Two Articles on Hallyu
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omonatheydidThe next serving of 'hallyu'?
A poster for MBC drama “Pasta’’
The word "hallyu," or Korean wave, first appeared in the late 1990s, and it has been growing within the local entertainment industry over the years.
The word, which referred to the popularity of Korean culture around the world, has now become a representative term when explaining and defining Korean culture. It refers to almost all cultural aspects - from drama, music, food to fashion - and as much as Korea would like to see some effects in other parts of the world, it certainly impacts the entire region of Asia.
As multi-cultural exchange has been a common global phenomenon, Korea and its people need to keep an open and proactive attitude when examining and dealing with the current state of the hallyu.
Is the wave waning?
The biggest contributor of hallyu would be dramas, and this has not changed since the first generation of hallyu television series such as "Winter Sonata" (2002, KBS) and "Jewel in the Palace" (2003, MBC). They are still a favorite among fans and buyers, and one of the most important exports Korea must keep an eye on.
"One of the first dramas (was) 'Jewel in the Palace.' I remember (when) everybody started watching it. It introduced (us to) Korea," said Richard Lee, head of Chinese entertainment network China Entertainment TV or CETV, told The Korea Times during an interview last week.
The wave brought Korean culture closer to the Asian audience, helping them understand better about the country that was known as the "land of the morning calm" alongside its spicy side dish kimchi.
The hallyu hype certainly helped Korea stand out from other Asian nations, but now many have started to question if the wave is still making its way to the households of such countries. Culture critics and experts have joined together to discuss the next step through seminars and meetings, while some local stars have started to pay regular visits to places like China for joint projects and promotions.
A number of factors affected the downfall, including financial problems and stricter regulations by some countries.
"After the huge craze for local dramas in 2004 and 2005, there have been rumors and analysis that hallyu has died down recently. In terms of sales, the overall number has dropped, but the interest other countries have still remains intact. It would be safer to say that hallyu has been increasing steadily, instead of going through drastic jumps as it did in the past. That's what is causing all the worries," said Lee Hyo-young, head of International Business department at KBS Media.
In the case of Taiwan, however, the last three years saw a steep downfall. As one of the biggest buyers, Taiwan had to lessen their purchases due to economic recessions for three years from 2006, but as the economy picked up, the demand for Korean dramas soon followed.
"Having well-made and popular works such as 'Boys Over Flowers' (KBS) and 'My Wife is a Superwoman' (MBC) also helped attract the usually stingier buyers and audience," Lee added.
Another big factor in the Chinese market is its strict censorship and restrictions.
In 2006, the Chinese government announced that it was restricting the hours of foreign dramas being aired in China, leaving local drama productions and networks in dismay.
The government recently announced that it was lifting the regulations for Korean dramas, further searching for a way to exchange ideas, production know-how and overall tips from local companies, which will hopefully help everyone in the long run.
"From 2006 to 2009, there were mostly Taiwanese dramas (being aired) in China because of restrictions. But now, (China) has started to show vast interest again in Korean works and now we have plans to air as many dramas as possible," Nicholas Hong, Korea representative of CETV, said.
Getting back on track
Ups and downs of sales in dramas and music are inevitable, especially when fans and the audience can find something new every day through the Internet.
Promoting idols both for dramas and music can be a smart way to attract fans, according to CETV head Lee, but it has to be done more aggressively.
"Everybody thinks Korea is the trend now. Rain and 2PM are fashion icons. Many brands hire Korean idols as their spokespeople and this is a big thing. I would ask fashion buyers from China, Hong Kong and Taipei and they say they all come to Korea to shop," he said.
"China is a huge place and nobody can get popular in one or two years. It could take five or 10 years for the entire country to know (who you are). Even with dramas, you have to take it from place to place and make people talk about it. You need promotions, and you need the stars to get involved so people want to know about them," he further advised.
Music can be trickier than dramas. Unlike dramas, where you must sit, watch a couple of episode and learn the story, music doesn’t take much time to tell if you like it or not. And if the song is in a foreign language, it becomes harder to connect with it.
"(Korean) music is something I would like to promote, but it takes time," Lee said.
"If Madonna sings in Chinese or in Korean, will it work? No, but we all listen to Madonna because it’s the whole (package). I think music idols are very restricted to their own Seoul market. They have to step out and promote themselves (more aggressively). Get more people to know who they are," he added.
