本文選題：也門　切入點(diǎn)：電視劇　出處：《浙江大學(xué)》2013年碩士論文

【摘要】：此篇論文是關(guān)于也門電視劇現(xiàn)狀的分析研究,它包含了如下4個(gè)章節(jié)： 第一章： 第一章回顧了在研究中所使用的研究計(jì)劃(程序和方法),這一章分為5個(gè)部分(研究的問(wèn)題,研究的重要性,研究的目標(biāo),研究的方法論,研究的領(lǐng)域) 該項(xiàng)研究,為一種描述性研究。在研究中,研究人員采用調(diào)查法來(lái)獲得信息, 為獲得所研究問(wèn)題的精確結(jié)果和答案,研究者詳閱了也門電視劇的相關(guān)片段,并用內(nèi)容分析法對(duì)其進(jìn)行了研究。本研究對(duì)象的范圍是2007至2011年間生產(chǎn)和播出的也門電視劇。 第二章： 第二章包含如下4個(gè)部分,(也門電視的研究,頻道類型的研究,也門電視劇的內(nèi)容研究,也門電視劇的制作研究) 第1部分回顧了也門電視的歷史： 也門第一次知道廣播電視是在1964年,當(dāng)時(shí)的英國(guó)殖民者在亞丁灣建立了電視臺(tái)用于播放電視節(jié)目；在北部地區(qū),1975年才開始播放電視節(jié)目。而衛(wèi)星電視節(jié)目的播放始于1995年12月20日。 第2部分回顧了衛(wèi)星頻道的類型,以及這些電視頻道的簡(jiǎn)史。也門有14個(gè)頻道,其中4個(gè)頻道屬于也門政府,10個(gè)頻道被私人部門控制,這些電視臺(tái)或?qū)儆谡h,或?qū)儆谏倘?第3部分簡(jiǎn)要的回顧了也門戲劇的發(fā)展歷程,本節(jié)被分成如下2個(gè)部分(電視劇的形式,電視劇的種類) 自上世紀(jì)70世紀(jì)電視出現(xiàn)以來(lái),也門的一些戲劇演出每年舉辦一次(此處須與原作者確認(rèn))。在研究的該時(shí)間段內(nèi),電視劇的產(chǎn)量出現(xiàn)增長(zhǎng)。 -這個(gè)部分回顧了也門電視劇(悲劇,喜劇)的形式,研究的結(jié)果證明,也門電視劇絕大多數(shù)是喜劇和悲劇。喜劇以也門電視劇54.84%的比例排名第一,悲劇以占也門電視劇總數(shù)45.16%的比例排名第二。研究結(jié)果表明,當(dāng)代戲劇制作者采用喜劇的形式來(lái)對(duì)社會(huì)問(wèn)題進(jìn)行探討,因?yàn)檫@種風(fēng)格可以非常好的吸引觀眾。 -自也門電視出現(xiàn)至今,出現(xiàn)了一系列的歷史劇和一些反映名人生平的電視劇(AL-Fajr-Nujom Aharih-Alhanin-Waddah AlYemen-Saif Bin Thi Yazan-Ali Ould Zayed-Mohammed Murshid Naji),其它一些就是社會(huì)劇。 第4部分回顧了也門電視劇的制作(也門電視劇制作的日期,電視劇制作的種類,也門電視劇的生產(chǎn)和銷售) 也門電視劇的生產(chǎn)始于20世紀(jì)80年代,由一些政府部門生產(chǎn)。直到21世紀(jì)初,隨著一些私營(yíng)公司的復(fù)興并進(jìn)入電視劇生產(chǎn)領(lǐng)域,這一格局才得以改變。 也門電視劇私營(yíng)生產(chǎn)部門的產(chǎn)量占整個(gè)研究樣本總數(shù)的58.06%,政府部門的產(chǎn)量則占研究樣本總數(shù)的41.94%。 這表明在此期間(2007-2011),私營(yíng)生產(chǎn)的電視劇已占生產(chǎn)總量的一半多。 政府或者私營(yíng)部門生產(chǎn)的所有電視劇僅供應(yīng)也門本土頻道,而不以阿拉伯世界或者國(guó)際市場(chǎng)為目標(biāo),原因如下： -生產(chǎn)一部能夠同阿拉伯制作或國(guó)際制作相競(jìng)爭(zhēng)的電視劇,需要投入巨大的人為和財(cái)力 私營(yíng)部門的生產(chǎn),也沒(méi)有以阿拉伯和國(guó)際市場(chǎng)為目標(biāo),而是以穩(wěn)固也門頻道和也門觀眾為目標(biāo)。 第三章： 第三章為研究樣本的內(nèi)容分析,分為以下三部分：樣本的選擇；對(duì)分析單元的選擇規(guī)范的解釋；測(cè)試的效度和信度 -抽樣的方法和選擇的理由的部分,可分為兩塊：實(shí)地研究,內(nèi)容分析研究。 1-實(shí)地研究：根據(jù)薩那市實(shí)際的人口分布,隨機(jī)抽取了558名電視觀眾作為研究樣本。 由于個(gè)人訪談是最好的方法,這種方法被用于本研究的數(shù)據(jù)收集。 