• Journal of the Korean Society of Food Culture
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• v.33 no.6
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• pp.501-511
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• 2018

Studies with various approaches are required for the globalization of Korean Food. The objectives of this study were i) how the preferences of foreign students residing in Korea on K-Wave, K-Drama, K-Pop and K-Friend affect their preference, satisfaction level and repurchase intention on Korean food, and ii) which of the factors have the strongest effects on their preference, satisfaction level and repurchase intention on Korean food. The results showed that the higher K-Wave, K-Drama, K-Pop and K-Friend preferences, the stronger effect on the preference, satisfaction level and repurchase intention on Korean food (p=0.0001). Among the factors for Korean food preference, the most critical one was K-Wave preference (p=0.0001), followed by K-Drama preference (p=0.0500). For the satisfaction level of Korean food, the most important factor among the four was K-Wave preference (p=0.0496), followed by K-Drama preference (p=0.0500). For the repurchase intention on Korean food, the most significant factor was the preference for K-Friend (p=0.0004), followed by K-Drama (p=0.0016) and K-Wave (p=0.0030). Based on these results, more efforts to invigorate the preferences for K-Wave and K-Drama, as well as various attempts to improve the preference for K-Friend are required for the globalization of Korean Food.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.414-422
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• 2007

This paper aims to find the reasons for Korean television drama being popular in Asia. In particular, the author argues that the role of women's Korean drama fandom is important in the popularity of Korean television drama. What is the role of fandom? How is the gender identity related to women's television viewing? What is the communicative process between the Korean drama producers and fans? What problems does the Korean Wave face recently? These are the questions dealt with in the paper.

• The Journal of the Korea Contents Association
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• v.12 no.5
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• pp.447-458
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• 2012

Korean wave which started from Korean drama is continuing its popularity with K-pop in China. This positive effect has lead to increases in Korean product export to China, increase in number of Chinese visitors to Korea and increase in number of Chinese population learning Hangul. In this research, empirical study was conducted to analyze the influence of Korean wave contents (drama, movie, K-pop, games) on Chinese population (their intention to purchase Korean product, visit Korea and learn Hangul.) As the result, it is understood that the most influential Korean wave content on Chinese population's intention to purchase Korean cosmetic and clothing products is drama; it is analyzed that K-pop has noticeable influence as well. Korean drama has the greatest influence on Chinese population's intention to visit Korea, purchase cosmetic or plastic surgery tour package and purchase Korean food. K-pop is analyzed as the second most influential factor among Korean wave contents in this category. Korean wave contents which have the most influence on intention to learn Hangul are Korean drama and K-pop, and it is analyzed that K-pop has greater influence than Hangul in this field.

• The Journal of the Korea Contents Association
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• v.7 no.9
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• pp.34-43
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• 2007

2002 was the first year that the export of Korean TV programs exceeded the import. Particularly, there is no doubt that dramas, as for a genre, dominated the market, from 64.3% in 2001 to 93.6% in 2003. Especially, the increasing demand from the Chinese block such as Taiwan, China and the neighbor countries like Vietnam, Indonesia, Malaysia, and the preference of Korean drama in Japan shows the continuation of booming Korean wave. Questions frequently asked in this current circumstance may be what kind of dramas are better to be exported and to which country Korean dramas are exported. Based upon those needs, this paper examines the determining factors of Korean drama exports to foreign countries. Especially, this study examines the internal factors to the drama influencing export by countries. For this study, 594 Korean dramas aired on MBC and exported between 2002 and 2005 will be analysed by chi-square analysis.

• Review of Culture and Economy
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• v.20 no.1
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• pp.81-104
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• 2017

This study aims to examine the transformation of the heroic narrative in the successful Korean Wave drama. In this study, TV drama "Descendants of the Sun" which gained tremendous popularity at home and abroad was considered to be an example of the heroic narrative model proposed by Vogler. Further, two analysis points were identified as the critical factor of success: modern transformation and global transformation. Modern transformation is about distinct characteristics of Korea, found in three primary factors of the work: the setting up of a character, the development of events and the background set-up. Global transformation features universal value to attract foreign viewers by lowering cultural discount. In "Descendants of the Sun", humanism is considered to broaden the horizon of the work by affecting above three factors. In conclusion, It is the proper combination of these dual transformations that globalize Korean drama. In this regard, this study will be a meaningful attempt to shed light on the storytelling strategy of Korean dramas in terms of the heroic narrative.