Aside from Korean stars and idols, the quality of dramas is also an important factor in keeping the hallyu going. Unlike other Asian countries, local productions have seen a variety of storylines and subjects, from housewives ("My Wife is a Superwoman"), wine ("Terroir," 2008, SBS), fashion ("Style," 2009, SBS), to even Italian food ("Pasta," 2010, MBC).
"Korea has a wide choice of content, which is very similar to the United States. They do dare to try new things. They are not only working for their own market, but they are working for other markets like China and Hong Kong. Dramas like 'Style' and 'Temptation of Wife' are things you cannot find in a lot of places. Content is the difference," Lee explained.
Source: The Korea Time
Between Hollywood and Hallyuwood
Many young Koreans are avid fans of “Mid” (“Miguk” drama or American drama) and Hollywood movies these days. They are crazy about American television dramas such as “Prison Break,” “CSI” and “24,” and idolize Wentworth Miller, David Caruso and Kiefer Sutherland. Korean women love Miller, who plays the charming Michael Scofield in “Prison Break,” and have nicknamed him “wansonam” (Totally Adorable Man). They love to watch other American television shows including “American Idol,” “Friends,” and “Lost,” to name but a few. They are also fascinated by blockbuster Hollywood movies such as “The Dark Knight,” “Matrix” and “Inception.”
At the same time, however, Koreans criticize and even resent American TV dramas and Hollywood movies, accusing them of spreading American values and capitalist ideology all over the world. “Hollywood movies play a crucial role on Americanizing the world,” leftist radicals insist resolutely. “In the early 20th century the world was westernized. Now the situation is even worse; the whole world is being Americanized.” They warn us that since globalization means Americanization, the world will soon end up with one monochromatic culture: American culture. Therefore, we should sabotage Hollywood movies.
Strangely, few Koreans acknowledge that Hallyu (the so-called Korean wave of movies and television dramas that has spread throughout Asia and even in Middle East) may have the same cultural influence American media has in other countries. Southeast Asian countries, for example, may complain that Korea is spreading Korean values, ideals and political ideologies through Korean movies and TV dramas. Yet, we could not care less and we are just overjoyed with the enormous popularity of our movies and television dramas overseas. That, however, is an extremely ego-centric attitude, aptly summed up by a famous Korean maxim: “When others have an affair, it is a scandal; when I have an affair, it is a romance.”
Some of us may argue that we do not intentionally spread our values to other countries through our movies and TV dramas. But Hollywood could claim the same thing. No country intentionally crams her values or political ideologies into pop art before exporting it. Films and TV dramas automatically reflect the values, ideals and customs of the country that produces them. By the same token, we cannot criticize McDonald’s or Burger King as a harbinger of American cultural imperialism, while we try to export kimchi to other countries. Once again, we cannot blame food for deliberately spreading a particular country’s values and ideals. Food, too, automatically embodies the unique taste, flavor and characteristics of the country of origin.
We blame American movies for transmitting American values. In this postmodern age, however, when all boundaries are rapidly collapsing, it is difficult to define what exactly an American movie is. In his unpublished essay “American Movie Industry,” John Sullivan points out that there is no such thing as a strictly American movie today. First, there are many foreign directors in Hollywood such as Rennie Harlin, John woo, Ang Lee and Jane Campion. Second, there are numerous non-American actors and actresses in today’s Hollywood: Nicole Kidman, Pierce Brosnan, Hugh Jackman, Hugh Grant, Sean Connery and a host of others. Third, most Hollywood movies are financed by foreign capital, including British, French or Italian investment. Fourth, many American movies are filmed in foreign countries: “Titanic” in Mexico, “Apocalypse Now” in the Philippines, “First Blood” (Rambo) in Canada. Besides, several major film distribution companies in the United States are owned by Japanese. What, then, is an American movie? Indeed, it is hard to tell.
