As human beings, we enjoy an assortment of activities such as reading a novel or watching a movie. There are so many types of composition out there for people to choose from but some are not as interesting as others. I am the visual type who enjoys looking at pictures and watching films instead of reading blogs or forums with a lot of text. My parents are similar, as they spend the majority of their time watching television than reading books. From my parents, I was able to discover the composition of Asian dramas, which I now enjoy watching during my free time. Asian dramas are similar to a mini-series, in the way that they usually consist of about twenty episodes. They are much shorter than American television shows and include all the problems, details, and solutions of the story. This composition has opened up a variety of new perspectives of each Asian culture. It allowed me to realize how the elements of composition, such as imagery and style are essential in writing a script to producing a drama. Asian dramas are entertaining and effective compositions, opening up one to new perspectives of Asian culture and lifestyle.
Dramas are an extremely popular composition in many Asian countries with growing interest in other countries around the world. Hundreds of thousands tune in daily to watch an episode of a drama broadcast from their television. The majority of the Asian dramas are produced in countries like Korea, Taiwan/Hong Kong, and Japan. Similarly to American television shows, each drama varies in genre. One could be historical, taking place five hundred years ago during the eras of the dynasties, kings and queens. While others could be a melodramatic, love story about a man who is betrayed by the woman he loves. Just lik...
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...fact made me realize how much details and imagery are needed when someone is writing or explaining a story. If an element is missing, it would make the drama seem incomplete or void.
Asian dramas form an effective and entertaining composition that allows viewers to experience different aspects of Asian culture and life. There is so much more that one can learn from watching these Asian dramas. I know people who were able to learn a few phrases from watching dramas all the time. Furthermore, it exposes people to a lot of different aspects about Asian culture and lifestyle that otherwise cannot be experience in one’s everyday life. These dramas are not confined to only Asians as there are many viewers of all races that enjoy the dramas and can relate greatly with the characters and lessons in the story. Maybe one day, you should try and watch an Asian drama and maybe
In class, we watched a film called Ethnic Notions. In this film, it brought to light how devastating and powerful images can be. Due to exaggerated images and caricatures created pre-civil war era of black men and women, stereotypes were created and have negatively affected the black race in society. Caricatures, such as the Sambo, Zip Coon, Mammy, and Brute, have unfortunately been engrained in the minds of generations. So much so their stereotypes still persist today.
Asian Americans only make up a small percent of the American population. Even more significant is that this percentage live mostly on the west and east coasts of mainland United States and Hawaii; leaving the rest of the American population to most likely get their exposures to Asians through television and movies. However the exposure they have receive throughout the history of cinematography has been hardly flattering. Throughout the course of history Asians in film have been portrayed as evil or the "yellow peril" as described by others. If Asians are not being classified as evil in this picture then they are most likely the comic relief, with their lack of coordination or grasp of the English language. With these common stereotypes in place, it gives a white American viewer a sense or need to destroy this Asian villain or superiority over the comedic character portrayed in the film.
The Asian literature is quite different in terms of character admiration than that of previous reviewed section. It is apparent that the characters did not suffer near as much quite as much tragedy as that of other cultures, but yet still generate thair own respect in terms of admiration. While still having to rise above the rest ,these characters seem to have to deal with less in the first place. Two prime examples of this are Policeman 663 in ChungKing Express and Rat in the book A Wild Sheep Chase.
Gordon accurately depicts the varied and vibrant Asian culture, by showing the reader this world instead of simply describing it. Each of the men whom Gordon uses to tell the story undertakes expeditions which are mixed with hardships and triumphs. The varied spectrum of Asian cultures is covered. Readers will find Gordon’s take on tackling this topic fresh and straightforward.
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.