2對(duì)也門電視劇樣本的內(nèi)容使用分析,包含也們空間頻道播放的電視劇分析,該分析均置于樣本調(diào)查方法框架中。 樣本包括7部電視連續(xù)劇,共148集,總時(shí)長(zhǎng)為21346分鐘。 本章選擇的特定樣本基于工業(yè)周刊的藝術(shù)類型分析,對(duì)此選擇作者進(jìn)行了解釋。在此基礎(chǔ)上,本研究確立了分析目標(biāo)：“他說(shuō)了什么”,意在明確也門電視劇所體現(xiàn)的價(jià)值觀——秩序、種類、積極價(jià)值或消極價(jià)值。 第二部分為“章節(jié)分析的分類的詳述”,該部分分為4個(gè)子部分(關(guān)于“說(shuō)什么’的分析-關(guān)于“怎么說(shuō)”的內(nèi)容分析) -然后是對(duì)“如何說(shuō)”的分析的歸類,即拍攝,運(yùn)動(dòng),構(gòu)圖和興趣焦點(diǎn),燈光,音響以及蒙太奇風(fēng)格的類別。 鑒定分析單元的討論是基于以下幾點(diǎn)：-傳播介質(zhì)的自然單元。 鏡頭的單位。 時(shí)間測(cè)量的單位。 第三題為組的有效性和可靠性測(cè)試。本節(jié)回顧了確認(rèn)分析的有效性和可靠性的程序。 第四章： 第四章回顧了對(duì)也門電視劇的內(nèi)容進(jìn)行分析研究的結(jié)果,此章節(jié)將分為七個(gè)部分,如下： 第一部分：回顧了該領(lǐng)域研究的成果,并把它分成3個(gè)子部分(也門電視劇的收視數(shù)量,觀眾對(duì)也門電視劇的看法-抽樣人群收看外國(guó)電視劇意愿的堅(jiān)定性)如下： 1-也門電視劇的收視數(shù)量。實(shí)地研究表明,所研究的抽樣人群里,20%不看也門電視劇,這是較高的比例。 2-觀眾對(duì)也門電視劇的意見(jiàn)： 概略式研究表明中等水平的電視劇應(yīng)位居第一,而較好的電視劇位列第二層級(jí),頂尖的電視劇則居于較后的位置。 3-抽樣人群收看外國(guó)電視劇意愿的堅(jiān)定性： 研究結(jié)果證明,土耳其電視劇的收視率排名第一,敘利亞電視劇排名第二,埃及電視劇排名第三,海灣國(guó)家電視劇排名第四,而美國(guó)電視劇則排名第五。 第2章題為“技術(shù)含量的分析研究結(jié)果”,并分為7個(gè)子部分。 第一部分是分為2個(gè)子部分(鏡頭的使用類型-在也門的電視劇的構(gòu)圖視角),也門電視劇中鏡頭的戲劇性目的： A-通過(guò)劃分所使用的鏡頭及其戲劇目的,明確了鏡頭類別及其戲劇目的。有三種類型的鏡頭,分別對(duì)應(yīng)三種特定的含義：-遠(yuǎn)景鏡頭對(duì)應(yīng)“認(rèn)知”。-中景鏡頭對(duì)應(yīng)“行動(dòng)”。-特寫鏡頭對(duì)應(yīng)“張力”。 研究表明,中景鏡頭在也門電視劇中占據(jù)最高比例,其次是遠(yuǎn)景鏡頭。這個(gè)結(jié)果與鏡頭類型及其功能之間的關(guān)系相吻合。 分析研究的結(jié)果表明,相當(dāng)大比例的遠(yuǎn)景鏡頭,亦并無(wú)戲劇性目的。此外,很大比例的中景鏡頭,并無(wú)明確的戲劇性目的,但其比例低于遠(yuǎn)景鏡頭。且該研究表明,遠(yuǎn)景鏡頭中,具戲劇性目的長(zhǎng)鏡頭的比例,要高于無(wú)戲劇性目的長(zhǎng)鏡頭的比例。 B-成像角度： -過(guò)度使用非常規(guī)構(gòu)圖視角,被認(rèn)為是導(dǎo)致觀眾注意力分散的因素之一。研究結(jié)果證實(shí),也門電視劇對(duì)聯(lián)合國(guó)常規(guī)角度的正常使用,是其技術(shù)形態(tài)上的優(yōu)勢(shì)之一. 研究證實(shí),相比于其他類型的視角,也門電視劇在構(gòu)圖上更著重于常規(guī)視角。 第二章分成三個(gè)子章節(jié)(運(yùn)動(dòng)的特點(diǎn),動(dòng)作表演的特點(diǎn),攝像機(jī)移動(dòng)的戲劇性目的)如下： A-運(yùn)動(dòng)的特點(diǎn)。本章對(duì)也門電視劇中的運(yùn)動(dòng)特點(diǎn)的研究,首先關(guān)注的是攝像機(jī)的移動(dòng)和主體之間的關(guān)系。 研究結(jié)果證明,在也門電視劇的畫框中,運(yùn)動(dòng)更多的依賴于攝像機(jī)運(yùn)動(dòng),而非主體,因?yàn)橹黧w的運(yùn)動(dòng)需要耗費(fèi)更多的精力：為運(yùn)動(dòng)設(shè)計(jì)方案,建立移動(dòng)的位置,這些都可能增加制作成本 B-本章回顧了角色的動(dòng)作表演的特點(diǎn),研究的結(jié)果表明,也門電視劇中的表演既空洞又不當(dāng),從而導(dǎo)致枯燥感,事件之間顯得缺乏互動(dòng)。 