agama di media televisi cenderung diwarnai dengan prinsip komersialisasi dan kapitalis. Program acara relegi yang disajikan tidak hanya berdampak pada pertukaran nilai (change values) tetapi juga pada pertukaran uang (change money). Dengan pendekatan kualitatif deskriptif, artikel ini berupaya menjelaskan dan memaparkan tampilan agama dalam beberapa program religi yang siarkan oleh beberapa media televisi indonesia. Metode observasi digunakan untuk mengidentifikasi beberapa program religi dan sinetron yang kontroversial, seperti sinetron “Tukang Bubur Naik Haji” di RCTI, sinetron Haji Medit di SCTV, dan sinetron “Azab” di Indosiar. Hasilnya bahwa program acara religi dan sinetron yang ditampilkan di televisi dikomersialisasi untuk menarik perhatian khalayak dan meningkatkan rating. Sehingga inilah yang menyebabkan terjadinya komodifikasi agama di beberapa media televisi di Indonesia. Komodifikasi agama di media televisi Indonesia nampak pada saat bulan Ramadan.
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Yoke Ling, Loh, and . "The Popularity of Asian Drama Series on Malaysian Television." International Journal of Engineering & Technology 7, no. 3.21 (August 8, 2018): 470. http://dx.doi.org/10.14419/ijet.v7i3.21.17215.
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The Asian drama series has reached high popularity level among local viewers since this popular culture has penetrated into our local entertainment industry. The scheduling of the government or the private television stations specific to Asian drama series has increased when the response is very encouraging from the local viewers. Viewers are an important commodity in the capitalist system whereby when a cultural product obtains high viewing rating, automatically the popularity is also going to be high. Thus, for these Asian dramas series to achieve popularity, they need to draw the interest and demand of viewers in this region, where it can be explained through the concept of regionalization. Regionalization gives the priority to the psychology and phenomenon about the cultural approach and the cultural discount. This concept justifies the phenomenon of Asian drama series popularity in the Asian region. The content analysis and interview have been used in this study to analyze the elements contained in the Asian drama series, and whether or not they contribute to their popularity also perspective from local drama producers towards this phenomenon. Similarities in terms of the theme, characterization and narratives contained in the popular Asian drama series in this current work are the method and approach adopted in this work to reduce the cultural discount whereby through this similarity it has started to build the identity and characteristics of the Asian drama series seen as accepted and welcome by Asian viewers- something which is known as the cultural approach. The outcome of the study also shows that from the mainstream theme, good scripts, the right choice of artists and appropriate theme songs in the drama that they contribute to high popularity and altogether leave an impact to the Malaysian TV industry. Producers are in full authority not only in executive work but also in terms of the creativity. The decision made by a producer of a drama is vital to render a drama series a success.
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Harper, Stephen. "‘Terrible things happen’: Peter Bowker's Occupation and the Representation of the Iraq War in British Television Drama." Journal of British Cinema and Television 10, no. 1 (January 2013): 206–23. http://dx.doi.org/10.3366/jbctv.2013.0130.
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Peter Bowker and Laurie Borg's three-part television drama Occupation (2009) chronicles the experiences of three British soldiers involved in the 2003 invasion of Iraq. By means of an historically situated textual analysis, this article assesses how far the drama succeeds in presenting a progressive critique of the British military involvement in Iraq. It is argued that although Occupation devotes some narrative space to subaltern perspectives on Britain's military involvement in Iraq, the production – in contrast to some other British television dramas about the Iraq war – tends to privilege pro-war perspectives, elide Iraqi experiences of suffering, and, through the discursive strategy of ‘de-agentification’, obfuscate the extent of Western responsibility for the damage the war inflicted on Iraq and its population. Appearing six years after the beginning of a war whose prosecution provoked widespread public dissent, Occupation's political silences perhaps illustrate the BBC's difficulty in creating contestatory drama in what some have argued to be the conservative moment of post-Hutton public service broadcasting.
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Lammi, Dereje Mekonnen, Bonsa Shume, and Addisalem Taye. "Viewing Kana Television Dramas as predictor of Adolescents’ Psychosocial Developments: the Case of Jimma Town Preparatory Students in Oromia Regional State." International Journal of Multicultural and Multireligious Understanding 6, no. 5 (October 22, 2019): 379. http://dx.doi.org/10.18415/ijmmu.v6i5.1126.
