Much modification has been seen in media and its deliverance. The same stands rue for Pakistani dramas which have registered a significant and vital transformation partly due to advancements in technology as well as changes in patterns and outlooks of the masses. With increased globalization Pakistani dramas have come a long way from the monochrome screenplay to the modern day sophisticated and progressive expertise. This evolution can be regarded in terms of content and technology.
Since the days of PTV, Pakistani dramas have moved steadily. From the black and white displays, they stand as state of the art genius today. A graphic example of this is the fact that they are comparable to Indian films. The board of people involved has increased. Directors, producers, actors and writers give due importance to their respective works. The quality of as for example cameras, sounds, lights, splendor of locations and presentation has improved. None of these are overlooked. As a result, what we see on screens seems appealing. There are positive aspects of this evolution. Since the market for dramas has expanded largely, so has our industry’s base. This has made place for designers, camera people and support staff that was earlier not adhered to much. The evolution has brought appreciation and praise from artists worldwide. So successfully has it been rendered that Pakistan’s positive societal aspects have been recognized through them. It is particularly important as they act as outlets of our culture to the rest of the world. This has shown that drama industry has accepted changes and rejuvenated accordingly.
Speaking of what’s actually contained in Pakistani dramas, it is necessary to talk about the changes in ideologies they try to make. Since PTV days, dramas had not as wide range of themes and subjects to deal with. Primary focus was on limited ideas. Today, dramas demonstrate human emotions, the circle of family, and the need of belonging along with highlighting social evils that plague Pakistani society.
On the upside, plays like Udaari, Sammi, Khuda mera bhi hae and Sange mar mar empower the victims and the exploited. Dramas are such a powerful and useful vehicle of conveying ideas that have been used as such. Despite, they lack a sensitive attitude towards issues like rape. For e.g. serial Sangat would have n=bveen a slap in the face of rape victims as it adopted indifference towards their plight while getting across the message that they should forgive the oppressor. Dramas are still stigmatized to typical concepts. The crying woman on screen may give high ratings but they are extremely opposed to woman empowerment which has been much talked about. Whether be it Maya Ali, Mawra Hocane or Aisha Khan, one sees them as the ultimate hysterical women so much so that one is tired. Such attitude undermines women power by projecting them as weak.
In dramas Kambakht Tannu, Sangsar and Naseebo jail nargis, the idea of being ‘manhoos’ has not only been exaggerated but also further strengthened when the characters always undergo such fateful events that he stigma is justified. Other than this subjects such as love, marriage, ‘Saas-Bahu’ clashes are overreated. Almost in every drama we see a couple being distanced by gulf of difficulties. Really it’s high time now and we need diversification and move on to subjects that instill positive emotions. Like who wants to see a Naagin in 21 st century?
A major drawback is lack of effective scripts. Writers are not given importance they should be. The outcome is sitcoms like Bulbulay. Repetition of stories is cringe worthy. When we try to work without good writers we try to make house on nonexistent plots. Conclusively, Pakistani dramas have evolved substantially but there is a lot of work to do in order to bring out the potential of dramas and the way they affect audiences.