By Pirah Mangi

pirahPakistan’s media that focuses on drama-serials is being observed to have been apprehensive of the growing rating of Turkish dramas in Pakistan.

This apprehension among the TV artists, directors, drama-writers and of course owners of TV channels is distinct. The recent drama serials Ishq-e-mamnoon and Aasi have earned prodigious response from local viewers and also have caused the failure of local dramas in Pakistan. However, the failure of local dramas and the high-rating of Turkish dramas are immediate subsequent to the advent of Turkish media imperialism in Pakistan.

The political diplomacy between Pakistan and Turkey have been witnessed several moments in the last fiveturkish drama years which may effect the economic issues of Pakistan; number of goods are being imported from Turkey, so are Turkish dramas. Nevertheless, Turkish dramas are deemed as focal point of debate in media since couple of months, it was observed that Pakistan’s media holding drama serials had been under high-pressure due to the incredible success of Turkish serials in Pakistan and it was also found depreciating the influx of secularism and decency of language and living standard of Turkey.

The vehement depreciation against Turkish dramas is not merely made by TV artists, directors and writers but even a group (who claims to be secular). They portray Turkish Dramas as against the culture of Pakistan. Now a question rises what is the culture of Pakistan?  If the people of Pakistan are attached to the bond of their culture (which is always defined accordance of Islamic creed by authority in uniform) then why do the people long to watch Turkish serials? Why are viewers, in Pakistan, going away from local commercial dramas that are fully stuffed in so-called Pakistani Culture?

It is indeed veritable to acknowledge the fact of Turkish dramas building its communicational imperialism in Pakistan and besides this also educating to people about dressing up, designing, and above all the inevitability of secularism in Muslim society.

The advent of Turkey via media, which is considered as a viable gate to be entered through, is seen as virulent to Pakistan’s radical society that has been denouncing any form of social change and development in the society.

The people of Pakistan are divided in their nature of behavior according to their ethnic culture and its behavior therefore the liking of Turkish’s media stuff is resultant of it. Now the local viewers have been irked of Pakistan’s local drama serials because of lack of variation in serials/dramas that could possibly capture the incessant attention and enthusiasm of viewers.

The commercial media is subject of variability in terms of casting, designing, scripting, story-writing etc. the constant flow of similarity causes demise of local serials and also dramas, commercial media holders are pre-requisite to understand the technical tactics of running channels and to sustain their position at global level. However, the most of incumbent media persons are more business holders than of that media world.

They are not trained of technical matters pertaining to media hence the level of drama serials are more thanTurkish drama 11 drama-fiction and less than social message, it is also matter of appreciation to the old drama serials of Pakistan media during 1960s, 70s, and late 80s.

The quality of classical drama serials started to decline with the emergence of Islamism and fundamentalism majorly during Musharaf’s tenure. Moreover, there is no such qualified censor board of commercial media that could maintain the quality of drama-serials, sustain the moral values of society and furnish the meaning of obligation to law and order in society.

Pakistan’s commercial media is not only scared of Turkish dramas but also of that Hindustan. We have to confess and acknowledge that media had failed to furnish the stuff such of that Turkish and Hindustan. The fiery criticism is made against Hindustani dramas as adverse to our (Pakistan’s) culture, as said; Hindustani dramas are reflection of Hindu culture so eventually Hindustani channels are shut off in Pakistan. If it really does then whats wrong with Turkish dramas that are altogether expression of Muslim society.

If we do will to compete the commercial media (at least) at regional level, we need to consider some major modifications and innovation in drama serials with the distinct social message and get rid of abusive scripts and inadequately directed dramas serials.

Turkish dramas are directed by highly qualified experts and also very polite and decent language is used in scripts showing the values of living standard in Turkey and we need to adapt the same level of writing and making drama serials.

The commercial and classical dramas are full of societal reflection. The characters, scripts, designing and theme are required to be set in terms of making social acquaintance; so the directors and drama-writers should refresh their minds in order to flourish the standard of society through their own beat of work in media.

Media, in today’s world, ha proved to be most influential and effective tool to guide the society, since the unemployment and literacy rate, in Pakistan, is low than one’s expectation eventually people are off from literature and keen to spend much time on watching TV thus it comes under the obligation of media persons to educate society and make people think of surroundings.

Pakistan’s commercial media is now expected to render its competence to match the global standard of dramas instead of maundering against foreign drama-serials as Ishq-e-mamnoon and Aasi.

Writer can be reached at pirahameer@hotmail.com

Posted on January 20, 2013, in Uncategorized. Bookmark the permalink. Leave a comment.

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