TV drama

This study aims to understand the new cultural phenomenon that conquered Asia and is captivating new admirers in other parts of the world: the Korean Wave. The proposition is to understand the birth of this phenomenon and, through the narrative of "Reply 1997", a 2012 TV Drama, observe how South Korea evaluates its own contemporary history. The narrative describes the recent past using the pop culture language to recognize the rise of the country as a new cultural production center in Asia. Keywords: South Korea; TV Drama; Korean Wave; Reply 1997.

A presente dissertação se propõe a investigar o circuito dos dramas de televisão japoneses no Brasil, apresentando tanto sua faceta formal (mediada por plataformas oficiais, como a Netflix) e informal (mediada pelo trabalho dos fãs que se predispõem a legendar e distribuir tais produtos). Utilizando como base a netnografia, combinada com entrevistas e a observação participante, o trabalho busca compreender as mudanças que ocorreram no circuito desde a sua concepção através de práticas colaborativas na Internet, datada do início dos anos 2000, até o momento presente, em que outros importantes jogadores, como a Coreia do Sul, emergem diante desse circuito e desafiam a hegemonia nipônica no que concerne ao formato drama de televisão.

Dalle “fabbriche della serialità” alle “tattiche della post–serialità”. Non più solo “serie serializzate” ma “format seriali”: cosa sta succedendo al prodotto televisivo? Prendendo in esame cinque casi di studio (C’è Posta per te, X Factor, Gazebo, Masterchef, Chi l’ha visto?), analizzandone gli intrecci, le espansioni e le migrazioni su paratesti social si vuole dimostrare come le logiche della serializzazione e delle narrazioni cross–platform vengano fortemente utilizzate nell’entertainment. Il desiderio è sempre quello di continuare a raccontare storie di notte davanti a un fuoco e sedurre pubblici connessi.
Prefazione di Salvatore Carlo Miccichè.