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This study was intended to examine the influence of viewing kana television dramas on psychosocial developments of adolescents of Oromia special zone preparatory schools in Oromia region. To address this objective, correlational research design was employed. It was targeted on 349 participants selected by multistage and purposive sampling techniques. Questionnaire and key informant interview guide were used to gather information from participants. Furthermore, quantitative data analysis was used where multiple linear regression and independent sample t-test were applied. Tikur Fikir drama was mostly explained peer interaction (β= 0.077, p= .024) while Kuzi Guni drama was mostly predicted adolescent-family interaction (β= 0.082, p= .022) and Kitat drama was mostly predicted adolescents’ identity development (β= 0.334, p= .018). Independent sample t-test was conducted where there was non-statistically significant mean difference between gender in both peer interaction (male: x ̅=8,SD=1.27 and female: x ̅=8,SD=1.29 at t (332) = -1.45, p =. 149) and family interaction (male: x ̅=8,SD=1.58 and female: x ̅=8,SD=1.49 at t (332) = -.957, p =.321) whereas statistically significant mean difference was found in identity development of the participants((male: x ̅=29.45,SD=4.186 and female: x ̅=31,SD=3.705 at t (327) = -4.44, p< .05) while female adolescents were more influenced by the dramas than their counterparts. Therefore, it was conclude kana television dramas influenced the psychosocial development of adolescents where awareness raising for both parents and students on monitoring the influences viewing the dramas and further studies are critically recommended in some important social variables including adolescents’ academic achievements, adolescents’ time management skills, and marriage relationships of the society members.
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Berg, Miriam. "The interplay between authenticity, realism and cultural proximity in the reception of Turkish drama serials among Qatari audiences." Journal of Popular Television 10, no. 1 (March 1, 2022): 21–40. http://dx.doi.org/10.1386/jptv_00068_1.
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This article explores how young Qatari audiences perceive authenticity in Turkish television dramas. The concepts of authenticity and realism are used as analytical tools to examine empirical findings from twenty focus group discussions with students, in 2016 and 2017. The results reveal that young Qataris see Turkish serials as offering a more authentic representation of real life than local and regional television serials. Although Turkish drama serials do not provide a window into actual life within Turkish society, they are perceived as offering a realistic depiction of characters and storylines representing Turkey’s social life and culture. This article establishes that Turkish serials’ dubbing into a colloquial Syrian dialect has heightened audience experience of authenticity. The fact that Turkish dramas were created against the backdrop of a Muslim country with significant ethnic and cultural similarities further elevated the Arab audiences’ perception of authenticity.
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Iyorza, Stanislaus, and Patience Abu. "NIGERIAN TELEVISION DRAMA SERIES AND AUDIENCE REACTIONS: A SEISMOLOGY EVALUATION." Jurnal Sosialisasi: Jurnal Hasil Pemikiran, Penelitian dan Pengembangan Keilmuan Sosiologi Pendidikan, no. 1 (July 30, 2020): 47. http://dx.doi.org/10.26858/sosialisasi.v0i1.14491.
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The objective of this study is to find answers to evaluate reactions of the audience to the Nigerian television drama series in Nigeria, giving attention to how the programmes are making waves and the extent to which the audience has invested their knowledge, time and interest in them. Seismology is the study of effects or waves created by a dramatic piece, the entire theatrical event or radio or television programme. This discourse assumes that the Nigerian television drama series may not be evoking the desired reactions from their audience. The problem of this study is the uncertainty surrounding the impact or waves made by the Nigerian television drama series on their audience. To achieve the objectives of this study adopted quantitative and qualitative research methods to elicit audience reaction. The study employed the survey method using questionnaire and online interview designs to elicit responses on audience responses to Nigerian television drama series. Findings revealed that more than 80% of Nigerians watch at least one or more Nigerian television drama series out of interest. Audience reactions to the programmes are in form their expressions of knowledge about the drama series in terms of best actors, producers and television drama series in Nigeria. The audience also reacted that the Nigerian television drama series is more entertaining than educational and informational, even though some combine all those qualities. The audience also agreed that the Nigerian television drama series reflect life in Nigeria by promoting good morals and criticizing anti-social behaviours like raping, drug abuse and kidnaping. The paper recommends multinational companies' continuous sponsorship of television drama series that is targeted at making the Nigerian society a better place.