C-本章回顧了在也門電視劇里攝像機(jī)移動(dòng)的戲劇性目的。根據(jù)本研究所提及的原因,也門電視劇中電子變焦的鏡頭運(yùn)動(dòng)占據(jù)較大比例。攝像機(jī)移動(dòng)的戲劇性的目的如下 1-為跟蹤事件。 2-確認(rèn)和加強(qiáng)戲劇性含義。 3-事物之間的象征性聯(lián)系。 第三章節(jié)：該章節(jié)被分成4個(gè)子章節(jié)(構(gòu)圖的顯著特征-構(gòu)圖面的戲劇性效果-為實(shí)現(xiàn)構(gòu)圖深度所采用的技術(shù)手段-鏡框內(nèi)注意焦點(diǎn)的確定)如下： A-在也門的電視劇的構(gòu)圖特點(diǎn)： 該項(xiàng)研究的結(jié)果證明,也門電視劇在構(gòu)圖上缺乏對(duì)第三維的重視,僅集中在個(gè)平面上,忽視了三維所具備的重要性,即對(duì)觀眾在圖像的內(nèi)容和戲劇含義的感知上的沖擊力。 B-該章回顧了構(gòu)圖層次的戲劇性目的。研究發(fā)現(xiàn),也門電視劇主要關(guān)注于觀眾對(duì)構(gòu)圖的深層心理感受,而非其他戲劇目的,如構(gòu)圖層次的心理聯(lián)系,強(qiáng)化角色的戲劇性等。 據(jù)研究,這歸于構(gòu)建構(gòu)圖水平的類型,它需要的時(shí)間和精力去對(duì)圖像的構(gòu)圖作研究和預(yù)先研究。 C-本章回顧了在也門電視劇中為實(shí)現(xiàn)構(gòu)圖深度而采取的技術(shù)手段,其表現(xiàn)如下： 1-安排構(gòu)圖水平層次時(shí)的興趣點(diǎn)。 2-安排構(gòu)圖水平層次和照明時(shí)的興趣點(diǎn)。 3-單獨(dú)使用光來(lái)實(shí)現(xiàn)安排。 D-研究確定了在也門的電視劇的景框內(nèi),其關(guān)注的重心,如下： 1-展現(xiàn)最重要的戲劇元素。 2-強(qiáng)化的戲劇性效果。 3-建立一個(gè)平衡的構(gòu)圖。 4-在景框內(nèi)展現(xiàn)出變化。 第四章題為“也門電視劇中用光的特點(diǎn)”： 本章回顧了也門電視劇中用光的特點(diǎn),以及自然光源和人工照明光源的時(shí)間象征。 第五章的標(biāo)題是“也門電視劇中聲音的特點(diǎn)’ 本章回顧了在也門的電視劇的聲音特性,研究表明,這些電視劇更傾向于使用戲劇性對(duì)白而非其他聲音藝術(shù)形式。 隨后本章回顧了出現(xiàn)在也門的電視劇中的其他各種形式的聲音。 第六章題為“也門電視劇中蒙太奇的特點(diǎn)”： 本章回顧了對(duì)蒙太奇特點(diǎn)的研究。 研究表明,為追求蒙太奇上的戲劇性目的,也門電視劇傾向于保持事件的延續(xù)性,而忽視其他的戲劇性追求。因此在也門電視里,大多數(shù)的戲劇性動(dòng)作,停留在條款中所設(shè)置的拍攝長(zhǎng)度和時(shí)間的層面,而從不超過(guò)它以獲取戲劇性效果。在也門的電視劇里,事件的戲劇性節(jié)奏感缺乏。-第七節(jié)劃分為兩個(gè)子部分(涉及正面和負(fù)面的價(jià)值觀,正面的價(jià)值觀的類型)如下： 也門電視劇的內(nèi)容分析,此章節(jié)的目的在于辨析也門電視劇中價(jià)值觀的類型和順序,分析研究的結(jié)果如下： 1-關(guān)系到正極和負(fù)的值：分析研究的結(jié)果表明,積極的社會(huì)價(jià)值觀被提及的比例,占總數(shù)的71.06%。而消極的價(jià)值觀被提及的比例則占28.94%。 2-價(jià)值觀的類型： A-正面的價(jià)值觀： 也門電視重視“愛(ài)”的價(jià)值,這種價(jià)值觀位列第一。居第二位的是“犧牲”,排名第三的是“幫助他人”,排名第四的是“對(duì)科學(xué)的熱愛(ài)”,排名第五的是“野心”,排名第六的是“愛(ài)國(guó)精神”。 B-負(fù)面的價(jià)值觀： 也門電視劇中的負(fù)面價(jià)值觀里,“剝削”所占的百分比排名第一,“貪婪”排名第二.另一方面,排名第三的是“對(duì)他人的陰謀”,而“手段”和“欺騙”分別排名第四和第五。
[Abstract]:This paper is an analysis of the status quo of the Yemeni TV series , which contains the following four chapters :