حاولت هذه الدراسة أن تقدم رصداً كمياً ونوعياً لمشاهد العنف والجريمة بالأفلام والمسلسلات، ومدي توظيفها لأغراض تجارية، وكذلك أيضاً الآثار المجتمعية المترتبة عليها.
وهدفت الدراسة إلي تحديد حجم التعرض لمشاهد العنف والجريمة بالأفلام والمسلسلات، تحديد سمات الشخصيات التي تقدم مشاهد العنف والجريمة بالأفلام والمسلسلات، تحديد دوافع مشاهدة المبحوثين لمشاهد العنف والجريمة بالأفلام والمسلسلات، التعرف علي تقييم المبحوثين لاستخدام مشاهد العنف والجريمة بالأفلام والمسلسلات، وكذلك أيضاً اختبار الفرض النظري لنموذج روبين وكيم للاستخدامات والتأثيرات.
اعتمدت الدراسة علي نموذج روبين وكيم للاستخدامات والتأثيرات واختبرت الفرض الرئيسي للنموذج الذي يتمثل في أن الدوافع النفعية لاستخدامات مضمون وسائل الإعلام وأنماط النشاط المدعم للتأثيرات الاتصالية سوف ترتبط إيجابياً بتأثيرات هذا المضمون، أما الدوافع الطقوسية وأنماط النشاط المعوق للتأثيرات الاتصالية سوف ترتبط سلبياً بتأثيرات هذا المضمون.
استعانت الدراسة بمنهج المسح، وفي إطاره اعتمد الباحث علي أسلوب المسح بالعينة، حيث قام الباحث بتحليل عينة من الأفلام والمسلسلات التي عرضتها كل من قناة "ميلودي أفلام" وقناة "كايرو دراما" في الفترة من 30/12/2011 إلي 28/3/2012، وبلغ حجم عينة الأفلام 72 فيلماً، وبلغ حجم عينة المسلسلات 3 مسلسلات؛ وبالتالي فإن إجمالي العينة التحليلية بلغ 75 عملاً درامياً بما يشغل زمن قدره 176.57ساعة. كما قام الباحث بتطبيق الدراسة الميدانية علي عينة عشوائية طبقية قوامها 400 مبحوثاً من الشباب المصري المقيم بمحافظات القاهرة، الجيزة، والقليوبية، وتم توزيع مفردات العينة وفقاً لأسلوب التوزيع المتناسب بين المحافظات، ووفقا لأسلوب التوزيع المتساوي بين الذكور والإناث من كل محافظة.
وتوصلت الدراسة التحليلية إلي تفوق الشخصيات التي تؤدي أدواراً ثانوية علي الشخصيات التي أدت أدواراً رئيسية في تقديم مشاهد العنف والجريمة، كما تفوق الذكور علي الإناث في تقديمهم لمشاهد العنف والجريمة.
كما أشارت نتائج الدراسة التحليلية أيضاً إلي أن الشخصيات التي لم تواجه أي عقاب كانت الأكثر بروزاً بالأفلام والمسلسلات، ثم الشخصيات التي نالت عقاباً مادياً. كما أوضحت النتائج أن الشخصيات التي لم يتم تقويمها هي الأكثر تواجداً وظهوراً بالأفلام والمسلسلات.
أظهرت نتائج الدراسة التحليلية أن الأغراض التجارية من استخدام مشاهد العنف والجريمة هي الدافع الأكثر والمحرك الأعظم من وراء توظيفها، ثم تأتي بعد ذلك الأغراض التي تجمع بين التجارية والدرامية، أما الأغراض الدرامية من تلك المشاهد فكان دافعاً ضعيفاً وأقل توظيفاً.
وتوصلت الدراسة الميدانية إلي ارتفاع نسب مشاهده الأفلام والمسلسلات بالقنوات الفضائية بصفة دائمة ومنتظمة، وارتفعت نسبة الإناث اللآتي تشاهدن الأفلام والمسلسلات بصفة دائمة أكثر من الذكور. كما ارتفعت أيضاً نسب مشاهدة مشاهد العنف والجريمة بالأفلام والمسلسلات بصفة دائمة ومنتظمة، والجدير بالذكر أن جميع مفردات العينة يشاهدون تلك المشاهد وإن اختلفوا في مدي المشاهدة.
تصدر الدافع المتعلق بكون مشاهد العنف والجريمة بالأفلام والمسلسلات أكثر واقعية مقدمة دوافع تعرض المبحوثين لمشاهد العنف والجريمة، ثم جرأة تناولها، ثم شغف المبحوثين وحبهم لمتابعة أحداث الجريمة كما تقدمها الأفلام والمسلسلات.
وأظهرت نتائج الدراسة الميدانية أن أكثر الآثار المجتمعية المترتبة علي مشاهدة مشاهد العنف والجريمة تمثلت في "أن الأفراد يتصرفون كما أنهم في غابة بدون احترام للضوابط الاجتماعية وللقوانين"، ثم "أن استرداد الحق ونصرة المظلوم لا يتم بالقانون، ولكن لابد أن أخذ حقي بنفسي وبالقوة بعيداً عن الحكومة"، ثم "أن الجريمة بكل أنواعها في تزايد مستمر داخل المجتمع المصري"، ثم "أن الخيانة الزوجية، والعلاقات غير الشرعية منتشرة في المجتمع المصري، ولها ما يبررها، وأن السرقة هي الحل الأنسب والأسرع لحل مشكلاتي الاقتصادية".
كما  توصلت الدراسة أيضا إلي ثبوت صحة الفرض الأول للدراسة والقائل توجد علاقة ارتباط إيجابية بين كلاً من الدوافع النفعية، وأنماط النشاط المدعم للتأثيرات الاتصالية وبين التأثر بمشاهد العنف والجريمة بالأفلام والمسلسلات، وعدم ثبوت صحة الفرض الثاني والقائل بوجود توجد علاقة ارتباط سلبية بين كلاً من الدوافع الطقوسية، وأنماط النشاط المعوق للتأثيرات الاتصالية وبين التأثر بمشاهد العنف والجريمة بالأفلام والمسلسلات.

It is a part of the conventional knowledge that E.M. Forster continuously refused to authorise movie adaptations of his novels. Consequently, the first feature film made of his novel, David Lean’s A Passage to India, was produced only in 1984. Lean’s movie was, however, not only the eighth movie adaptation of a Forster’s work, it was also the second movie the screenplay of which was based on the play written by Santha Rama Rau in 1960. The seven movies, five of which were broadcast in Forster’s lifetime, were produced and broadcasted between 1958 and 1977 by the two British TV stations: the ITV and the BBC.
The movie adaptations were only a part of Forster’s presence “on the air”. The writer’s involvement with the BBC is generally known, two selections of his radio talks were published in 2008. The collaboration, however, greatly exceeded the talks as the BBC broadcasted also Forster’s literary works, initially mostly short stories but later on also excerpts from the novels which were read either by the author himself or by actors. Forster read the first (unspecified in the available listings) short story on May 7th, 1927. The collaboration moved to a new stage in 1942 when the first radio play, The Celestial Omnibus, adapted by Leonard Cottrell (1913-1974) was broadcasted on September 1st. Cottrell went to prepare two more plays after he returned from the Mediterranean where he was a war correspondent. The task was taken over by Lance Sieveking (1896-1972) who adapted Forster’s novels as multi-episode radio-plays (e.g. Howards End in 13 episodes in 1964). Ten such radio-plays were broadcasted in Forster’s lifetime. Forster did not object to having his work adapted for the stage either. The first play adapted from his novel, Stephen Tait’s and Kenneth Allot’s A Room with a View, was produced and then published in 1951; three more such plays were written and performed by 1970. For the sake of brevity, however, the paper concentrates on their appearances on the radio and TV.
The paper will attempt to show how radio and TV adaptations kept Forster’s popularity as a writer alive in a period when he longer wrote fiction, paving the way for the Academy Awards winning movies in the 1980s and 1990s. It will be based on the available material (sadly, most of the early TV films are apparently lost), criticism, as well as Forster’s own comments on the cinema and adaptations.