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Moewaka Barnes, Angela, and Helen Moewaka Barnes. "MĀORI IN UNEXPECTED PLACES: Watching Māori on Television." Sites: a journal of social anthropology and cultural studies 19, no. 1 (August 15, 2022): 34–59. http://dx.doi.org/10.11157/sites-id512.
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This paper draws on a study of audience responses, prompted by understandings of the power exerted by representations in television dramas. The wider study explored Māori and non-Māori meaning-making, emotions, feelings, and affective practices that arise when viewing Māori representations on locally produced television dramas. Findings from focus group responses to an episode of the local television drama The Brokenwood Mysteries are organised here, using a framework of the expected and unexpected that aligns with theories of Kaupapa Māori and affect. Three key themes emerged: ‘The Expected and Unexpected’; ‘Reflection and Challenge’; and ‘Motivations and the Writer’s Responses’. Although attention is on Māori, Pākehā responses are included. Māori were deeply affected and worked hard to pre-empt and address what they saw or expected to see. Although some Pākehā expressed discomfort and concern when responding to negative representations of Māori, they did not demonstrate the same levels of negotiation and contestation.
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Ratnasingam, Malini, and Lee Ellis. "Sex Differences in Mass Media Preferences Across Four Asian Countries." Journal of Media Psychology 23, no. 4 (January 2011): 186–91. http://dx.doi.org/10.1027/1864-1105/a000054.
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Background. Nearly all of the research on sex differences in mass media utilization has been based on samples from the United States and a few other Western countries. Aim. The present study examines sex differences in mass media utilization in four Asian countries (Japan, Malaysia, South Korea, and Singapore). Methods. College students self-reported the frequency with which they accessed the following five mass media outlets: television dramas, televised news and documentaries, music, newspapers and magazines, and the Internet. Results. Two significant sex differences were found when participants from the four countries were considered as a whole: Women watched television dramas more than did men; and in Japan, female students listened to music more than did their male counterparts. Limitations. A wider array of mass media outlets could have been explored. Conclusions. Findings were largely consistent with results from studies conducted elsewhere in the world, particularly regarding sex differences in television drama viewing. A neurohormonal evolutionary explanation is offered for the basic findings.
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Maryam, Siti. "STUDI KOMPARASI EMIK DAN ETIK MASYARAKAT TERHADAP MENJAMURNYA TAYANGAN DRAMA ASING DI INDONESIA: KAJIAN ANTROPOLOGI KONTEMPORER." GENTA BAHTERA: Jurnal Ilmiah Kebahasaan dan Kesastraan 3, no. 1 (May 7, 2018): 91–105. http://dx.doi.org/10.47269/gb.v3i1.8.
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AbstrakBahasa merupakan suatu hal yang telah membuat manusia menjadi makhluk istimewa. Sejak lahir, setiap manusia telah dibekali dengan alat akuisisi bahasa yang sering diistilahkan dengan Language Acquisition Device (LAD). Seiring dengan berkembangnya zaman dan teknologi yang semakin maju, semakin berkembang pula dunia perfilman di setiap negara, terutama negara India, Korea, Amerika Latin, Filipina, dan Turki. Seperti yang kita lihat, belakangan ini sekitar tahun 2014 sampai sekarang, drama-drama India, Korea, Amerika Latin, Filipina, dan Turki yang sedang marak di layar kaca Indonesia. Dalam hal ini, karena semakin maraknya drama-drama luar, maka banyak sekali pengaruh yang ditimbulkan drama-drama tersebut kepada masyarakat Indonesia terutama para remaja, misalnya karena sering menonton drama Korea mereka jadi mengikuti gaya bicara, berpakaian, dan bahasanya seperti, Annyeong Haseyo (Hallo), Gamsamhamnida (Terima Kasih), Mianhae (Maaf), dan masih banyak lagi. Hal serupa juga sama dilakukan bagi masyarakat yang menyukai drama India, Amerika Latin, Filipina, dan Turki. Tidak disangka dari drama tersebutlah budaya dari negara-negara tersebut jadi semakin dikenal oleh bangsa Indonesia. Oleh karena itu, dianggap penting untuk melakukan kajian tentang persepsi masyarakat terkait menjamurnya drama asing di Indonesia sebagai bahan informasi untuk menambah wawasan masyarakat. Adapun drama yang dimaksud terwujud dalam bentuk film, sebab antara film dengan drama memiliki persamaan terutama dalam ihwal bentuk tayangan dan konten yang disajikan. Hal tersebut yang menyebabkan terjadinya berbagai persepsi di tengah masyarakat yang menikmatinya. Kata kunci: komparasi, emik dan etik, drama asing, antropologi kontemporer AbstractLanguage is something that has made human a special being. Since birth, every human has been equipped with language acquisition