The Pop-Cultural Phenomenon of Taiwanese TV Drama: Remodelled Fairy Tales and Playing with Virtues

• Authors: Kasarełło Lidia

Abstracts

EN

This paper attempt to define and classify Taiwanese drama in terms of its genre, origin, audience, structure and meaning, placing the phenomenon in broader cultural and historical context. The main textual study subject here is reduced to idol drama and some prime-time drama (except history drama) representing main types of lianxuju. Taiwanese drama as a form of imaginary reality embodies several characteristics of a fairy tale, which are recreated and rewritten. Narrative paradigm of lianxuju related to (fairy) tale is universal, whereas its syntagmatic code is regional (Taiwanese). Articulating tension between Confucian virtues and the modern values of individual emancipation Taiwanese drama reflect at the syntagmatic level mixture of old and new ideologies.

Keywords

EN

Taiwan Studies; Taiwan; Taiwanese TV Drama

• Publisher: Polska Akademia Nauk. Instytut Kultur Śródziemnomorskich i Orientalnych PAN
• Journal: Acta Asiatica Varsoviensia
• Year: 2015
• Issue: 28
• Pages: 113-121

Contributors

author

Kasarełło Lidia

• University of Warsaw

References

• This is a longer, more detailed and changed version of the position paper presented at the International Symposium “Discovering Taiwan in Europe”, 22 – 23 October 2015, Charles University, Prague
• One of the best known danyuanju is criminal TV series made with the cooperation of the FTV and the Ministry of Justice is Independent heroes (Lianzheng yingxiong 廉正英雄 ).
• The family Fengshui ( Fengshui Shijia 風水師世家) is one of the most popular Taiwanese Xiangtu drama.
• According to local news reports, Korean TV dramas are now (2013) more widely circulated and distributed than Japanese ones in Taiwan .Younger people prefer Japanese dramas whereas middle-aged women are more likely to stick with Korean ones ( Hsiu-Chin Hung (2013).
• Representation and identification are two key concepts in feminist research into te gongzhulevision consumption, which can be extended into the wider framework of cultural studies( Gomez Puertas 2005).
• www. dramafever.com
• According to the concept of, we observe today a shift from an elite-to-mass status hierarchy to an omnivore-to-univore status hierarchy. It means that the real audience of pop cultural soap operas, Asian dramas etc. may include omnivorousness category (for example high educated class, etc.), (Peterson 1992)
• Chen Yanru and Hao Xiaoming’s ( 1997/8) examines the perspectives on conflict resolution in love triangles presented in Chinese television drama serial.
• Yean Tsai have selected and reviewed 14 xiangtuju and lishiju (歷史劇)on theoretical basis of Propp’s Morfology of the folktale (Tsai, 2000:182). Propp used his method to analyse Russian folktales , included fairy tales and fables.