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27 May 2016 | 12:57 pm

洪门宴

文: 洪铭铧

众所周知,网络崛起已分掉电视收视,所以电视台现在都要强打网络平台,以挽救节目收视。新传媒公布的2015年十大网络收视节目中,包含多部本地剧,可是综艺节目却只有一个,还是外购的《中国好声音》。本地综艺节目完全不见踪影。

本地剧网络收视胜综艺

据了解,目前的8频道收视,7点半打先锋的《富贵平安》意外低迷,收视率跌至单位数,圈内人表示惊讶,因为以演员阵容和戏剧题材来说,十分坚强,如果还吸引不了观众,只能表示观众流失不再回头,因为外面有更好的节目。相比之下,8点档的综艺节目表现较好,至少稳住双位数收视。

不过呢,这是以电视收视而言,网络收视就没那么乐观了。

电视观众以年长者为主,网络收视群则是年轻人占多数。网络收视榜有本地剧而没有本地综艺节目,反映过去一年,在追逐眼球的过程中,本地剧打败了本地综艺节目。《中国好声音》的入榜,说明观众不是不爱看综艺节目,而是本地节目满足不了观众口味。

新传媒去年全力打造《歌台星力量》,是中国人气歌唱节目《我是歌手》的歌台版,节目的电视收视称霸,吸引了家庭观众的同时,却无法在年轻人群中制造同样的反响。

《歌》已经是电视台比较有年轻感的节目了,除了《那些年,我们一起玩的游戏》《学校没教的事》等新节目,其他节目多跟烹饪、家居相关,目标都锁定家庭观众,年轻人当然不买账。

去年新传媒没有提供类似数据,我无从比较前年的情况,但去年的网络收视情势,显示本地综艺节目正走向没落,如果没有赶紧对症下药,前景堪虞。

过去本专栏曾提过新传媒的几个问题:

1)新传媒制作底下的综艺部做什么节目,是由新传媒电视底下的节目部下单的。收视不好,可能是综艺部制作得不好,也可能是节目部下错了单,跟市场口味脱了节。

2)新传媒的综艺节目(其实戏剧也是,但没那么严重),很多时候能否开拍,要看找不找得到赞助商,以家庭观众为主的节目自然安稳得多,以年轻人为主的节目得冒险尝试,因为年轻人的娱乐选择更多,因此在避重就轻的恶性循环下,节目日益“老人化”在所难免,距离年轻人也就更远了。

这个问题,不是我提出来才出现的,而是它原本就在十大网络收视节目榜单反映出来。

Source: Zaobao

Categorised in CH, Dramas - General, Ratings 节目收视率, Zaobao.

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01 April 2016 | 11:40 am

By Joanna Goh

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RBKD: Definitely a must-read for all fans! And a highly recommended article to the rest.

In this 14-page interview done in English with Rui En, we follow Toggle’s lead to revisit Rui En’s 14-year acting career journey in her own words. What a long ride it has been………

In this post, RBKD shares with you our after-thoughts and how to better appreciate this article, sparing you the exact details of the interview so that you may enjoy in its original state at Toggle. It’s like wine pairing you know? :P

Read on for those who prefer to read RBKD’s sharing first, and for those who prefer to head to Toggle first, click here.

一路走来不简单,谢谢瑞恩的坚持、你们的支持。超级红星奖或是里程碑,但肯定不是终点。有份一起看着她成长的你们,定会对此文章有所感触。献给你们。中英文都有,且内容都不相同;RBKD的简介也有另外的见解,建议都可阅读。

English Version: Toggle: Rui En, in retrospect

中文版: Toggle: “超级红星”瑞恩15年演艺路 4大“最”状

RBKD’s insights: Just scroll down :P

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Pre-2007: The days of being ‘7 princesses’

Those were the days when “7 Princesses” were the talk of the town. Labeled as the “Ice Princess”, the association has always been a double-edged sword and understandably, non-conformist Rui En wasn’t comfortable with the labeling.

Still, what doesn’t kill you make you stronger; despite being ranked among the bottom few frequently back then, Rui En has certainly come a long way to her current state now.