Chapter 1 :

Chapter 1 reviews the research plans ( procedures and methods ) used in the study , which are divided into 5 parts ( research issues , importance of research , objectives of research , methodology of research , research areas ) .

The study was a descriptive study . In the study , the researchers used the survey method to obtain information ,

In order to obtain the exact results and answers of the questions studied , the researchers reviewed the relevant sections of the Yemeni TV series and carried out a study with content analysis . The scope of the study was the Yemeni TV series produced and aired between 2007 and 2011 .

Chapter II :

The second chapter contains the following four parts : ( Yemen TV ' s research , channel type research , Yemen TV series content research , Yemen TV series production research )

Part 1 reviews the history of Yemeni television :

The first time Yemen knew that radio and television was in 1964 , when British settlers set up television stations in the Gulf of Aden to play television programmes ;
In the northern region , television programmes began only in 1975 , and the satellite television program began on 20 December 1995 .

Part 2 reviews the types of satellite channels and a brief history of these television channels . Yemen has 14 channels , 4 of which belong to the Government of Yemen and 10 channels are controlled by the private sector , either political parties or businessmen .

Part 3 briefly reviews the development process of Yemen ' s drama , which is divided into 2 parts ( the form of TV series , the type of TV series )

Since the advent of television in the 1970s , some of Yemen ' s theatrical performances have been organized once a year ( here to be confirmed by the author ) . During the period under study , the production of television shows increased .

This section reviews the forms of Yemeni drama ( tragedy , comedy ) . The results of the study show that the vast majority of Yemen ' s television dramas are comedy and tragedy . The comedy is ranked second in the proportion of Yemeni TV dramas 54.84 % . The results show that contemporary drama producers take the form of comedy to explore social problems , because they can appeal to the audience very well .

