1. Introduction
Idol drama is a category of Taiwan drama which is a derivative of Trendy Drama in Japan. It was popular for its charming cast, most of which are faddish singers regardless of performing experience. It mainly focuses on hot social topics or cliché romantic story with prevailing costume , decorations and background music. It primarily targets the teen or 20s age group. Three main factors of a successful idol drama lie in a charming cast, sumptuous illusions and realistic scenes(Zhao，2005). The phenomenon started with 2001's Meteor Garden(流星花園) , which is adapted from Japanese shōjo manga series, Boys Over Flowers ( 花より男子 ) . It broke the record of the highest viewership and reached 6.43%. Nowadays. Up to now, the highest viewership
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Currently, the format of Taiwanese Drama was a series of 15 episode, each lasting for 90minutes, which will have a slight adjustment in accordance with episode rating and its reputation. It is undeniable that it has become an indispensable part of teenagers’ life and influences their values unconsciously. Besides its idolatrous and moony components, from shooting scenes to peripheral products, from product placement to horizontal alliances, it has spurred sightseeing output and multi-fields commercial opportunities. This essay will first analyze some key characteristics of idol drama, including scripts, casts, and business value. And then a case study on why Fated to Love You is such success will be carried out. Following, the whole collaborative pattern of idol drama industry will be illustrated using an art world theoretical approach. To conclude, current predicament and feasible solutions will be raised so that a critical image of this …show more content…
Such is the cast in the industry of Taiwanese idol drama. As we mentioned before, although it may lead to a loss of talent and creativities, most of the production managers are inclined to organize a temporary production team for a certain drama and dismiss it once after it is off the board. Constantine (1993) pointed out that they are four different kinds of organization paradigms of how a project team works: Closed, open, random and synchronous. Among the four, Random paradigms suit the television entertainment industry best because it requires the whole personnel contribute their specialized skills and creative thinking as well as
Popular culture is the artistic and creative expression in entertainment and style that appeals to society as whole. It includes music, film, sports, painting, sculpture, and even photography. It can be diffused in many ways, but one of the most powerful and effective ways to address society is through film and television. Broadcasting, radio and television are the primary means by which information and entertainment are delivered to the public in virtually every nation around the world, and they have become a crucial instrument of modern social and political organization. Most of today’s television programming genres are derived from earlier media such as stage, cinema and radio. In the area of comedy, sitcoms have proven the most durable and popular of American broadcasting genres. The sitcom’s success depends on the audience’s familiarity with the habitual characters and the situations
Originally published in Cinema Journal 40, No. 3, Spring 2001, Jason Mittell’s “A Cultural Approach to Television Genre Theory” conceives of television genre as a cultural category rather than merely a textual component. In the decade since the original publishing of the article, television has evolved out of the multi-channel era and into the post-network era. In this new television landscape, genres are no longer a fixed entity1, and there is great academic potential in the in the study of television genres. The text, Thinking Outside the Box: A Contemporary Television Genre Reader, aims to explore and analyze genre in the current television landscape, and the Mittell article, republished in the book, serves as an entry point to such scholarship.
Hollywood has for over twenty-eight years created and supplied products associated with movies to all main film studios, leisure and entertainment industries. The most revered clients recognized in the entire world include Disney, Paramount, Colombia, 20th Century Fox, Warner Bros and Universal among others. For this basis, the greater part of the actors all over the world wants to labor and make a living in Hollywood. The exceptional and distinctive characters have their own customs, beliefs and cultures which aid them to pursue fame and fortune in this Dream Factory. Every talented person desires this American dream. There are numerous prospects that make life better and in Hollywood, t...
Soap Operas' Success in Their Construction of Realism One of the main appeals to the audience of soap opera is realism. Realism is the attempt to recreate the real, or to create a perception or representation of reality. This is created through a number of ways, such as settings which appear to be realistic, language including slang and even low-level swearing, and a wide range of characters in an attempt to reflect society. The events found in soap operas are usually realistic, and even the dramatic events are within the possibility of reality.
Production teams are teams that run things and will be long-term groups that are tasked with a constant goal. Members of this team must have a long-term relationship, a solid foundation of operations, and external support to maintain a high-level of performance over a long period (Schermerhorn et al., 2005, Chapter 10). This type of team is affected by a daily requirement for high output and efficiency.
The genre of romantic comedies sets up a framework of generic conventions for each film. Although they usually have the construction, each film is developed in their own unique way. The amusing, comical, and dramatic movies follow the basic structure of the unfulfilled desire of love in the lives of the main characters, a situation that they are put in that provides a chance for potential romance, and then though several obstacles, a realization that they are a perfect match and live “happily ever after”.