Witty Rui En quipped, “who doesn’t love Elsa?” Indeed, now we know why even our young cousins adore Rui En? :p

Click to read page 3

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Pre-2008: Before having a fanclub

Rui En described the years as ‘fuzzy’ and didn’t think she would have any fans or fanclub. We are really thankful to you peeps out there, for quietly supporting Rui En before RBKD came into the picture. Thanks for the love on our behalf :)

Click to read page 4

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A role that got her on everyone’s radar: Metamorphosis (2007)

If each role was a generation, then ASP An Xiaoqian would be the predecessor of our beloved ASP Hu Xiaoman and INSP Ng Tze Keat. When you think of policewoman in local dramas, you think of Rui En. ’nuff said, we are thankful for that.

Click to read page 5

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Post-2008: When RBKD came into her life

This page is diabetic and sugar overloaded. Warning: you may need your insulin shots.

Rui En shared with Toggle that everything changed when RBKD started. Quoting her, “they are everything to me and I’d not be where I am without them. That’s just as simple as that.”

Thanks Rui En, our lives changed when you entered ours too.

LOL at Rui En “complaining” to Toggle that RBKD sabotaged her. Who? What? When?! Read on as she shared more about her RBKD. :)

Click to read page 6

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The role that proved naysayers wrong: Happy Family (2010)

Xiaodong will always be simply special to fans. *wink*

Click to read page 7

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The role she gained ‘acting enlightenment’: With You (2010)

Her first ever acting nomination, her first ever “Best Actress” award at Star Awards. Rui En said she was in a daze when she won, so were we. We are just glad and thankful, how Rui En has grown as an actress especially after this role.

Click to read page 8

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The role that left everyone shell-shocked with her transformation: A Tale of 2 Cities (2011)

There were days when we were not used to seeing Rui En in heels and now there are days when we wonder how tall her heels have become. Her transformation and acceptance of more feminine appearance is just like her acting career, always changing, improving and open to changes.

Every role is a result of blood, sweat and tears and like reverse-horcrux, a part of every role will always live in Rui En. Just like Ya Le, just like any other role…..

Click to read page 9

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#SA2016SG All-Time Favourite graduate #RuiEn speaks to us ahead of her big day on April 17 and revisits her ups and downs as an actress for the past 14 years. Find out why she thinks Xiao Man from #Unriddle is the defining role of her career. Read the full story on toggle.sg @rbkd

A photo posted by Toggle (@toggle_sg) on

The role in which she won her second and third best actress: Unriddle 2 (2012)

Fans, you get the answer you have been craving for.

Does Rui En want Unriddle 3? The answer is a big ‘Yes’. Read on to see how would she hope Xiaoman’s character would develop.

It is of course a pity, to note the harsh reality that Unriddle 3 is unlikely to happen any time soon (if it will ever happen) due to high cost and budget cuts. Never give up hoping ya?

Shoutout to Unriddle’s producer Paul Yuen and storywriter Phang Kai Yee, what say you? ;)

Click to read page 10

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The first time people saw her in a comedic role: The Dream Makers (2013)

“Crane up, tilt down, zoom in. 最好有点王家卫的feel~”

Everyone loves Fang Tonglin; be it Tonglin on her own or with her bro as Fang Siblings (speaking of which, did you know that RBKD was the one who coined the term when reposting one of their selfies back then?) or with Zhanpeng and Jason. That’s why Tonglin gets the man! :p

From initial scepticism of being an over-the-top performance to eventual well-reception and love for a character so adorable, no wonder Tonglin makes it to Rui En’s Top 3 career-defining roles, after Siqi and Xiaoman.

Click to read page 11

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The first time she crossed over to the dark side: Against The Tide (2014)

“Darkness cannot drive out darkness, hate cannot drive out hate, only love can.”

Who can forget this? Need we even say more?