tools that are often called the Language Acquisition Device (LAD). Along with the development of the era and the progress of technology, the more developed the world of cinema in every country, especially India, Korea, Latin America, Philippines, and Turkey. As we see, lately around 2014 until now, the dramas of India, Korea, Latin America, Philippines, and Turkey are often broadcasted on the Indonesian television. In this case, since the increase of the widespread of foreign dramas, many influences caused by those dramas to Indonesian, especially the teenagers. For instance because of watching Korean dramas, the youth follow the style of speech, dressing, and language like, Annyeong Haseyo (Hallo), Gamsamhamnida (Thank You), Mianhae (Sorry), and so on. The same is also true for people who love India, Latin America, Philippines, and Turkey dramas. Unexpectedly, based on those dramas, the culture of those countries become increasingly recognized by Indonesian people. Therefore, it is considered important to conduct a study on public perceptions related to the proliferation of foreign dramas in Indonesia as an information material to increase community insight. About dramas is being in the film, causes between film and dramas having the same is the structure of showing and content. That’s same be the caused of perception variated in the people community. Key words: comparation, emik and ethics, foreign drama, contemporary anthropology
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Shakir, Zubrah. "Effects of Pakistani Drama 'Mery Pass Tum Ho' On Cultural Values of Society: A Survey of Lahore District." Global Multimedia Review III, no. I (December 30, 2020): 19–38. http://dx.doi.org/10.31703/gmmr.2020(iii-i).03.
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In this study researchers were interested to analyze the effects of Pakistani drama Mery Pas Tum ho. The reason behind choosing this serial for study was the hype and popularity belonged to this drama. The finding discloses that our public want to watch something unique but real at the same time. Some issues that although exists in our society but most of us zip up our lips due to many social restriction. This study also proved that now people becoming even wiser and demanded as they expect more responsible and related performance from the television. The study suggest that Pakistani dramas should promote the Pakistani and Islamic values, so television content can make a reason for the nation to proud. In this study based on Lahore district researcher collect data and find out the results through survey and Questionnaire that used as a research tool to get the results.
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Sella Inbar, Anat. "The hermeneutics of casting." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (August 21, 2018): 333–51. http://dx.doi.org/10.1177/1749602018783172.
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This article offers a close reading of the casting in the Israeli drama series BeTipul (the original series for the HBO adaption In Treatment). My analysis views casting as a key mechanism of meaning-making in television series and explores its heightened cultural and social significance in recent Israeli television dramas. I explore, in particular, how through the casting of well-known actors, who have previously portrayed key mythological figures, old national myths are challenged in an almost iconoclastic manner that adds symbolic layers to the series, layers that might be overlooked by viewers who are unfamiliar with the specific cultural background.
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Zhang, Yu, and Nicholas Lovrich. "Portrait of justice: The spirit of Chinese law as depicted in historical and contemporary drama." Global Media and China 1, no. 4 (November 1, 2016): 372–89. http://dx.doi.org/10.1177/2059436416678220.
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Some scholars doubt whether China has much of a legal tradition, and others have opined that China lacks legal subjectivity from a Western legal perspective. However, various dramas have delineated a legal culture and form of legal subjectivity in China present since ancient times. Unfortunately, relatively less research has been conducted on legal themes in Chinese drama, and even less scholarship has explored Chinese legal tradition through an art perspective. This article takes a modest step toward filling this gap. Selecting multiple cases from the creative industries in China, including ancient stage drama, films, and contemporary television drama across the span of hundreds of years, this article looks into the representations of legal tradition in Chinese performing arts and explores the spirit of law in Chinese society.
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Haddad, Fadi G., and Alexander Dhoest. "Cosmopolitanism in Dubai’s Pan-Arab Drama." Middle East Journal of Culture and Communication 13, no. 2 (October 22, 2020): 190–209. http://dx.doi.org/10.1163/18739865-01302002.