- Since the presence of Yemeni television , a series of historical plays and a number of television dramas reflecting celebrity life ( AL - Faye - Nujom Aharih - Alhanin - Waddah Altruh - Saif Bin Thi Yazan - Ali A Zayed - Mohammed Murshid Naji ) have emerged , and others are social plays .

Part 4 reviews the production of the Yemeni TV series ( the date of the production of the Yemeni TV series , the type of TV series production , the production and sales of the Yemeni TV series )

The production of teleplay in Yemen began in the 1980s and was produced by a number of government departments . It was not until the beginning of the 21st century that the pattern was changed with the revival of some private companies and the entry into the field of TV series production .

The production of the private production sector in Yemen accounts for 58.06 % of the total number of research samples , and the government ' s output accounts for 41.94 % of the total number of research samples .

This indicates that during this period ( 2007 - 2011 ) , private - produced television shows have accounted for more than half of the total production .

All television dramas produced by the Government or the private sector only serve the local channels of Yemen , not in the Arab world or the international market , for the following reasons :

- Production of a television series that can compete with Arab production or international production , requiring huge human and financial resources

Private sector production has not been targeted at the Arab and international markets , but is aimed at stabilizing Yemeni channels and Yemeni audiences .

Chapter 3 :

The third chapter is to study the content analysis of samples , which is divided into the following three parts : selection of samples ;
an explanation of the selection specification of the analysis unit ;
Validity and reliability of test

- Part of the method and rationale for sampling can be divided into two categories : field studies , content analysis studies .

1 - Field study : 558 television viewers were randomly selected as research samples , according to the actual population distribution in the city .

Since personal interviews are the best methods , this approach is used for data collection in this study .

2 Analysis of the content use of Yemeni TV series samples , including the TV series analysis of spatial channel play , is put into the framework of sample survey method .

The sample consisted of 7 TV series , a total of 148 episodes and a total duration of 21346 minutes .

Based on the analysis of the art type of industrial weekly , the specific sample chosen in this chapter is explained by the author . On this basis , the study establishes the analysis objective : " What he said " , it is intended to clarify the values , order , kind , positive value or negative value embodied in the Yemeni TV series .

The second part is the " detailed description of the classification of section analysis " , which is divided into 4 sub - sections ( on " what is said " - content analysis on " how to say " )

- Then the classification of the analysis of " how to say " , that is , photography , movement , composition and interest focus , lights , sound , and the category of the Montage style .

The discussion of the qualification analysis unit is based on the following points : - the natural unit of the propagation medium .

Unit of the lens .

Unit of time measurement .

The third is entitled Effectiveness and Reliability Testing of the Group . This section reviews procedures to confirm the effectiveness and reliability of the analysis .

Chapter IV :

Chapter IV reviews the results of the analysis of the contents of the Yemeni TV series , which will be divided into seven parts , as follows :

The first part : reviews the results of the research in the field and divides it into three sub - sections ( the number of television dramas in Yemen , the audience ' s perception of the Yemeni TV series - the persistence of the willingness of the sample population to watch foreign television shows ) as follows :

1 - The number of TV dramas in Yemen . Field studies have shown that 20 % of the sampled population is not looking at Yemen ' s TV series , which is a higher proportion .

2 - The audience ' s comments on the Yemeni TV series :

The general research shows that the middle - level TV series should be in the first place , while the second - level TV series is the second - level , and the top TV series is in a later position .

3 - The firmness of the willingness of the foreign television show to be watched by the sample population :

The results of the study show that Turkey ' s television series is ranked No . 1 , the second in the Syrian TV series , the third in the Egyptian TV series , the fourth in the Gulf state TV series , and the fifth in the U.S . TV series .

Chapter 2 , entitled " Analytical Study Results for Technical Content " , is divided into 7 sub - sections .

The first part is divided into 2 sub - parts ( the use type of the lens - the composition perspective of the TV series in Yemen ) , the dramatic aim of the lens in Yemen ' s TV series :

A - The lens category and its theatrical purpose are clearly defined by dividing the lens used and its theatrical purpose . There are three types of lenses corresponding to three specific meanings : - the scene lens corresponds to " cognition " . - The shot lens corresponds to " action " . - The special lens corresponds to " tension " .

The study shows that the shot is the highest in Yemen ' s TV series , followed by a vision lens . The result is in line with the lens type and its function .

The results of the study show that a significant proportion of the shot lens is not dramatic . In addition , a large proportion of the shot lens is not a dramatic object , but its proportion is lower than that of the far - view lens . And the study shows that the proportion of the long shot with dramatic objects in the far - view lens is higher than that of the drama - free long shot .