There are times, most of the time in fact, when we hope that Rui En can be duly recognised for her respective roles with acting awards. But there are roles, not confined nor defined by the rules of awards, but recognised and acknowledged by the yardstick of the common viewer. This is one of those. Always our Best Actress. :)

Click to read page 12

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Where to from now: Rui En’s progression to mature roles

Sure, fans might worry how Rui En has entered the land of no-return after her first ‘aunty’ role in upcoming “If Only I Could…..”

But more than anything else, fans just hope that Rui En gets to try a myriad of roles, defined by their depths and not age. Just like how Rui En do not wish to trap herself to the pigeonhole of being an idol or just become known for a certain type of roles, fans hope that her willingness to try diverse roles can be matched by equally varied range of opportunities too.

Aunty? Woa. Policewoman? Awesome. Goofy? Why not?

As long as you can deliver (and we know you will), by all means, challenge us with your multitude of roles and acting. We have adapted pretty well over the years, haven’t we? :p

Click to read page 13

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A photo posted by Official Fan Club of Rui En (@rbkd) on

So what motivates Rui En and keeps her going today?

Yup, so now Rui En has 2 cats and Bingo has been renamed muffin. Why huh? :p

Rui En claims that reading interviews of actors and actresses she admires as the fuel to keep her passion burning. Thank goodness for these people, hence you are still here in our lives.

Rui En also gave special thanks to many, including “angels sent from God” and her “Hype family” for always being there for her. Indeed. If you are reading this, you know you are included, you have always been there for her. Thank you for that.

Click to read page 14

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Rui En’s legacy: To be able to empower women and young girls

Awards do not define Rui En.

There are those who crave for awards and fame, and there are those who wish to use the awards and fame for greater good.

In Hollywood there’s Leonardo Dicaprio who lent his voice for climate change in his acceptance speech for the coveted golden man trophy he had waited 22 years for.

In Singapore, Rui En shares how she hopes to inspire and empower women and young girls through her acting and everything. Keep it up, girl!

Click to read page 15

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English Version: Toggle: Rui En, in retrospect

中文版: Toggle: “超级红星”瑞恩15年演艺路 4大“最”状

Note: The “All Time Favourite Artiste Award” will be given out on “Star Awards” Show 1 on 17 April 2016, Sunday.

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Source: Toggle

Categorised in A Tale of 2 Cities 乐在双城, Asian Television Awards, Asian Television Awards 2012, Asian Television Awards 2014, 七公主 7 Princesses, Bridge, C.L.I.F. 2 警徽天职 2, C.L.I.F. 3 警徽天职 3, C.L.I.F. 4 警徽天职 4, CH, Dramas - General, EN, Facebook, Happy Family 过好年, Hype Records, If Only I Could... 十年...你还好吗?, Instagram, Metamorphosis 破茧而出, No Problem 考试家族, Ratings 节目收视率, RBKD, RBKD Annual Giving, Rui En, Social Media, Star Awards, Star Awards 2016, The Dream Makers 2 志在四方 2, The Dream Makers 志在四方, Toggle SG, Twitter, Unriddle 2 最火搭档 2, Unriddle 最火搭档, With You 我在你左右.

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31 December 2011 | 11:45 am

日期: 31/12/2011 | 新闻来源: 联合早报 | 记者: 洪铭铧、李亦筠、黄靖晶

电视榜风云人物:刘健财与杨锡彬

哇哇映画制作的节目和剧集立下口碑也写下出色的收视率,创办人刘健财与新传媒监制杨锡彬一起受封电视榜风云人物,杨锡彬不但成功让本土剧再度抬头,也积极为本地剧开拓马来西亚市场。

杨锡彬:

若剧种适合会争取9点档

今年率领新传媒的马来西亚制作收复新传媒电视8频道7点档的杨锡彬,对于获选风云人物,感言是:“我的荣幸,重要是默默耕耘了两年半,有人发现我们的努力。”

新传媒制作的本地剧《想握你的手》去年创下收视新低,过后由台湾长篇剧《爱》接替,一年后由新传媒的马来西亚制作的剧集《甘榜情》与《正义武馆》接棒,平均收视虽未超越《爱》,但至少恢复正常水平,对支持本地剧发展的人是佳音。