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Abstract Pan-Arab dramas (Ar. al-drama al-ʿarabiyya al-mushtaraka) are a recent trend in Arabic drama series (Ar. musalsalat); they portray an ensemble of characters of various Arab nationalities in a transnational narrative setting. By considering transnational television a factor that contributes to the cosmopolitan imagination, and given the argument that Gulf cities are replacing historical Arab capitals and becoming ‘new centers’ for Arab culture, education and business, we explore the manner in which cosmopolitanism is represented in transnational Arab drama content. We do this through a case study of ‘04’ (Zero Four), a pan-Arab drama series that tells the story of four young expatriates of four Arab nationalities, experiencing their personal, professional and private lives in modern-day Dubai. We find that the boundaries of the cosmopolitan imagined community encompass the Arab world, resulting in a cosmopolitan imaginary that seems to favor Arabs over non-Arabs.
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Khan, Rooh Ul Amin, Ahsan Ul Haq, and Jamal Ud Din. "Portrayal of Families in Prime Time Urdu Drama." Global Sociological Review V, no. III (September 30, 2020): 48–57. http://dx.doi.org/10.31703/gsr.2020(v-iii).06.
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The current study was conducted to analyze the portrayal of families in Urdu drama serials right from the start of television drama to 2016. The Urdu drama serial period was divided in to two eras, pre-cable era and cable era. Through the lens of cultivation theory, message system analysis was done of Urdu drama serial for more than five decades. It was hypothesized that pre-cable era will depict more extended families and cable-era depict more nuclear families. The finding of study revealed that our assumption was not supportive and more nuclear families were found in both the eras. Similarly, the other important variable was sibling in pre-cable and cable era. Maximum dramas showed only two to three children in families of both the eras. More diversity of culture was found in terms of family depiction in pre-cable era, and more homogenous and urban elite class was found in cable era.
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Gordon, Joel. "Viewing Backwards: Egyptian Historical Television Dramas in the 1990s." Review of Middle East Studies 52, no. 1 (April 2018): 74–92. http://dx.doi.org/10.1017/rms.2018.5.
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AbstractThe 1990s marked an important moment in Egyptian television, when the country turned its attention increasingly (although never monolithically) toward historical drama as a means of recreating and reinterpreting modern Egyptian history. Mahfouz Abd al-Rahman and Osama Anwar Okasha, in particular, scripted long multi-year series aired during Ramadan, the peak season for television viewing, that covered decades of the late ninteenth century and pre-Nasserist history, in many ways re-writing public history, and making historical drama—and history—fashionable. I focus here on the former and his first mega-hitBawabat al-Halawani (Halawani Gate). Biographical dramas, initially of artists, but later politicians, kings, and religious leaders would follow. As the Egyptian industry atrophied in the following decade these dramatists passed the mantle on to the Syrians, later the Turks, who broke the Egyptian monopoly and brought their own stories to the fore. But a rebirth may be in view.
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Cooke, Lez. "Six and ‘Five More’: Experiments in Filmed Drama for BBC2." Journal of British Cinema and Television 14, no. 3 (July 2017): 298–323. http://dx.doi.org/10.3366/jbctv.2017.0375.
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In 1964–6 John McGrath produced two series of filmed dramas for BBC2, the first under the series title Six, while the second series, provisionally titled ‘Five More’, was transmitted without a series title. At a time when most drama was being produced from the television studio, some of it still being transmitted live, this was a new departure, with the first six films pre-dating Up the Junction (1965) and the second series predating Cathy Come Home (1966), the two Wednesday Plays which have been celebrated for making the breakthrough to filmed drama at the BBC. Unlike the Loach/Garnett films, which were made by the Drama Department, McGrath's series were commissioned by Huw Wheldon's Documentary and Music Programmes department, which also produced Peter Watkins’ Culloden (1964), and were described as a hybrid of ‘documentary fiction’. In fact, they were an eclectic mix of different forms and styles, from Ken Russell's silent cinema pastiche, The Diary of a Nobody (1964) to Philip Saville's experimental The Logic Game (1965) and John Irvin's lyrical Strangers (1966). This article seeks to reconsider these films as examples of forgotten television drama from the mid-1960s and to examine the claim that they represent a new form of ‘documentary fiction’.
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Wegner, Gesine. "Relocating the Freak Show: Disability in the Medical Drama." Zeitschrift für Anglistik und Amerikanistik 67, no. 1 (March 26, 2019): 19–36. http://dx.doi.org/10.1515/zaa-2019-0003.