Este artículo examina la reconstrucción de la memoria histórica que lleva a cabo Arde Madrid, una comedia ambientada en el Madrid de comienzos de los sesenta donde vivía Ava Gardner. Las referencias al cine español de los años cincuenta y a las runaway productions hollywoodenses se entremezclan con la biografía de Ava Gardner, al objeto de homenajear a una actriz cuyas películas ambientadas en España fueron determinantes en la construcción del mito. La revisión de los símbolos de la españolidadasociados a la Dictadura y el retrato social convierten la serie en un lugar simbólico de la memoria colectiva.

Television drama, despite its enormous popularity across the globe, has rarely received attention from the linguistics field. The dearth of research into television drama dialogue is further exposed by the thriving contributions from various other fields such as philosophy, psychology, cultural studies and media studies. This paper seeks to promote research interest in this unique mediated text by selecting the renowned medical dramedy House M.D. as research subject and comparing its 927,922-word House M.D. pure dialogue corpus (HMDC) to both the 450-million-word Corpus of Contemporary American English (COCA) and its 95-million-word spoken subcorpus (COCA Spoken) using an adaptation of Bednerak's (2011) ranked frequency list method. Using WordSmith Tools in the calculation of n-gram (n = 1, 2, 3) at the words/clusters level, the findings indicate that HMDC is more interpersonal than COCA and has a closer resemblance to COCA Spoken than to COCA. HMDC also contains 3.4 times more negativity than COCA Spoken and 2.8 times more than COCA. As such, viewers are presented with English far more interpersonal, as well as involving significantly more disagreement than one will encounter in the real world. This study not only shows similarities and differences between House M.D. and contemporary American English, but also provides a preview of the huge potential in television drama-related research.

Since the turn of the century, serial television drama is increasingly associated with quality. This reappraisal has been widely documented but such accounts are strongly Anglocentric. Is this rise (or return) of 'quality TV' an international trend? Is it also present in smaller markets with lower budgets? To answer these questions, this article focuses on the small television market of Flanders (Dutch-language North Belgium). Nine successful productions are discussed, also their reviews. The core of the analysis is constituted by interviews with people involved in the production of these dramas, trying to understand how they define and aspire to produce 'quality drama'.

In this chapter, I explore the relationship between racial representation and emo-tions/affect as part of the struggle for racial minorities' visibility. It focuses on Hong Kong's television culture as a site for context configuration, or conjuncture, for constituting the inter-and intra-racial relations between the dominant ethnic Chinese population and ethnic minorities (EM), via the production of emotions. In this chapter, I explore how the configuration of racialized feeling can transform the particular racial relation in the popular text. In the introduction, the historical context of EMs will show why the TV drama No Good Either Way (2012) does matter to the understanding of cultural existence of EMs. Second, in order to study race by reading affects and narratives, this study takes a methodological shift from content analysis of stereotyping to an affective narrative approach. Third, most importantly, the affective narrative analysis will be applied to examine how the ethnic troublemaker hinges on the varied pattern of anxiety in various subplots, in order to enable what I call the figuration of 'sweetened trouble' as a kind of structure of feeling. Finally, in a new context demanding recognition, I argue that 'sugarcoated racism' becomes a popular form of racialization in Hong Kong, which sugarcoats different racisms as the cover for sympathy toward minorities' anxieties.

This chapter attends to the political dimension of the ghostly and the paranormal by considering the ways in which ghosts and haunting in TV drama work to draw attention to those who are often disenfranchised, marginalised or ill treated, rendering them both visible and central to the culture and spaces from which they have been earlier excluded.

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.