50岁的杨锡彬擅长多元题材,他之前监制的《琼园咖啡香》《孩有明天》《破茧而出》都在红星大奖上得过最佳电视剧,《阴差阳错》获年度最高收视,《任我遨游》则是最轰动的偶像剧。
  
担任马来西亚新传媒制作华文戏剧部副总裁的他说,本地拍剧场景局限很大,马来西亚环境较佳,但那里的制度相对不够健全,演员等人力资源较缺乏,制作预算也少一半,放在7点档播映,有些上班和上学的观众会来不及回家观看,但即使面对这种种劣势,他仍会致力于剧种的多元化,而就播映后的作品反应看来,观众已察觉到不一样。尽管都是怀旧剧,《甘榜情》的家庭伦理与《正义武馆》的功夫打斗就题材各异。

有传台剧便宜立大功,新传媒电视考虑7点档改以外购剧充档,这回播映杨锡彬的马国制作是给本地剧在该时段的最后一次机会。对此,杨锡彬回答,马国制作是五年计划,还有不少时间实行。

Code of Honour 正义武馆 debuts 5 December 2011 7pm on Channel 8.

Source: Zaobao

Categorised in CH, Code of Honour 正义武馆, Dramas - General, Metamorphosis 破茧而出, Zaobao.

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26 October 2011 | 10:50 am

本报记者洪铭铧与本月20日在《为本地剧把脉开方》一文,从创作与制作,省钱和竞争,演员与人事结构四方面探讨本地剧到底出了什么问题,本地剧是否越来越难以保持竞争等问题,新传媒昨天来函作出数点澄清,全文照刊如下:

8频道作为大众娱乐频道,在传播内容上扮演着兼具娱乐大众与教育观众的角色,为范围广大的观众群提供服务。

戏剧中的对白必须反映故事中人物的生活形态,如以青少年为主的《边缘父子》,剧中少年主角的对白,就是时下年轻人的写照。

在今年的2011年中国国际影视节目展,中国国际电视总公司也向新传媒购买了高达141小时的本地剧,这包括了《麻婆斗妇》、《乐在双城》、《阿娣》、《甘榜情》和《星洲之夜》等。

有关艺人培训方面,我们也配合了艺人的档期为他们提供课程,传授作为专业艺人必须具备的各种基本知识与技能,让他们在技艺上有更全方位的提升。授课教练都是来自中港台与本地演艺圈的专业领域,如艺人夏雨与郭亮等。

另外,我们也邀请海内外的资深戏剧创作同仁,为新传媒的编剧与故事人开班授课,也会在近期落实与亚洲顶尖学院的创作交流与分享计划。

新传媒作为本地民众最主要的娱乐管道,我们会不断自我鞭策,希望在节目上能日益精进,努力去制作更好的节目来回馈观众。今天的观众不乏娱乐选择,8频道的戏剧能持续领先众多娱乐平台,取得的可观收视 是观众给予我们的肯定。9点档本地剧今年推出更多题材新颖的剧种,播出至今(尚有写实剧《行医》与年终歌舞重头剧《星洲之夜》未播)就已平均吸引87万名观众,比去年的平均85万9000名观众还要高。

《警徽天职》、《乐在双城》与《四个门牌一个梦》都突破90万观众大关,比去年的两部剧《我在你左右》与《红白喜事》还多。在网上xinmsn收看9点档本地剧就有播放次数突破百万纪录的《边缘父子》与《警徽天职》,深受年轻人喜爱的《边缘父子》更有超过130万的纪录。

8频道的戏剧必须能吸引“普罗大众”,在考虑观众喜好的当儿,也希望能让观众有多样化的选择。为欢庆明年“戏剧情牵30周年”,8频道也将推出一系列的戏剧如悬疑剧《最火搭档2》、校园剧《我等你》、民防剧《995》、职业男女剧《再见单人床》;众星云集的60年代娱乐圈重头剧《花样人间》,以及有关先辈南来新加坡的《唐山到南洋》年终大制作。

谢谢你的意见与关注,我们将会持续努力,尽力达到多样化观众群的各样需求,制作更多阖家共赏的好节目给观众。

新传媒8频道品牌与宣传副总裁
陈国明

Source: Zaobao

Categorised in 30th Drama Anniversary, A Tale of 2 Cities 乐在双城, CH, Dramas - General, Joys of Life 花样人间, On The Fringe 边缘父子, Ratings 节目收视率, The In-Laws 麻婆斗妇, Unriddle 2 最火搭档 2, With You 我在你左右, Zaobao.

