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Journal articles on the topic 'Television Drama'
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1
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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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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Tarrant, Arthur. "Television drama." Physics World 11, no. 11 (November 1998): 18–20. http://dx.doi.org/10.1088/2058-7058/11/11/21.
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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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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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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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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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Slater, D. "Hillsborough television drama." BMJ 314, no. 7084 (March 22, 1997): 901. http://dx.doi.org/10.1136/bmj.314.7084.901a.
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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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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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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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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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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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Degn, Hans-Peter, and Stinne Gunder Strøm Krogager. "Danish television drama series." Critical Studies in Television: The International Journal of Television Studies 12, no. 4 (December 2017): 362–79. http://dx.doi.org/10.1177/1749602017730261.
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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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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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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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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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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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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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Kerer, K. "Diagnostic strategy of Russian and American television medical drama discourse." Rhema, no. 2, 2019 (2019): 28–47. http://dx.doi.org/10.31862/2500-2953-2019-2-28-47.
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The article analyzes the implementation of the diagnostic strategy of television medical drama discourse in Russian and American linguoculture on the material of the series “Practice” and “Grey's Anatomy” as the most striking examples of this type of discourse. The study highlights the phenomenon of medicalization and the genre of the television medical drama, introduces the concept of the medical drama television discourse and discusses it definitional properties, as well as the ways of achievement of compliance at the diagnostic stage in Russian and American medical drama television discourse.
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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, 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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Smart, Billy. "The Life of Galileo and Brechtian Television Drama." Journal of British Cinema and Television 10, no. 1 (January 2013): 112–29. http://dx.doi.org/10.3366/jbctv.2013.0125.
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Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.
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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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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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Nicholas, Siân. "HISTORY, REVISIONISM AND TELEVISION DRAMA." Media History 13, no. 2-3 (August 2007): 203–19. http://dx.doi.org/10.1080/13688800701611704.
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Martens, Heiko. "Style in British Television Drama." Historical Journal of Film, Radio and Television 34, no. 3 (July 3, 2014): 480–82. http://dx.doi.org/10.1080/01439685.2014.943956.
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Dixon, Bernard. "Flaws bug television gene drama." Current Biology 12, no. 13 (July 2002): R441. http://dx.doi.org/10.1016/s0960-9822(02)00936-3.
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Baldwin, Jon. "Style in British television drama." Journal of Media Practice 16, no. 1 (January 2, 2015): 91–92. http://dx.doi.org/10.1080/14682753.2015.1015803.
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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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Aquilia, Pieter. "Endangered Genre: English-Language Television Drama in Singapore." Media International Australia 115, no. 1 (May 2005): 71–81. http://dx.doi.org/10.1177/1329878x0511500108.
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For 40 years, the Singapore government has successfully promoted the English language for its citizens to operate in an international Western economy. However, English-language television drama, with no cultural-linguistic roots in Singapore's multi-Asian society, has been heavily criticised for its lack of quality in comparison to its successful Chinese-language counterpart. A case study of the prime-time drama @Moulmein High demonstrates how state involvement in English-language television has an impact on drama's content, popularity and commercial aims. This paper explores whether a television network endowed with the responsibility of maintaining a national value system can produce a TV drama series able to win favour with an increasingly English-educated local audience, and whether the drama can translate to television markets outside Singapore.
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Hallam, J. "Drama queens: making television drama for women 1990-2009." Screen 54, no. 2 (June 1, 2013): 256–61. http://dx.doi.org/10.1093/screen/hjt013.
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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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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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Loriguillo-López, Antonio. "La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 867. http://dx.doi.org/10.5944/signa.vol28.2019.25097.
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El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia narrativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la correspondencia de este modelo con una nueva fase del modelo de narración del audiovisual postclásico.The present article proposes a methodology of analysis of the ambiguous narration in contemporary television fiction, a stylistic feature on the rise among commercial titles. Through the adaptation and application of the communicativeness formulated by David Bordwell as one of the categories of narrative strategies in his examination of the modes of narration in film to a sample of drama series produced in English-speaking regions, we offer a primary approach to the narrative mode of what has come to be known in the field of Television Studies as complex TV. Lastly, we note the correspondence between this model and a new phase of the audiovisual post-classical narration.
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Muhammad Ashraf and Muhammad Nasir Kiazai. "براہوئی ڈرامہ نا اولیکو کتاب ’’استو نا بندغ‘‘ اسہ جاچ اس." Al-Burz 11, no. 1 (December 25, 2019): 44–50. http://dx.doi.org/10.54781/abz.v11i1.44.
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Raag, a folk term has used for Drama in ancient Brahui. In folk literature when the Brahui modern literature were not introduced the Term Raag were used for entertain. After establishment of Radio Station center at Quetta, the different parts of modern literature opened the windows for Brahui fiction. There is prominent writer which Mr. Ghulam Nabi Rahi has started firstly Brahui radio Drama, soon after the tradition of Brahui drama has spread all over the Balochistan. A compilation of his first period’s Drama known as Isto naa Bandagh. This research paper discussed and analyses the technique and tendency of Rahi’s Drama. Mostly his dramas have played from Radio and Television Quetta center after Sixties. Shaahbeg naa wataakh a very famous radio Drama, where the social problems were reflecting. A descriptive method has been used to complete this paper.
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Turnbull, Sue, and Felicity Collins. "Old Dogs, New Tricks: Beyond Simpson Le Mesurier, Crime-Comedy and the Telemovie Series." Media International Australia 100, no. 1 (August 2001): 33–48. http://dx.doi.org/10.1177/1329878x0110000106.