My work proposes a broader view of the theatre-film interface, one that relies on intertextuality as its interpretive method. I believe it is valuable-both pedagogically and theoretically-to ask broad questions about the aesthetic, narrative, and ideological exchanges between the history of theatre and contemporary film and television. For example, this paper will study how the "Chinese Restaurant" episode of the sitcom, Seinfeld, intertextually reworks Samuel Beckett's modernist play, Waiting for Godot. In each text, characters encounter an existential plight as they are forced to wait interminably, and thus confront their powerlessness at the hands of larger social forces. As a pedagogical matter, this connection encourages the students to see academic culture in the guise of having to read Beckett's play for my course, not as foreign and alienating, but instead as continuous with their understanding of leisure activities like watching sitcoms. As a theoretical matter, this intertextual connection allows important ideological matters to come into bold relie...
In considering some of the reasons for the recent success of South Korean cinema, two further observations can be made. First, if we pay attention to the international export success of South Korean cinema, we can see that it has carved out a new route. This is based on regional markets at least as much as Europe and the United States. Second, unlike the successes of the Taiwanese and Chinese “new waves” since the 1980s, it is not based on the old European art cinema model. This raises a question about the viability of art cinema, independent feature films, short films, independent documentary, and other less profitable and commercial modes of filmmaking in South Korea. It may even lead some people to believe that those other modes of filmmaking are not an integral part of the new South Korean cinema success story. Yet, my third and final point will be to argue against this and for the importance of what I want to tentatively call “full service cinema,” including a full range of modes of production and consumption. In making this point, I want to challenge another very common assumption not only in South Korea but everywhere—the idea that art cinema and independent cinema are opposed to mainstream commercial cinema. While there may be an aesthetic opposition between them, it is a strategic mistake to translate this into an institutional opposition. Even though their philosophies may be very different, as I will attempt to outline today, they need each other to succeed.
The importance of teams is becoming more and more apparent in today's dynamic business world. Increasingly managers are searching for a means to improve production and keep their organization competitive in the global market. A lot of these managers have turned to the team as a means for achieving this improvement. Quality circles were originally looked at to fulfill this role, however they are being phased out in favor of self-managed work teams. These teams are increasingly being used to solve many of today's organizations production problems and inefficiencies, and in the process are both badly failing and greatly succeeding. So the discussion of teams is a very important one to address. Managers should be aware of the concept of teams and learn about as a means to further their organization and for when the time comes to implement a team they are prepared with the knowledge needed to build and use a team properly.
Live theatre can be described as a live performance performed by actors and actresses on stage in front of a live audience. Live theatre mainly consists of a stage, effects, lights, and props. Live theatre is composed of scenes, which include comedy, tragedy, action, and romance. The costumes, effects, and props increase the entertainment level for the audience. This was my first time experiencing live theatre by taking this class. I would have to say it was very different and it was definitely entertaining for me.
It is exercised through the active participation of a K-pop fan in terms of projecting a range of practices. The active participations of the K-pop fans manifests in their cultural behavior, cultural knowledge, and cultural artifacts transmitted to the virtual sphere. The range of practices constitutes to a new social formation within the K-pop fandom community. The performative nature of the displacement of one’s cultural identity contributes to the experience of each member of the K-pop fandom community while forming the K-pop fans’ new social
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
Today, romance is one of the most popular genres to watch on television. Unlike most, romance is a genre where the plot revolves around the love between two main characters as they experience the highs and lows of love. “Common themes that revolve around romantic movies are kissing, love at first sight, tragic love, destructive love, and sentimental love” (Taylor). These themes appear in many historical films and the pattern still continues in modern films as well. Watching romantic movies has a giant negative influence on the viewer's analysis of what love and relationships should really be like. These films give the wrong impression of reality when it comes to dating, marriage, having children, and even how to manage a relationship in the first place. Even though romantic movies are commonly watched, there are many effects on personal real-life relationships after watching these types of films.
The survival of theatre lies in the very nature of humankind: its inner voyeuristic drive. The desire to watch other people dealing with their conflicts and fates challenges as well as reinforces values and the morality of society. The theatre provides an exciting opportunity to watch stories and situations as if they were real life, showing us the truth of our nature.
Historically, drama, and indeed all areas of the arts, have been seen to make an unimportant contribution to society as a whole. As recently as the mid to late 20th century, the arts were seen as a luxury, and a purely leisure exercise or hobby, with only gifted children having access to classically defined art forms such as music or art. This ideology still exists in some form today, although the arts are beginning to be recognised as an integral part of our everyday and working lives. Many drama practitioners and educators consider the arts to be a growing power within the economy, and that drama has benefits to society, culture, and a person’s inner development. These benefits have shaped the incorporation and delivery of drama within Queensland schools. This essay will examine how, by teachers delivering a rich aesthetic experience to students through drama in schools, students are provided with opportunities to develop self identity and equipping them with a skill set that is transferable across a variety of learning areas.