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21 October 2011 | 11:39 pm

During its run on MediaCorp’s Channel 8 the past four weeks, much has been discussed about Love Thy Neighbour’s scripted dialogue and representation of locals and foreigners. Despite the wide discussion on the drama, the show has been attracting a steady stream of viewers, even surpassing the one-million viewership mark on Oct 13.

According to Paul Chan, vice-president of MediaCorp Channel 8 Branding & Promotions, viewership rating for Love Thy Neighbour has already surpassed the 900,000 mark — even before the series ends concludes on Monday. It joins the ranks of police drama series C.L.I.F, and A Tale of Two Cities starring Rui En and Joanne Peh, which are the other two dramas which have successfully attracted an average of more than 900,000 viewers during its run.

Thanks to a wide variety of drama genres this year, before the year concludes with two more shows — The Oath and A Song to Remember — 2011’s dramas on Channel 8 have attracted an average of 870,000 viewers to date, which shows an increase in viewership, as compared to 2010’s average of 859,000 viewers.

These dramas are also attracting online viewers on xinmsn’s Catch-Up TV. Popular youth drama On The Fringe, which, tackled delinquency issues and the rise of youth gangs, was most popular online attracting more than 1.3 million views during its run.

Source: Xinmsn

Categorised in A Tale of 2 Cities 乐在双城, Dramas - General, EN, On The Fringe 边缘父子, Ratings 节目收视率, The In-Laws 麻婆斗妇, xinmsn.

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21 October 2011 | 10:40 am

By Rachael Boon

Ongoing series Love Thy Neighbour has sparked a wave of criticism against local Mandarin TV dramas.

Channel 8 drama Love Thy Neighbour has not been feeling the love. In recent weeks, it has been the lightning rod for all kinds of criticism directed at locally produced contemporary dramas. Viewers have taken issue with the show’s lack of subtlety and poorly written dialogue, among other things.

The gathering storm of protest eventually involved two Members of Parliament.

Last week, one of them, Mr Lee Yi Shyan, questioned in a Facebook post the need for characters to shout or scream in order to express themselves.

Mr Lee, who is also Minister of State for Trade and Industry and National Development, tells Life!:”It was not just a particular episode that I based my comments on, but over a period of time. I find that Chinese local drama production has a lot of conversations that feature raised voices, a bit of screaming and shouting to express anger or frustration.”

“Of course human emotions are complex and there will be moments when you will be really angry. But I think in a good drama, everything should be in proportion – you have some gentle, soft moments and then the emotional moments and so on.”

Lianhe Zaobao senior correspondent Ang Ming Hwa agrees, saying that frequent arguments in a drama have become “the focus of the show” over the years. “It becomes a habit they find hard to break. They think that with loud voices, they will catch the audience’s attention but they actually lack creativity,” he adds.

In response, Mr Paul Chan, vice-president of MediaCorp Channel 8 Branding & Promotions says:”For each drama, the dialogue is specially crafted and relates strongly to the social status of the characters, the genre and era. For instance, in a youth drama such as On The Fringe, the teen characters would have more youth-speak dialogue. If we do not capture the essence of the different characters or genres in each drama, we would not be reflecting reality.”

Civil Servant S.L.Leong, 43, has been turned off by Channel 8 dramas because of the quarrelling scenes, which she says happen “most of the time”. She now prefers to watch Channel U’s local productions, some of which are made outside of MediaCorp.

She likes the more “wholesome themes” of shows such as Secret Garden (2010), which looks at psychological problems.

