[雙語翻譯]電視劇外文翻譯--從受眾接受角度看電視劇的影響

1、2400 英文單詞， 英文單詞，13500 英文字符，中文 英文字符，中文 4050 字文獻出處： 文獻出處：Mustaffa C S , Salleh I M . Impact of Television Drama from Audience Reception Perspective[J]. Procedia - Social and Behavioral Sciences, 2014, 155:203-208.Impact of

2、 Television Drama from Audience Reception PerspectiveChe Su Mustaffa, Ilias Md SallehAbstractMass media have influence on the ways people perceive the world. This assumption is entrenched in the Gerbner’s cultivation hyp

3、othesis of television effects (1969). Thus, the purpose of this paper is to understand how the rapid process of cultural globalization affects Malaysia television industry and the Malays culturally. Collecting of data in

4、 this study adopted: content analysis. Results of the study showed that with rapid process of cultural globalization, Malaysian prime-time television dramas portrayed more Western values and lifestyles. Amongst the Malay

5、s, especially the youngsters, there were evidences of the adoption of other Western values like individualism and consumerism.Keywords: Audience reception; television drama; globalization; Malay culture; Western Culture1

6、. Background of the researchBroadcasting in Malaysia started in December 28, 1963 with the formation of RTM1 under the Ministry of Information and operated by Radio Televisyen Malaysia (RTM). while broadcasting of RTM2 b

7、egan in November 1969 when RTM television channel was split into two channels. Over several years, private terrestrial television channels, namely TV3 established in 1984, NTV7 in 1997, Channel 9 in 2003 and 8TV on Janua

8、ry 2004. Malaysia’s first satellite television channel, ASTRO was established in 1996. These developments have ultimately brought a lot of changes in the presentation format of the government television channels (TV1 and

9、 TV2) so as to gain popularity and collect more revenues. After losing grounds to the private stations and at the same time realizing the threat to their audience share the government stations made drastic changes to its

10、 programme scheduling; no doubt with the blessing of its political masters. It was quite obvious then that the government at that time, desperately looking into ways and means to increase revenue has definitely endorsed

11、the government channel’s profit-making intention (Karthigesu, 1994, p. 320).The commercialization of Malaysian television has definitely brought about many other consequences to the industry and the Malaysian culture. Th

12、e government channel has emphasized more on importing foreign programmes. The government, especially through its own second television network (TV2), has also showed a marked relaxation of its moral standards in controll

13、ing sex, violence and other undesirable elements. Irrespective of national origins, these elements of sex and violence were not only from Hollywood but also from Hong Kong and Taiwan television programmes. Even though ce

14、nsorship is practiced, it is sometimes impossible to exclude these elements entirely since ‘Western concept of sex and intimacy had become so liberalized and pervaded entire programmes... intertwined with dialogues and a

15、ction essential to the story line such that editing them out would make the programme incomprehensible’.In the Malaysian situation, the availability of more television channels also mean the proliferation of foreign prog

16、rammes on some private channels even though the government has introduced the 70:30 quota policy on television programmes. There has also been a lot of criticisms regarding the double standard applied by the government e

17、specially when the government has a stake in the stations. It is also evidently clear that the introduction of private the drama, setting of the action, social class of families involved, type of family structure, subjec

18、t of the drama and basic themes of the story. The characters were coded in terms of their demographics and their type of clothing, types of housing, types of restaurants attended, types of foods and drinks consumed, numb

19、er of instances foreign language was used and theme of the dramas.3. Research findingsThis section will look into some of the more pertinent issues as a comparison between the local and foreign dramas. Apart from looking

20、 at whatever similarities or differences in the themes, obvious cultural artifacts and life- style of the local and foreign dramas, this analysis will clarify the extent to which local programmes and also foreign ones fu

21、rther promote cultural imperialism / cultural globalization.A total of 188 characters were studied from the sample selected; 152 local, 28 foreign (all from the US) and 8 others (co-production between RTM and Rajawali Ci

22、tra Televisi Indonesia [RCTI] of Indonesia). However, for the purpose of this analysis, only local dramas and foreign dramas from the United States will be selected for the study. Even though as discussed earlier, family

23、 saga constitutes the majority of the dramas shown on Malaysian television, there are differences in terms of programme type when compared from the perspective of country of origin. The majority of the local dramas in te

24、rm of its type sampled were the family saga (44.7 percent) followed by docudrama (18.4 percent), situation comedy (15.8 percent) and historical fiction (10.5 percent). For the foreign dramas, only three main content type

25、s were recorded during the prime-time sampled. Situation comedy constitutes the majority (42.8 percent) followed by family saga (28.6 percent) and science fiction (28.6 percent). American police dramas, although popular

26、amongst the audiences was not shown in the analysis because they were mainly shown after the prime-time slot.4. Comparison between foreign and local settingIn terms of their setting, there was a great similarity in terms

27、 of the setting of the dramas that were analyzed. Given the content of the drama, it is not surprising that the urban areas were given more concentration by the dramas from both countries. All the foreign dramas (100.0 p

28、ercent) had an urban setting while the Malaysian ones had slightly less (76.4 percent) setting in the urban areas and only 18.4 percent rural setting. With regards to the kind of family portrayed, the Malaysian dramas ha

29、d more nuclear type family (60.5 percent) than the foreign ones (42.9 percent) while the number of extended family portrayed were 18.4 percent and 14.2 percent respectively. However, the main difference between the Malay

30、sian and American dramas was the presence of many characters as individuals (‘unclear’ category) in Western dramas (42.9 percent) which may partly reflect the more individualistic nature of their society. The Malaysian d

31、ramas had 60.5 percent of the family shown as the nuclear family compared to 42.9 percent for the foreign dramas. In terms of the extended family, the local dramas had a slightly higher number of extended families shown

32、(18.4 percent) compared to the foreign dramas (14.2 percent).4.1. Family relationship in foreign and local dramasThere was a somewhat mixed kind of family relationship pattern shown by the Malaysian characters (Figure 1)

33、. There was more portrayal of parent-child relationship in the local dramas (57.9 percent) than the foreign ones (42.9 percent). The same was also true in terms of the family in terms of husband-wife relationship (47.3 p