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Roger Simpson and Roger Le Mesurier are veterans of commercial television drama production (from Division 4 to Stingers). In the post-Skase/Bond era of deficit funding, their innovative telemovie series (Halifax f.p., Dogwoman) and crime-comedy series (Good Guys Bad Guys) have tested the boundaries of Australian television's staple drama format, the crime series. Taking actors (Rebecca Gibney, Marcus Graham, Magda Szubanski) as hooks for the networks, the joint venture company Beyond Simpson Le Mesurier has brought elements of sketch comedy and a high-concept film aesthetic to the crime series format. Drawing on private investment and public money (FFC, FilmVic, CTPF), Beyond Simpson Le Mesurier exemplifies the current convergence between the film and television industries. Paradoxically, the local success of Simpson Le Mesurier's series (particularly with a post-Fordist, 18–39-year-old demographic) highlights a crisis in the drama production industry — a crisis precipitated by a dramatic drop in international sales, forcing a return to licence fee productions.
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Hill, John. "From Five Women to Leeds United!: Roy Battersby and the Politics of ‘Radical’ Television Drama." Journal of British Cinema and Television 10, no. 1 (January 2013): 130–50. http://dx.doi.org/10.3366/jbctv.2013.0126.
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Focusing on the work of the left-wing film and television director Roy Battersby, this article seeks to shed light on the issues at stake in the controversies surrounding the production and reception of ‘radical television drama’ during the late 1960s and early 1970s. Through an examination of a number of BBC productions that were either cut (Five Women), banned (Hit Suddenly Hit) or the subject of moral and political objections (The Operation and Leeds United!), the discussion indicates how arguments over ‘radical’ television drama involved a degree of shift away from concerns with the blurring of boundaries between ‘fact’ and ‘fiction’ towards a preoccupation with political ‘balance’ (that involved the application of criteria to drama that were originally reserved for documentaries). Although the period in question is often characterised as one in which the creators of television drama enjoyed substantial creative freedom to make work that challenged the status quo, this article also reveals how such work was far from the norm and often only got made, and shown, in the face of considerable opposition. The article therefore concludes with an assessment of some of the ideological and institutional constraints weighing upon ‘radical’ political expression in television drama at this time.
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Nobes, Karen, and Susan Kerrigan. "White noise." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.
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First Nations content on commercial Australian television drama is rare and First Nations content makers rarely produce the content we see. Despite a lack of presence on commercial drama platforms there has been, and continues to be, a rich array of First Nations content on Australian public broadcast networks. Content analysis by Screen Australia, the Federal Government agency charged with supporting Australian screen development, production and promotion, aggregates information across the commercial and non-commercial (public broadcasting) platforms which dilutes the non-commercial output. The research presented in this article focused on the systemic processes of commercial Australian television drama production to provide a detailed analysis of the disparity of First Nations content between commercial and non-commercial television. The study engaged with First Nations and non-Indigenous Australian writers, directors, producers, casting agents, casting directors, heads of production, executive producers, broadcast journalists, former channel managers and independent production company executive directors—all exemplars in their fields—to interrogate production processes, script to screen, contributing to inclusion or exclusion of First Nations content in commercial television drama. Our engagement with industry revealed barriers to the inclusion of First Nations stories, and First Nations storytelling, occurring across multiple stages of commercial Australian television drama production.
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Hill, Annette. "Push–Pull Dynamics." Television & New Media 17, no. 8 (August 1, 2016): 754–68. http://dx.doi.org/10.1177/1527476416658131.
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This article explores push–pull dynamics in television drama production and reception. Push–pull dynamics are understood as complicated power relations in the transactions between television industries and audiences. The research is underpinned by qualitative data, drawing on more than 170 participants in interviews, focus groups, and participant observations, with producers and audiences from Northern Europe and North and South America. A case study of The Bridge (FX, 2013–2014) crime drama and its adaptations is used to think through the idea of push–pull dynamics. A key question concerns how power is performed in television itself, referring to work in cultural studies and Williams’s notion of the television experience. The Bridge crime drama and its adaptations underscore the particularities of power for television industries and audiences: this is not a tale of surrender to global industrial forces; rather, this is a story of the reality of power and the struggle over how producers and audiences make sense of global television.
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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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Kilborn, Richard. "‘Drama over Lockerbie’ A new look at television drama-documentaries." Historical Journal of Film, Radio and Television 14, no. 1 (January 1994): 59–76. http://dx.doi.org/10.1080/01439689400260051.
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Silva, Marcel Vieira Barreto. "The origins of contemporary serial drama." Matrizes 9, no. 1 (June 23, 2015): 127. http://dx.doi.org/10.11606/issn.1982-8160.v9i1p127-143.
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Using as base methodological and conceptual contributions of the Philosophy of Drama, this paper seeks to investigate the origin of contemporary serial drama. To do so, it offers a diachronic reflection on the constitution of drama as a television genre, whose transformations serve as a landmark to think about the formal immanence of contemporary drama. With this, it intends to demonstrate that it is in the dialectical relation among micro-structures (beat and episode) and macro-structures (arch and season) of television series that relies its dominant characteristic.
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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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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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Castelló, Enric. "Catalan Television Drama: A Turning Point." Critical Studies in Television: The International Journal of Television Studies 6, no. 2 (September 2011): 24–36. http://dx.doi.org/10.7227/cst.6.2.5.
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Warner, Kate. "History, Memory and Television Crime Drama ( )." SPIEL 2017, no. 1 (January 1, 2017): 39–54. http://dx.doi.org/10.3726/spiel.2017.01.03.
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Hewett, Richard. "Book Review: Contemporary British Television Drama." Critical Studies in Television: The International Journal of Television Studies 16, no. 3 (September 2021): 330–32. http://dx.doi.org/10.1177/17496020211015463b.
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