Once again, leftist radicals may assert that globalization is actually leading to Americanization. If we look form a different angle, however, we can perceive globalization not as Americanization, but as cultural interaction, mutual influence and idealistic consolidation. Take recent Korean movies, for example, such as “The Quiet Family,” “The Host,” “Haeundae” and “The Good, the Bad, the Weird.” You can immediately notice mutually beneficial cultural interactions between Chungmuro and Hollywood. “The Quiet Family” reminds you of “The Addams Family”; “The Host” resonates with all sorts of American monster movies; “Haeundae” with so many Hollywood disaster movies; “The Good, the Bad, the Weird” is obviously a parody of “The Good, the Bad and the Ugly.”
People say that today there are three famous film-making meccas on earth: Hollywood, Bollywood and Hallyuwood. If so, it would be unfair to condemn Hollywood only in the name of cultural imperialism, while praising Hallyu’s popularity overseas, for Hallyu can just as well be condemned as cultural imperialism. Things are much more complex than the simple-minded assertion of radical leftist scholars. Even postcolonial feminism does not always perceive a husband as a colonizer and his wife as the colonized, because a husband and wife’s relationship is much more complex and profound. Before simply dismissing something as cultural imperialism, we should be able to penetrate into the complexities and profundities of cultural interactions and mutual understanding. And we should be mature enough to embrace and criticize both Hollywood and Hallyuwood on an equal basis. Then we will realize that the two can be quite similar indeed.
By Kim Seong-kon
Kim Seong-kon, a professor of English at Seoul National University, is president of the Association of Korean University Presses. -- Ed.
Source: The Korea Herald
A poster for MBC drama “Pasta’’
The word "hallyu," or Korean wave, first appeared in the late 1990s, and it has been growing within the local entertainment industry over the years.
The word, which referred to the popularity of Korean culture around the world, has now become a representative term when explaining and defining Korean culture. It refers to almost all cultural aspects - from drama, music, food to fashion - and as much as Korea would like to see some effects in other parts of the world, it certainly impacts the entire region of Asia.
As multi-cultural exchange has been a common global phenomenon, Korea and its people need to keep an open and proactive attitude when examining and dealing with the current state of the hallyu.
Is the wave waning?
The biggest contributor of hallyu would be dramas, and this has not changed since the first generation of hallyu television series such as "Winter Sonata" (2002, KBS) and "Jewel in the Palace" (2003, MBC). They are still a favorite among fans and buyers, and one of the most important exports Korea must keep an eye on.
"One of the first dramas (was) 'Jewel in the Palace.' I remember (when) everybody started watching it. It introduced (us to) Korea," said Richard Lee, head of Chinese entertainment network China Entertainment TV or CETV, told The Korea Times during an interview last week.
The wave brought Korean culture closer to the Asian audience, helping them understand better about the country that was known as the "land of the morning calm" alongside its spicy side dish kimchi.
The hallyu hype certainly helped Korea stand out from other Asian nations, but now many have started to question if the wave is still making its way to the households of such countries. Culture critics and experts have joined together to discuss the next step through seminars and meetings, while some local stars have started to pay regular visits to places like China for joint projects and promotions.
A number of factors affected the downfall, including financial problems and stricter regulations by some countries.
"After the huge craze for local dramas in 2004 and 2005, there have been rumors and analysis that hallyu has died down recently. In terms of sales, the overall number has dropped, but the interest other countries have still remains intact. It would be safer to say that hallyu has been increasing steadily, instead of going through drastic jumps as it did in the past. That's what is causing all the worries," said Lee Hyo-young, head of International Business department at KBS Media.
In the case of Taiwan, however, the last three years saw a steep downfall. As one of the biggest buyers, Taiwan had to lessen their purchases due to economic recessions for three years from 2006, but as the economy picked up, the demand for Korean dramas soon followed.
"Having well-made and popular works such as 'Boys Over Flowers' (KBS) and 'My Wife is a Superwoman' (MBC) also helped attract the usually stingier buyers and audience," Lee added.
Another big factor in the Chinese market is its strict censorship and restrictions.
In 2006, the Chinese government announced that it was restricting the hours of foreign dramas being aired in China, leaving local drama productions and networks in dismay.
The government recently announced that it was lifting the regulations for Korean dramas, further searching for a way to exchange ideas, production know-how and overall tips from local companies, which will hopefully help everyone in the long run.
"From 2006 to 2009, there were mostly Taiwanese dramas (being aired) in China because of restrictions. But now, (China) has started to show vast interest again in Korean works and now we have plans to air as many dramas as possible," Nicholas Hong, Korea representative of CETV, said.