In contrast, she says Channel 8’s recent youth-oriented drama On The Fringe glamorised teen gangs. She adds:”I thought it was a negative portrayal of youngsters, even though the ending was good.”

Assistant Professor Liew Kai Khiun of Nanyang Technological University’s Wee Kim Wee School of Communication and Information says the problems he has observed in recent Channel 8 dramas have to do with “little imagination, inspiration and realism in the plot of grumbling parochial and unconvincing characters.”

“I am not convinced that the audience would be pleased with the frequent pretexts for explicitly explaining government policies and the reminders on how fortunate Singaporeans are in receiving handouts.”

This trend of poorly written scripts with propaganda-like dialogue was also seen in shows such as police drama C.L.I.F., which aired in the middle of this year, says student Hubert Wah, 23.

“The police would be introduced into the scenes mid-way, which made part of the show seem like a corporate video or propaganda. It was so fake to me.”

Source: The Straits Times

Categorised in Dramas - General, EN, On The Fringe 边缘父子, The Straits Times.

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20 October 2011 | 08:34 am

日期: 20/10/2011 | 新闻来源: 联合早报 | 记者: 洪铭铧

贸工部兼国家发展政务部长李奕贤上周二(11日)在个人面簿上留言:“为什么8频道连续剧里的对话,漫骂多,寒暄少;呐喊多,细语少;争执多,解释少;傲慢多,谦卑少。难道,这就是我们社会的写照?” 他的批评,引起广大的回响。

本报记者专访了了解内情的圈内人,并结合本身多年的采访经验,尝试从剧本、制作、演员和人事结构与体系去为本地剧把脉、开放。

创作与制作

写过好剧本的人才,哪里去了?

剧本是一剧之本,本地剧经常被批评无法引人追看,是因为剧本太弱。本地剧本青黄不接,较优秀的人离开后,新生代承接不上,是一个主因。

新传媒华文戏剧制作部高级副总裁郭令送曾在受访时承认本地编剧断层,因为本地教育制度、语言水平关系,本地人能胜任编剧一职的不多,必须依靠马来西亚外援。

但是过去电视台流失掉不少写过好剧本的人才,哪里去了?

离开新传媒曾在该台服务20多年的前故事人苏春兴说,早期的电视台在香港电视人梁立人带领下,大家相处如一家人,不怀私心,因此作品也百花齐放。对比今天的环境让人变得功利主义,某些人也会比较照顾某些人,一些不被照顾但比较有才华的人最后都走光了。

苏春兴说,导演的情况也是这样。目前的结构下,一些有实力的导演离开了。所以留下来的编剧和导演,有些是第一代杰出编剧和导演的徒弟的徒弟,这样子如何不影响素质呢?

在曼谷居住但与本地电视圈保持密切关系的苏春兴说,他回新时会看看本地剧,但看了《生日快乐》,觉得连对白都写不好,而最近较受好评,如金牌故事人洪荣狄执笔的《边缘父子》,他也觉得比起洪的水准之作有别。他回忆,近期有印象属于较好的作品是《我在你左右》,整体来说还算完整。

罐头式设计剧情,已形成一种文化

省钱和竞争

一台独大,少了自我推进动力

外地市场流失,泰、马市场也难保

演员

一般缺乏训练,修养不足

本地演员进步不大,难以带戏,是新传媒不少幕后人员的意见。他们的演技不及外地演员,也是观众批评的重点。然而,本地演员缺乏进步的动力,会否正是因为一来本地竞争不大,二来做得再好也不见得能扩大个人的事业版图,因为本地剧根本进不了外地市场?