This paper unpacks the projection of negativity in liberal and modern female roles telecast by Pakistani TV drama serials. Although the proliferation of private TV channels in Pakistan since 2002 has introduced diversity and a wide spectra of social issues in TV dramas, the majority of these drama serials continuously associate only independent and bold females with negative roles: villains, anti-heroins, etc. Pakistan is a country where women make up half of the country's population. Thus, in order to determine the media's role in shaping and perpetuating the social images of Pakistani women, it is significant to explore the attributes that media ascribes to them. Drawing on the writings of Beauvoir (1949) and Butler (1990) that our understanding of feminine behavior is influenced by customs, culture and language; all designed in Pakistan to underline women inferior status to men, I argue that Pakistani drama serials tend to encourage submissiveness and conventionality in female roles. These dramas relay an implicit message that a woman cannot be a successful professional and a good wife or mother at the same time. The majority of women cast in liberal, bold, and modern characters play negative roles whereas leading roles in TV drama serials appear to be traditional and conformed to conventions. Thus, the study of negative female roles is indispensable to grasp the contrast of traditional and liberal women that Pakistani TV dramas perpetuate. In this study, I examine Urdu TV drama serials from past five years (2012-16), I choose twelve negative female roles from five popular drama serials i.e., Man Mayal (Affection) (2016), Zid (Obstinacy) (2015), Mere Mehrban (My Benefactor) (2014), Zindagi Gulzar Hay (Life is a Rose Garden) (2013), and Hamsafar (Companion) (2012), and will discuss the ways in which stereotypes are conferred to these negative female roles in these serials. By using the methodology of thematic analysis, I contend that by associating female negative roles with the impression of modernity, boldness, and liberalism, these drama serials indirectly reinforce conventional and subservient attitudes for women. Moreover, this type of portrayal in TV drama serials not only reinforces the passivity and subordination for females, but also reduces the prospects of diversity, openness, and acceptance of an independent and progressive approach of women in Pakistan.

This paper explores the dichotomy of a " good and bad " woman in the portrayal of Pakistani TV dramas telecast during the period of 'Islamization' (1977-88) in Pakistan. During this period, Pakistan witnessed the integration of Islam into politics and constitutional structure. This impinged upon the functioning of the only available TV channel (at that time)—Pakistan Television (PTV). The construction of a 'good woman rhetoric' through the projection of women in TV dramas played a significant role in reinforcing stereotypical and traditional views and attitudes about women. In the wake of war on terror, the issues of gender equality and women representation have gained considerable attention for a periphery country like Pakistan. Considering the fact that the autocratic rule of General Zia-ul-Haq exacerbated issues of women rights in Pakistan. Female projection during Islamization period has proved to be highly transformational. This corresponds with Lila Abu-Lughod's (2013) argument that in order to understand the circumstances of Muslim women, it is imperative to encompass the respective region's historical and political reasons (p. 31). Thus, for this purpose, I examine women portrayal in two—selected on the basis of purposive sampling—PTV drama serials broadcast in Islamization period. Through the analysis of discourse in dialogues, roles assigned to women, and the ways of addressing them, I argue that dramas in Islamization period depict images of women that are highly conservative; this kind of rhetoric has a significant role in the provision of an analyzing tool for a woman's conformity with established norms.

Resumen:
En la ficción serial de los últimos años se puede observar que los protagonistas de las series más recientes casi siempre tienen una característica que los distancia del virtuosismo clásico, un elemento de extrañez, asocial en muchas ocasiones. Este artículo se propone demostrar que en la ficción televisiva estadounidense de los últimos diez años el héroe progresivamente adquiere características que impiden la interacción normal con el mundo que le rodea. Las características de este tipo de personaje, alejado de los estándares tradicionales narrativos, son diversas y múltiples, pero todas ellas son propias de lo denominado como ‘freak’.

Laburpena:
Azken urteotako fikziozko telesailetan, protagonistek birtuosismo klasikotik urruntzen dituen ezaugarri bat dute ia beti, bitxikeria puntu bat, asoziala kasu askotan. Artikulu honek erakutsi nahi du heroiak apurka bereganatu dituela azken hamar urteotako Estatu Batuetako telebista-fikzioan munduarekin elkarreragin arrunt bat izaten ekiditen dioten ezaugarriak.
Pertsonaia mota honen ezaugarriak, estandar narratiboetatik aldendu direnak, askotarikoak eta anitzak direla, baina guztiak ‘freak’ bezala ezagutzen denari dagozkie.

Abstract:
In the most recent serial fiction the hero is markedly different. The main characters of the latest series almost always have a feature that is far from the classical virtuosity, an element of strangeness, often asocial. This article aims to show that in the U.S. television drama of the last ten years the hero progressively acquires new features that not allow the normal interaction with the world around him. The characteristics of this type of character, away from traditional narrative standards are diverse, but all of them are typical of the known as freak.

TV dramas produced in the 1990s – which have often been unfavourably compared with those from the so-called ‘golden age’ due to their supposedly audience pleasing and derivative focus on ratings after 1980s deregulation – still have an important part to play in studies of social class in UK TV drama.  While more traditional themes of social class in programming, such as working-class perspectives and social-realist approaches, waned in the 1990s, the fact that commissioning became increasingly audience-led at this time allows an insight into some of the prevailing goals, aspirations and self-image of class-society in the post-Thatcher era.