As a result, literature has to follow certain guidelines to be classified as Asian American; being placed in a box limits many great pieces of work to gain the recognition they deserve. As Wong and Sumida state, Asian American Literature is a presentation of American culture within Asian American history and culture, rather than a representation of the entire culture. “Asian Americans” is a large and complex, pan-ethnic group of people making it difficult to classify them all under the same stereotypes. Many Asian American works portray Asian Americans as “perpetual aliens or castaways whose cultures tumble nicely and helplessly” (4). This is because Asian Americans create their own culture, a hybrid of Asian culture and American culture, they don’t fully fit in with American culture just as they don’t fully fit in with Asian culture. Asian American Literature is a reflection of just that, it doesn’t fit into specific guidelines, breaking away from the labels that others create and making its own impact by culturing its readers on being Asian American. Whether the author is Asian American or is solely writing about Asian American culture, it still classifies as Asian American Literature
Japan, that strange and exotic land in the east, has a complex and interesting history that has shaped and molded its culture into a very unique society today. Of course their customs have influenced their entertainment, especially television and movies. In a day and age where information is free to all through the internet and reliable postal systems these television shows, movies, toys, and comics have made their way all over the world. The reception of Japanese media has had mixed reactions, both good and bad.
For example, when looking at children’s programs, one could easily define most Western cartoons such as Bugs Bunny or Spongebob Squarepants as quite episodic. There is in fact no overlying plot, whereas Japanese anime productions such as Pokemon or Yu-gi-oh have very well drawn out storylines that progress for multiple seasons. According to Napier (2007), “these fantasyscapes offered a colorful world of adventure, risk, and competition and even, according to some scholars, a vision of personal maturation.” Although the “Japaneseness” of these shows is questionable, they nonetheless have lengthy storylines. Similarly anime meant for older audiences have incredibly complex storylines. For example, One Piece has already aired over six hundred episodes. The Simpsons, America’s longest running sitcom animation, can be comparable in that it has aired over five hundred episodes. The most distinguishing difference between the two, however, is that while The Simpsons is episodic, One Piece is a continuous story of the protagonist, Luffy, trying to become the king of the pirates. The anime therefore consists of a very extensive storyline with numerous characters.
The film Hero depicts one of the most culturally rich and diverse country, China. China is one of the largest countries in the world with the long profound history. It is also the most diverse country in terms of language, religion, rituals, traditions, and beliefs. The film Hero has an unusual movie theme, it repeats similar events through flashbacks and with different outcomes. The tale is about the nameless warrior and the triumph of Qin’s idea of unifying China. The king invites the warrior to honor him for defeating his three most dangerous enemies, who are often proclaimed as the unbeatable warriors. The film is a cultural description of Chinese traditions. It has expanded my understanding of Chinese culture by portraying the spectacular
Japan is known for its unique gardening style, their diverse plants, their food, and their beautifully woven tapestries. Yet, most do not know about the history of their drama. Japanese Noh theatre is one of the most precise and prestigious art forms. It has been this way since the fourteenth century when Zeami first created Noh theatre. Zeami’s most famous plays, such as Kinuta, are still performed today. Japanese drama has not changed much since the fourteenth century because it has made a lasting effect on the culture. Noh theatre had a major influence on fourteenth century Japan and has affected modern day drama.
For those Asian Americans who make known their discontent with the injustice and discrimination that they feel, in the white culture, this translates to attacking American superiority and initiating insecurities. For Mura, a writer who dared to question why an Asian American was not allowed to audition for an Asian American role, his punishment was “the ostracism and demonization that ensued. In essence, he was shunned” (Hongo 4) by the white people who could not believe that he would attack their superior American ways. According to writers such as Frank Chin and the rest of the “Aiiieeeee!” group, the Americans have dictated Asian culture and created a perception as “nice and quiet” (Chin 1972, 18), “mama’s boys and crybabies” without “a man in all [the] males.” (Chin 1972, 24). This has become the belief of the proceeding generations of Asian Americans and therefore manifested these stereotypes.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
what is drama to them. A good drama book has to attract the reader in such a way that the reader
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.
Over the past 250 years, America as a nation has evolved. Its beliefs, customs, and citizens have undergone changes with the times. It seems only natural, then, that its drama would also evolve. American drama of the 20th century was far removed from that of the 18th century. The differences are stark and many, and to fully appreciate what American drama is today, it helps to know where it came from. The evolution of American drama, from its earliest form to the modern works of Eugene O’Neill and Arthur Miller, can be traced through three plays from the 18th and 19th centuries. By studying Thomas Godfrey’s The Prince of Parthia, Royall Tyler’s The Contrast, and James A. Herne’s Margaret Fleming, the evolution of American drama can be seen through the development of plot, character, language, and setting, each of which bring us closer to the naturalism that is prevalent in modern American drama.