• International Journal of Contents
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• v.10 no.3
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• pp.47-54
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• 2014

Although the Korean Wave originated in China, its presence in this country had been faltering for some time. Recently, however, Korean Wave star centered K-drama via online video websites, Korean Wave TV programs with high ratings, and idol group centered K-pop with glocalization strategies are all popular in China once again. The purpose of this paper is to explore Chinese teens and twenty year olds as the main consumers of Korean popular culture and the how preferred genres, motives, and behaviors of Korean pop culture use and Korean image affect one another. According to the study results, media use via online video service was most common, and among the preferred genres, K-drama has the highest usage rates. In addition, it was discovered that motives and behaviors associated with the use of Korean pop culture had a considerable influence on a positive Korean image.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.45-55
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• 2015

The Korean wave contents such as Korean TV dramas and K-pop are sweeping over foreign countries. This Korean wave has improved positive national brand image and also brought up interest across Korean culture. Due to expansion of Korean wave, some Korean education contents started to be made by using Korean wave contents. These kinds of Korean educational online contents induce interest in studying Korean by using Korean wave contents. Furthermore, people can indirectly experience Korean culture. so we need to come up with more effective application plan. However, contents which has produced currently still have insufficient part. Based on that, current state of Korean education online contents by using Korean wave contents will analyze into especially a series of 'Pit-A-Pat Korean' from Nuri-Sejong school need to be proposed a review of the limitations and improvement conclusion in this paper. The K-drama produced by effectively utilizing the planning and the Korean educational content. This will reveal to the culture and traditions of Korea, as well as a simple information transfer. So we expect to be a valuable activity that is responsible for a stem to improve the country's image as one item K-culture itself.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.40-50
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• 2016

This study employs model of susceptibility to imported media to examine Korean drama exposure, evaluation and viewing intention among viewers living in foreign cultural background. Analyzing data collected from 176 female viewers in the U.S., it founds knowledge about Korea and general drama exposure give direct effect on the future viewing intention. Korean drama exposure directly affects drama evaluation and viewing intention. Korean network, however, has no significant effect on the dependent variables. Result of the present study shows that cultural capital of foreign viewers has effects on Korean drama consumption. Another result that behavior of general drama consumption has contributed to Korean drama consumption gives meaningful implication for the policy of Korean television export.

• SUVANNABHUMI
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• v.16 no.1
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• pp.15-38
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• 2024

In this paper, I will pursue initial ideas I formulated in 2012 about the permeation of Korean influences in Philippine popular culture, particularly in the production of serialized TV drama/soap operas or the "teleserye" [tele for television + "serye" or series; thus, TV drama series]. I called the phenomenon the "Korean Turn" as I observed the emulation of Korean televisual drama (nowadays called K-Drama) modes and practices by local production through various means of cultural appropriation. This time, I will expand my exploration to other aspects of Philippine entertainment and other cultural practices. I will also update my observations on the continuing "Korean turn" in the teleserye. I will argue, on the one hand, about the success and soft power of hallyu or the "Korean wave" in the Philippines; and on the other, about Philippine culture's enduring ingenuity in its reception and repurposing of hallyu. Ideas to be yielded here will form part of a potential framework in understanding the dynamics of the interface between Korean and Philippine cultures, in the context of globalization. I assert that popular culture remains to be an undervalued field of inquiry, as far as these contexts are concerned.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.286-308
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• 2021

For a long time, dramas that everyone has enjoyed at home have become the most popular cultural contents due to the development of digital technology and the influence of Hallyu.(Korean Wave) This study was conducted in-depth interviews and participatory observations on the background, role, identity, and labor experience of TV planning producers who appeared in the drama production process with the implementation of outsourcing production policy in 1991. The number of dramas produced increased sharply in the mid-2000s due to the Korean Wave. Against this backdrop, the planning producer has expanded their scope in the drama production process and emerged as a new drama producer. The planning producer plays a role in creating an environment in which writers and directors can be selected with the identity of "not a creator but a producer of dramas" and lead drama planning. OTT and watching TV on the Internet have made it possible to watch dramas without TV. As this phenomenon accelerates and becomes commonplace, fewer consumers adhere to the traditional way of watching dramas using TV, and consumers' emotional tastes become more demanding. In this environment, TV planning producers are leading the production of dramas, exerting as much influence as writers and directors. They are also building new power relationships among drama producers by securing planning and financial power.