Getting back on track
Ups and downs of sales in dramas and music are inevitable, especially when fans and the audience can find something new every day through the Internet.
Promoting idols both for dramas and music can be a smart way to attract fans, according to CETV head Lee, but it has to be done more aggressively.
"Everybody thinks Korea is the trend now. Rain and 2PM are fashion icons. Many brands hire Korean idols as their spokespeople and this is a big thing. I would ask fashion buyers from China, Hong Kong and Taipei and they say they all come to Korea to shop," he said.
"China is a huge place and nobody can get popular in one or two years. It could take five or 10 years for the entire country to know (who you are). Even with dramas, you have to take it from place to place and make people talk about it. You need promotions, and you need the stars to get involved so people want to know about them," he further advised.
Music can be trickier than dramas. Unlike dramas, where you must sit, watch a couple of episode and learn the story, music doesn’t take much time to tell if you like it or not. And if the song is in a foreign language, it becomes harder to connect with it.
"(Korean) music is something I would like to promote, but it takes time," Lee said.
"If Madonna sings in Chinese or in Korean, will it work? No, but we all listen to Madonna because it’s the whole (package). I think music idols are very restricted to their own Seoul market. They have to step out and promote themselves (more aggressively). Get more people to know who they are," he added.
Aside from Korean stars and idols, the quality of dramas is also an important factor in keeping the hallyu going. Unlike other Asian countries, local productions have seen a variety of storylines and subjects, from housewives ("My Wife is a Superwoman"), wine ("Terroir," 2008, SBS), fashion ("Style," 2009, SBS), to even Italian food ("Pasta," 2010, MBC).
"Korea has a wide choice of content, which is very similar to the United States. They do dare to try new things. They are not only working for their own market, but they are working for other markets like China and Hong Kong. Dramas like 'Style' and 'Temptation of Wife' are things you cannot find in a lot of places. Content is the difference," Lee explained.
Source: The Korea Time
Between Hollywood and Hallyuwood
Many young Koreans are avid fans of “Mid” (“Miguk” drama or American drama) and Hollywood movies these days. They are crazy about American television dramas such as “Prison Break,” “CSI” and “24,” and idolize Wentworth Miller, David Caruso and Kiefer Sutherland. Korean women love Miller, who plays the charming Michael Scofield in “Prison Break,” and have nicknamed him “wansonam” (Totally Adorable Man). They love to watch other American television shows including “American Idol,” “Friends,” and “Lost,” to name but a few. They are also fascinated by blockbuster Hollywood movies such as “The Dark Knight,” “Matrix” and “Inception.”
At the same time, however, Koreans criticize and even resent American TV dramas and Hollywood movies, accusing them of spreading American values and capitalist ideology all over the world. “Hollywood movies play a crucial role on Americanizing the world,” leftist radicals insist resolutely. “In the early 20th century the world was westernized. Now the situation is even worse; the whole world is being Americanized.” They warn us that since globalization means Americanization, the world will soon end up with one monochromatic culture: American culture. Therefore, we should sabotage Hollywood movies.
Strangely, few Koreans acknowledge that Hallyu (the so-called Korean wave of movies and television dramas that has spread throughout Asia and even in Middle East) may have the same cultural influence American media has in other countries. Southeast Asian countries, for example, may complain that Korea is spreading Korean values, ideals and political ideologies through Korean movies and TV dramas. Yet, we could not care less and we are just overjoyed with the enormous popularity of our movies and television dramas overseas. That, however, is an extremely ego-centric attitude, aptly summed up by a famous Korean maxim: “When others have an affair, it is a scandal; when I have an affair, it is a romance.”
Some of us may argue that we do not intentionally spread our values to other countries through our movies and TV dramas. But Hollywood could claim the same thing. No country intentionally crams her values or political ideologies into pop art before exporting it. Films and TV dramas automatically reflect the values, ideals and customs of the country that produces them. By the same token, we cannot criticize McDonald’s or Burger King as a harbinger of American cultural imperialism, while we try to export kimchi to other countries. Once again, we cannot blame food for deliberately spreading a particular country’s values and ideals. Food, too, automatically embodies the unique taste, flavor and characteristics of the country of origin.
