Introduction: Serials in East Asia

The purposes of this research were to study the exposure to television drama, the need of television drama plots and cultural contents in the television drama of ASEAN people. Also, to find out the patterns of exposure to television drama, the need of television drama plots and the need of cultural contents in the television drama of ASEAN people. The sample group was a group of 4,110 people and over from varied professions. The survey was conducted in 2017 using a questionnaire through the internet and local people. The result found that the exposure to television drama in ASEAN consists of 2 patterns: 1). The countries where the exposure to television drama is moderate to very high-level directions which include Thailand, Brunei, Philippines, Malaysia, Vietnam, Singapore, and Singapore. Indonesia and 2) the countries where the exposure to television drama is moderate to very low-level directions which include Cambodia and Laos. The pattern of exposure of plots of TV drama among people in ASEAN countries can be seen in 2 patterns: 1) countries with various plot exposure2) countries that have exposure to plots in a particular manner. Also, the pattern of the need of cultural contents in the television drama of ASEAN people can be seen in 2 patterns: 1) the need of cultural contents in the television drama of ASEAN in a variety of ways such as Thailand, Brunei, Philippines, Vietnam, and

This conference aims to explore and promote fresh and innovative approaches to the study of television serials. Increasingly, the television serial is the preeminent popular art form of our time. However, the television serial is still relatively understudied – particularly from perspectives that emphasize our cognitive, emotional, and aesthetic engagement with the form. Therefore, the conference will have two central foci. One focus of the conference will be on the analysis of specific narrative and stylistic features of the television serial. Here we envision papers from either a broadly poetic or aesthetic perspective. We are particularly interested in exploring how myriad elements of television programs interact and contribute to seriality. For instance, how do performance or sound design help shape seriality? We are also especially interested in understanding television serials' particular aesthetic effects and achievements. We welcome close analyses, case studies, or broader theoretical explorations of these issues as long as they are grounded in close attention to the form and style of particular television serials. The second focus of the conference will be on the methods and approaches that inform the study of television serials. Here, we envision conceptual, theoretical, and philosophical explorations of particular issues in the study of television serials (e.g. authorship over time; the focus of critical judgment in the context of seriality) and/or meta-theoretical discussions focusing on methodology more generally. In particular, we are interested in papers that assess the potential contributions of cognitive

2005

This paper discusses the evolution of television serial drama in China. It argues that Chinese television drama production has progressed through three periods: industrial (1958 -1989), market (1990 -2002), and most recently interpersonal (2003 onwards). These three stages of development are in turn associated with standardised production according to state directed formulas, outbreaks of producer autonomy, and celebration of modern lifestyles and consumer culture. The paper provides an overview of the development of drama production during these three periods, and notes a shift from 'socialist reality' towards contemporary popular reality.

2022

This document describes a research project that was funded by the Arts & Humanities Research Council (grant RG/14351) and ran from September 2002 until June 2005. It combined analytical and archival study of British TV drama programmes with generic, institutional and cultural study of the professional context of British TV drama output. Research addressed the theoretical and methodological questions arising from the study of 'popular' television drama forms and established how distinctions between 'popular' British TV drama and flagship 'serious' drama were dependent on institutional forces and conflicts within and between television institutions, including the regional organisation of TV production, changes in policy and regulation, and the detail of production practices. In the course of this work, the project team analysed how a body of canonical texts and received histories have been established in previous studies of British Television Drama, evaluating this process and questioning its methods, theoretical assumptions, and inclusions and exclusions. Results of the research were disseminated by means of publication for academic audiences in the form of journal articles, book chapters, monographs and an edited collection of essays. In addition, four one-day symposia were held at which members of the project team, academic speakers and television producers and directors presented new academic research and (in the case of TV professionals) reflected on their working practices and experience in the television industry.

sites.google.com

scripties.let.eldoc.ub.rug.nl

2005

What makes eleven essays by eleven different authors cohere in a way that makes sense to present them together as a book? Whatever that is, I do not quite find it in this collection. The editors assert that the various contributions function as an organic whole and indeed they strive arduously to make connections in a general introduction, section introductions and an afterword. Nevertheless, I am left with a sense of irreducible bittiness. There is a section on situation comedy, which includes Barry Langford on The Office and Robin Nelson on Dad's Army. There are several essays on children's programmes, such as Maire Messenger Davies on The Demon Headmaster and Jonathan Bignell on Doctor Who. Another section deals with programmes considered somehow 'other', for example, Mark Bould on The Prisoner and Peter Billingham on Queer as Folk.

2024

Korean television dramas have been successful around the world, although they are primarily aimed at primarily South Korean audiences. Out of all television production, mini-series have been the most successful. It was their popularisation in the global media market that called for a certain label, now known as 'K-dramas'. In the meantime, success has globalised and now the term "K-drama" is used to describe a series that does not meet the content and formal characteristics. When encountering the term today, it is important to note that it can refer to 1) all television (series) production, 2) it is a term used for marketing ploys and promotion of (even non-Korean) series, or 3) it is a specific genre occurring in Korean television production. The monograph focuses on the third understanding of this term and focuses on its formal and content characteristics. At the same time, it presents the issue of the production of remakes of this genre and points out the preference for original works. As K-dramas have reached a more global environment precisely through streaming platforms such as Netflix, but also Disney+, Viki, etc., and the arrival of these products has proved to popularize these platforms beyond their previously targeted market, the platforms have begun to produce their own content to reflect the success of K-dramas. Therefore, the monograph also focuses on reflecting on the presence and creation of products that are expected to have features typical of Korean-produced series.

Serial Filmmaking in Japan, Edited by Rayna Denison and Constantine Verevis, 2023

TV Drama in China, 2008

Television melodrama is characterized by sentimental presentations of artificially plotted stories that appeal to the emotions of audience and end in a morally reassuring note. 3 Serial dramas about the fate of an extended family over a lengthy period of time have appealing material with which to generate dramatic conflicts and draw audience emotions. In early television history in the West, producers of prime-time soap operas believed the kinship and romance plots around wealthy families were the basis for attracting female viewers, while business intrigues and power struggles would draw adult males. 4