B - Imaging Angle :

Over - use of unconventional composition perspectives is believed to be one of the factors leading to distraction of the audience . The results of the study demonstrate that the normal use of the Yemeni TV series in the regular angle of the United Nations is one of the advantages of its technical form .

The study confirms that Yemeni TV dramas are more focused on conventional perspectives than other types of perspectives .

The second chapter is divided into three sub - chapters ( the characteristics of the movement , the characteristics of the action performance , the dramatic purpose of the movement of the camera ) as follows :

The characteristics of A - motion are discussed in this chapter . Firstly , this chapter focuses on the relationship between the movement of the camera and the main body .

The results show that , in the picture frame of the Yemeni TV series , the movement relies more on camera motion , rather than the main body , because the movement of the main body requires more effort : to design a motion design , to establish a moving position , which may increase manufacturing costs

B - This chapter reviews the features of the role ' s action performance , and the results show that the performance in the Yemeni TV series is both hollow and improper , resulting in a lack of interaction between events .

C - This chapter reviews the dramatic goals of camera movement in Yemen ' s TV series . According to the reasons mentioned in this study , the lens movement of electronic zoom in Yemen ' s TV series occupies a larger proportion . The dramatic aim of camera movement is as follows

1 - For tracking events .

2 - Confirm and strengthen the dramatic meaning .

3 - The symbolic link between things .

Section III : This section is divided into 4 sub - sections ( the dramatic effect of the patterned feature - patterned surface - the technical means used to achieve the patterning depth - determination of focus in the frame ) is as follows :

A - The composition of the TV series in Yemen :

The results of the study demonstrate that the lack of emphasis on the third dimension in the composition of the Yemeni TV series is concentrated on a plane , ignoring the importance of three - dimensional , that is , the impact on the viewer ' s perception of the content of the image and the meaning of the drama .

B - This chapter reviews the dramatic objectives of the composition hierarchy . The study found that the Yemeni TV series focused on the deep psychological feelings of the audience , rather than other theatrical purposes , such as the psychological connection of the patterned hierarchy and the dramatic improvement of the role .

It is believed that this is attributable to the type of composition being constructed , which requires time and effort to study and advance the composition of the image .

C - This chapter reviews the technical measures taken to achieve the depth of composition in Yemen ' s television series , as follows :

1 - Arrange the point of interest at the level of the composition level .

2 - arranged to arrange the level of interest and the point of interest at the time of lighting .

3 - Separate light is used to implement the arrangement .

D - Studies have identified the centre of focus of the TV series in Yemen , as follows :

1 - Show the most important theatrical elements .

2 - Enhanced dramatic effect .

3 - Create a balanced composition .

4 - exhibits a change in the landscape frame .

Chapter IV is entitled " The characteristics of light used in the Yemeni TV series " :

This chapter reviews the features of light used in Yemeni TV dramas , as well as the time symbols of natural light sources and artificial lighting sources .

The title of chapter V is " The Characteristics of Sound in Yemeni TV Plays " This chapter reviews the sound characteristics of TV series in Yemen , and studies show that these TV series tend to use dramatic dialogue rather than other forms of sound arts . This chapter then reviews other forms of sound in the television series in Yemen . Chapter VI is entitled " Characteristics of Montage in Yemen ' s TV series " :

This chapter reviews the study of the characteristics of Montage .

In Yemen ' s TV series , most dramatic moves , staying at the level of the length and time set in the articles , and never exceeding it to get dramatic effects . In Yemen ' s TV series , there is a lack of drama in the event . - Section 7 is divided into two sub - sections ( positive and negative values , positive values of the type ) as follows :

The purpose of this section is to analyze the type and order of values in Yemeni TV dramas , and the results of the study are as follows :

1 - Relationship to positive and negative values : The results of the analysis show that positive social values are referred to as 71.06 % of the total , while negative values account for 28.94 % .

2 - Type of values :

A - Positive values :

Yemeni TV focuses on the value of " love " , which ranks first . The second is " sacrifice " , ranking third is " helping others " , ranking fourth is " love for science " , ranking fifth is " ambition " , ranking sixth is " patriotism " .

B - Negative values :

In Yemen ' s negative values in the TV series , the percentage of " exploitation " ranks first , and " greedy " ranks second . On the other hand , the third is " plot against others " , while " means " and " fraud " rank fourth and fifth , respectively .

【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905;J943

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