We blame American movies for transmitting American values. In this postmodern age, however, when all boundaries are rapidly collapsing, it is difficult to define what exactly an American movie is. In his unpublished essay “American Movie Industry,” John Sullivan points out that there is no such thing as a strictly American movie today. First, there are many foreign directors in Hollywood such as Rennie Harlin, John woo, Ang Lee and Jane Campion. Second, there are numerous non-American actors and actresses in today’s Hollywood: Nicole Kidman, Pierce Brosnan, Hugh Jackman, Hugh Grant, Sean Connery and a host of others. Third, most Hollywood movies are financed by foreign capital, including British, French or Italian investment. Fourth, many American movies are filmed in foreign countries: “Titanic” in Mexico, “Apocalypse Now” in the Philippines, “First Blood” (Rambo) in Canada. Besides, several major film distribution companies in the United States are owned by Japanese. What, then, is an American movie? Indeed, it is hard to tell.
Once again, leftist radicals may assert that globalization is actually leading to Americanization. If we look form a different angle, however, we can perceive globalization not as Americanization, but as cultural interaction, mutual influence and idealistic consolidation. Take recent Korean movies, for example, such as “The Quiet Family,” “The Host,” “Haeundae” and “The Good, the Bad, the Weird.” You can immediately notice mutually beneficial cultural interactions between Chungmuro and Hollywood. “The Quiet Family” reminds you of “The Addams Family”; “The Host” resonates with all sorts of American monster movies; “Haeundae” with so many Hollywood disaster movies; “The Good, the Bad, the Weird” is obviously a parody of “The Good, the Bad and the Ugly.”
People say that today there are three famous film-making meccas on earth: Hollywood, Bollywood and Hallyuwood. If so, it would be unfair to condemn Hollywood only in the name of cultural imperialism, while praising Hallyu’s popularity overseas, for Hallyu can just as well be condemned as cultural imperialism. Things are much more complex than the simple-minded assertion of radical leftist scholars. Even postcolonial feminism does not always perceive a husband as a colonizer and his wife as the colonized, because a husband and wife’s relationship is much more complex and profound. Before simply dismissing something as cultural imperialism, we should be able to penetrate into the complexities and profundities of cultural interactions and mutual understanding. And we should be mature enough to embrace and criticize both Hollywood and Hallyuwood on an equal basis. Then we will realize that the two can be quite similar indeed.
By Kim Seong-kon
Kim Seong-kon, a professor of English at Seoul National University, is president of the Association of Korean University Presses. -- Ed.
Source: The Korea Herald
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
no subject
Date: 2010-08-19 08:17 pm (UTC)no subject
Date: 2010-08-19 08:28 pm (UTC)no subject
Date: 2010-08-19 08:19 pm (UTC)no subject
Date: 2010-08-19 09:20 pm (UTC)(no subject)
From:no subject
Date: 2010-08-19 08:20 pm (UTC)no subject
Date: 2010-08-19 08:23 pm (UTC)I promise myself to watch it one day~
no subject
Date: 2010-08-19 08:27 pm (UTC)no subject
Date: 2010-08-19 08:30 pm (UTC)and international labels/artists being active there as the are in japan aren't going to happen for that reason too.
no subject
Date: 2010-08-19 08:38 pm (UTC)no subject
Date: 2010-08-19 08:41 pm (UTC)no subject
Date: 2010-08-19 08:42 pm (UTC)no subject
Date: 2010-08-19 08:44 pm (UTC)and i was an outcast because i preferred japanese stuff and american indie films haha
no subject
Date: 2010-08-19 08:54 pm (UTC)(no subject)
From:no subject
Date: 2010-08-19 08:45 pm (UTC)d
Date: 2010-08-19 08:52 pm (UTC)SFM
Re: d??
From:Re: d
From:Re: d
From:(no subject)
From:(no subject)
From:(no subject)
From:no subject
Date: 2010-08-19 08:53 pm (UTC)http://www.dailynk.com/english/read.php?cataId=nk01500&num=4244
no subject
Date: 2010-08-19 09:41 pm (UTC)What is this... IDE...