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Abstract Through an analysis of various negotiations of disability in House, M.D. and Grey’s Anatomy, my paper discusses the narrative and non-narrative means that make the medical drama such an appealing genre to contemporary audience members. As the most successful medical dramas of the post-millennial era, House, M.D. and Grey’s Anatomy rely heavily on the exhibition of non-normative bodies, the humorous device of re-naming patients, and the narrative construction of disability as unbearable deviance. While Laura Backstrom locates the freak show in non-fictional television formats like the talk show and documentary, my paper illustrates how the medical drama, although at times highly self-reflexive, has become another pervasive relocation of the freak show into contemporary television. In a close reading of Grey’s Anatomy, I further demonstrate how the portrayal of a disabled doctor as a series regular both manifests and challenges some of the normative perceptions of the body that the genre relies on.
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Wong, Yat-wai Joseph. "Television as the arena of shaping a music genre: The Hong Kong TV broadcasting culture and the rise of Cantopop, 1970–85." Journal of Popular Television 9, no. 1 (March 1, 2021): 79–91. http://dx.doi.org/10.1386/jptv_00042_1.
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The term Cantopop is used by scholars to describe Cantonese popular songs developed in Hong Kong during the early 1970s. The rise and development of the genre was not cultivated by music programmes or variety shows but by Cantonese TV drama culture and the competition between different channels in the 1970s. Footage of early 1970s shows indicates that cover versions of English popular songs were initially more prominent than Cantopop in these programmes. Producers and music directors introduced the genre to television by tailor-making Cantonese theme songs based on the characters and stories of TV dramas. By doing so, Cantopop emerged as an effective tool for promoting TV dramas. In this way, and benefitting from the success of Cantonese TV dramas, Cantopop gradually became accepted as one of the mainstream genres in TV culture.
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Goble, David, and Ann Knowles. "Children’s Interpretations of Good and Bad Television Characters." Australian Educational and Developmental Psychologist 13, no. 2 (November 1996): 54–62. http://dx.doi.org/10.1017/s0816512200027516.
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AbstractWhile there has been much concern over television’s influence on children, few studies have investigated the way young children and adults differ in their ability to distinguish the behaviour of “good” and “bad” television characters. The present study investigated the extent to which preschool children, primary school students, and adults differed in their interpretations of the actions of a stereotypically good and a stereotypically bad character. An edited television drama programme was examined for comprehension and for the extent to which children and adults differed in their belief that the characters in the programme were real. Preschool children were found to evaluate characters similarly to adults, although significant differences were evident in their comprehension of the programme and their judgement of the reality of the television content.
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Hallsworth, Djuna. "National broadcasting, international audiences: How cultural difference is represented in the Danish television dramas Ride upon the Storm, Liberty and Greyzone." Journal of Scandinavian Cinema 10, no. 2 (June 1, 2020): 121–36. http://dx.doi.org/10.1386/jsca_00018_1.
Full textAbstract:
Denmark represents a noteworthy ‐ and rather successful ‐ example of where state-funded public service broadcasters have retained strong branding locally while asserting an online streaming presence and negotiating sustainable transnational partnerships for future collaboration, thus consolidating domestic and international markets. This article analyses the impact of the shift away from national broadcasting towards transnational production cultures on the Danish domestic market, historically dominated by local public service broadcasters: Danmarks Radio and TV2. Using the television dramas Ride upon the Storm, Liberty and Greyzone as case studies, the article examines the idea that trends towards harnessing global audiences and fostering transnational production collaborations may partially undermine the distinctive cultural and linguistic features of Danish television drama.
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Guo, Shaohua. "The politics of love in contemporary China: Cosmopolitanism and competing masculinities in Best Time." China Information 32, no. 1 (July 19, 2017): 88–106. http://dx.doi.org/10.1177/0920203x17719431.
Full textAbstract:
Since the new millennium, the television industry in China has witnessed a flourishing of television series addressing the aspirations, struggles and gender expectations of the urban middle class. Nevertheless, with few exceptions, little scholarly attention has been devoted to the televisual construction of masculine ideals in the contemporary era. Taking as a case study Best Time (最美的时光), one of the most popular idol dramas of 2013, this article fills a lacuna in current scholarship and addresses the televisual construction of cosmopolitan masculinities by focusing on the tension between two prominent social groups: overseas returnees and indigenous talents. Through analysis of the construction of competing masculinities in Best Time, this article argues that this drama is as much about an undertone of national rejuvenation, and the desire for China’s rise and global dominance, as it is about unrequited love. In pursuing this argument, a critical reading of a youth idol drama opens new avenues for understanding cosmopolitanism through the lenses of gender dynamics and nationalism.