苏春兴说,以前本地剧有配音,救了不少演员的念白缺点,现在大家原“声”毕露,演员的咬字、语音、口气等都不够自然,有些差到勉强念出都有问题,更别说要带感情了,但是这类演员并不见得受淘汰,反而经常露面,相反的,不是对白念得好的演员就一定有较好的发展机会。

李宁强认为本地演员一般上缺乏训练,修养也不足。他指出,以前新人从训练班出来,准备比较充分,现在艺人没有经过训练就丢进戏里,自己摸索,无人指引。另外, 演员自己也没有提升自己的修养,个人对历史、文化常识不足,演出自然受影响,只能互相模仿。他认为,本地的幕后高层有义务给他们引导,他们演技不好其实幕前幕后都有责任。

新传媒缺乏捧星计划,演员目标设定不高

一名前经纪人为本地演员辩护说,本地演员做得好,可以进军外地,新传媒的演员无法设定那么高的目标,很自然的不会像中港台艺人那么拼。

一名男演员说,本地艺人为了糊口,加上演艺生涯不稳定,不知道电视台什么时候就不要你了,当然要在最有人气时赚最多钱,所以除了拍戏,也尽量利用名气兼做副业,如开店、代言等,在演艺方面自我充实有时不是最重要的事。

苏春兴说,他记得早报之前报道过,即使“做到郑惠玉”又如何?郑惠玉代表着本地艺人的最高地位,但是如果条件更好的人才觉得做到郑惠玉也没什么,他们不会被吸引进入这一行。较好的演员不进来,本地剧只能来来去去沿用剩下的,演员的个人自我提升缓慢,整体的自我更新也缓慢,观众当然容易看腻。

一名圈内人说,从过去的经验来看,新传媒缺乏全盘的捧星计划,难得因媒体冠以“公主”之名而捧出“七公主”,最后竟因对自己的全职艺人照顾不周而纷纷离开,导致花旦青黄不接,这在外地绝对不会发生,可是为什么新传媒可以容许这种不合逻辑、不符专业的事情发生,令人想不透。

人事结构

制作、用人受牵制,无法百花齐放


Source: Zaobao, Omy

Categorised in A Tale of 2 Cities 乐在双城, By My Side 不凡的爱, CH, Dramas - General, Happy Family 过好年, My School Daze 书包太重, Omy.sg, On The Fringe 边缘父子, The Dream-Catchers 未来不是梦, The In-Laws 麻婆斗妇, Unriddle 最火搭档, With You 我在你左右, Zaobao.

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13 October 2011 | 11:39 pm

日期: 13/10/2011 | 新闻来源: 新明日报 | 记者: 华京京 陈丽芬

本报小调查点出,观众罢看本地剧集的8大原因,其中包括缺乏新意、 缺乏原创性。

针对政务部长李奕贤,对本地华文剧的看法,本报做了一个30人小调查,结果显示,一半的观众宁可选择看港、台、韩或日剧。

公众黄先生(29岁)指出,本地剧缺乏新意,让他觉得乏味,不像港剧总让他有焕然一新的感觉。

周小姐(24岁)则表示,本地剧在情节上,总模仿其他国家的剧集,缺乏原创性,例如去年播出的《查某人》,就类似2007年播出的港剧《师奶兵团》。

观众罢看的8大原因

1. 剧情老套,枯燥乏味。
2. 年轻一代演员演技生硬。
3. 原创性低,有港台剧的影子。
4. 有些演员的华文水平有待提升
5. 剧情不够曲折,容易预料剧情。
6. 台词有时太口语化,让人听不下去。
7. 演员中缺乏俊男美女,偶像效应低。
8. 情节不紧凑,为拖长剧情,围绕一个情节。

新传媒高层陈国明:本地中文连续剧 还是受国人欢迎

新传媒8频道品牌与宣传副总裁陈国明受询时强调,他觉得本地剧有很多人追看,近期的几部9点档华文剧,平均收视率都能达到90万上下的水平。

“个别集数的收视率,也经常会突破百万,所以我觉得本地华文连续剧,还是很受国人欢迎。”

最近5部电视剧平均收视率

四个门牌一个梦 92万2000
万福楼 84万8000
边缘父子 89万3000
阿娣 82万9000
警徽天职 92万4000

Source: Shinmin

Categorised in CH, Dramas - General, On The Fringe 边缘父子, Ratings 节目收视率, Shin Min.

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12 October 2011 | 10:18 pm

日期: 12/10/2011 | 新闻来源: 新明日报 | 记者: 华京京

Source: Shinmin

Categorised in CH, Dramas - General, Shin Min.

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