(no subject)
From:(no subject)
From:no subject
Date: 2010-08-19 09:02 pm (UTC)no subject
Date: 2010-08-19 09:03 pm (UTC)(no subject)
From:(no subject)
From:(no subject)
From:no subject
Date: 2010-08-19 09:23 pm (UTC)(no subject)
From:no subject
Date: 2010-08-19 09:33 pm (UTC)Good point about the difficulty in defining what is actually a "hollywood" movie anymore.
Everytime I leave the US to visit another country (usually somewhere in Europe) somebody will approach me to bitch at me about American imperialism and our dominance of entertainment media. All I can say is if you don't like the stuff produced in the US, then don't buy it / watch it / listen to it. And if you do like it, then why are you complaining.
no subject
Date: 2010-08-19 09:41 pm (UTC)no subject
Date: 2010-08-19 10:09 pm (UTC)and I was like... whut?
no subject
Date: 2010-08-19 10:17 pm (UTC)Seriously, how often do they even dance to Korean songs on their shows? I think I've seen it happen maybe once or twice.
Doesn't help that they like to buy their music from out of their own country as well. Don't complain about something you're only helping to support.
no subject
Date: 2010-08-19 10:20 pm (UTC)(no subject)
From:(no subject)
From:no subject
Date: 2010-08-19 11:24 pm (UTC)While Sullivan likes to think that because the production of a Hollywood movie is very much international and covers different stories and places. The approach to story telling, casting, and even what kind of story is told is still very much rooted in American film making that's been going on for the last 40 or so years. There are a few innovations brought in by worthwhile directors but not too much has changed.
no subject
Date: 2010-08-20 12:08 am (UTC)Totally true! My korean friends don't listen to kpop (except some k-hiphop), don't watch kdrama.. None of them knows really idol groups, except the one they see eveywhere thanks to CF.
no subject
Date: 2010-08-20 01:43 am (UTC)sometimes they seem so assbackwards. one would think that as a entertainment industry seeing your products subbed on youtube with many views, a light bulb will go off. instead of fighting it, make your own subs and with a website in english so that maybe others (who obviously want it) can view old shows or popular shows after they have aired. but no, they crack down on YT making people who want the product have to work harder to get it.
k-entertainment is a niche. it's one addicting niche.
no subject
Date: 2010-08-20 02:58 am (UTC)This this this this this! It drives me crazy to see YT videos being blocked, because I think "I'm from another country...I'd never *get* another chance to see this otherwise and grow to like these stars...aren't you trying to get more global?"
Thank goodness a few places have marginally caught on, and at least made official channels for the MVs. Now we just need someplace to make *good* subtitles (because it's sad that fanmade subs are usually better than official ones ;_;)
(no subject)
From:(no subject)
From:(no subject)
From:no subject
Date: 2010-08-20 02:55 am (UTC)no subject
Date: 2010-08-20 03:50 am (UTC)no subject
Date: 2010-08-20 03:17 am (UTC)I can see the appeal. The short TV shows, with well defined storylines. the attractive people, and the good acting. International TV could help change a generation in (North) America. We're not very accepting of foreign things but if this could be successful it would definitely lend to some international enlightenment.
I'm all alone in this Hallyu thing. We had a Korean exchange student at my school, he left behind a CD and as an RA I picked it up and fell in love. Well youtube helped after that too. If it wasn't for the great net community I would be SOL on this. I drag my family along for the ride, but other than that it's hard to find official things, and what is out there is crazy expensive.
no subject
Date: 2010-08-20 09:23 am (UTC)But of course, you'd only watch this channel if you already like Korean culture. I'm glad we have Myx channel though; Americans promoting Asian culture.
no subject
Date: 2010-08-20 10:41 am (UTC)If so, it would be unfair to condemn Hollywood only in the name of cultural imperialism, while praising Hallyu’s popularity overseas, for Hallyu can just as well be condemned as cultural imperialism.
The professor is right. However, as willing victims of 'cultural imperialism' so we cant really complain. We are all guilty of using k-pop/k-drama as a form of escapism haha
no subject
Date: 2010-08-20 02:28 pm (UTC)This line made me lol irl because it reminded me of the time when my friend had just come back from visiting her family in Korea and started complaining about all the B.O. over there because no one wore deodorant/antiperspirant. When she asked why, she was told that "Koreans don't stink". XD
Oh, Korea, the hilarity of your egotism.