| Summary: | 碩士 === 國立交通大學 === 傳播研究所 === 101 === Began in 2001, Taiwan TV series in FTV and SET creating a content of local dramas with complex disputes for the spindle to the contemporary family enterprises, adding part of the triad complex stressed exaggerated make the person tears. Causing such a stir in the popular culture in Taiwan, this craze also spread to Singapore and Malaysia. Therefore, the author decided to explore the fiery phenomenon of Taiwanese dramas in Singapore and Malaysia.
Cultural identity is a group (ethnic, national) or cultural identity (sense) share common historical traditions, language, customs, norms, and numerous collective memories, to form a total body a sense of belonging, and by the experience of cultural activities, lifestyle and cultural commodities to enhance the level of acceptance of a particular culture. This article defined the Taiwanese dramas fans of Singapore and Malaysia as a group of more attention and favorite Taiwanese dramas than general audiences, likes an “enthusiasts”. In addition, the “Glocalization” refers to multinational enterprises (organizations) consider the special circumstances around the world, in response to the special culture of the local people and culture, the company, its products or services to make the appropriate adjustments to character should to cultural and social characteristics and needs, and to increase the sales results, it is a kind of integration into the local marketing strategy.
This article aims to use Glocalization theory to explain Taiwanese dramas mechanism of interaction between the media of output (Taiwan) and input (Singapore, Malaysia) country and their “de-localization” and “re-localization” process, then used the concept of Culture Identity and Fandom to explore the Singapore and Malaysia fans’ how and why their loved the Taiwanese dramas. Lastly, I try to sum up in Singapore and Malaysia’s Taiwanese dramas fiery factors. The article data collected through qualitative research methods: intensive interviews. In the part of the production system, access FTV, SET TV, as well as Singapore and Malaysia media industry, a total of 3 people. Part of the group of fans in Singapore and Malaysia, used snowball method to collected totally 18 people.
The study found that the FTV and SET TV to sell the Taiwanese dramas to Singapore and Malaysia market strategy to take the product differentiation, penetration pricing method, the local rating was assurance in Taiwan and dominant strategy-based with local dramas’ long episodes. In strategies of the content to de-localization with output country(Taiwan), Taiwan media industry by removal of the historical background of the Taiwanese, family ethics dramas and segmentation strategy to attract Singapore and Malaysia Hokkien audiences. In the part of the form to de-localization, Taiwan media industry coupled with local general Chinese dubbing, English subtitles, re-editing mastering, trim set number, length, and with the promotional activities organized marketing strategy. Besides, the Singapore and Malaysia media industry (input) to play a more active role, they took the initiative to invite Taiwan actors or screenwriters to Singapore and Malaysia to cooperate produced the films, and draw (or plagiarism) a new management expertise (including programming)and integrate into the local characteristics, and converts it to a part of the local nature.
Four factors of Taiwanese dramas fascinated by the fandoms in Singapore and Malaysia: (1) Emotional identity. (2) Pleasure identity. (3) Communication identity. (4) Social learning identity. The fandom’s understudied the dramas non-realistic, but their criticized a realistic view of the drama is not real, likes a jumping situation. Furthermore, the fiery phenomenon of Taiwanese dramas in Singapore and Malaysia via the "identity" and "cultural identity" discourse verify the ethnic groups, Taiwanese popular culture, language, values of Chinese culture, the similarity of Taiwanese, Hong Kong, Singapore and Malaysia dramas, with the degree of the local television station in Singapore and Malaysia, the six cultural identity-oriented. Finally, the paper attempts to summarized improve practice strategy in Taiwanese dramas, in order to let the Taiwanese dramas to the development of "globalization", and summarize the macroscopic angle of the contribution of this article.
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