한국문화 교육과 한류의 연관관계 연구 -드라마를 중심으로-

박찬숙 한국언어문화교육학회 2008 언어와 문화 Vol.4 No.2

This study purposed to examine the effectiveness of the utilization of popular culture in cultural education in association with the importance of cultural education in Korean language education for foreigners and with the recent waves of Korean popular culture. Although the importance of culture in Korean language education has been discussed intensely, yet frames for cultural education have not been structured clearly. In addition, according to the recent tendencies of Korean language learners, many of them learn the Korean language as their interest in the language has been stimulated by Korean popular culture spread through the Korean Wave, but the image of popular culture presented in Korean language education is considered not much different from popular culture viewed from Korean culture (treated as popular, entertaining, and vulgar). However, popular culture and in particular dramas contain many elements for effective cultural education, so we can develop desirable Korean culture teaching learning plans by studying and utilizing dramas. Thus, the present study purposed to examine the relation between Korean culture education and the Korean Wave centering on dramas, to select and suggest cultural items that can be learned through dramas, and to analyze the merits of dramas for cultural education. (Sun Moon University of Korea/ Il-Stad Youth Center of Port-Said, Egypt) This study purposed to examine the effectiveness of the utilization of popular culture in cultural education in association with the importance of cultural education in Korean language education for foreigners and with the recent waves of Korean popular culture. Although the importance of culture in Korean language education has been discussed intensely, yet frames for cultural education have not been structured clearly. In addition, according to the recent tendencies of Korean language learners, many of them learn the Korean language as their interest in the language has been stimulated by Korean popular culture spread through the Korean Wave, but the image of popular culture presented in Korean language education is considered not much different from popular culture viewed from Korean culture (treated as popular, entertaining, and vulgar). However, popular culture and in particular dramas contain many elements for effective cultural education, so we can develop desirable Korean culture teaching learning plans by studying and utilizing dramas. Thus, the present study purposed to examine the relation between Korean culture education and the Korean Wave centering on dramas, to select and suggest cultural items that can be learned through dramas, and to analyze the merits of dramas for cultural education. (Sun Moon University of Korea/ Il-Stad Youth Center of Port-Said, Egypt)

터키에서 한류의 시작과 발전 양상 연구 -한국 드라마를 중심으로-

유정숙 ( Yoo Jung Suk ),젱기제르에즈기 ( Cengizer Ezgi ) 우리어문학회 2019 우리어문연구 Vol.65 No.-

터키 한류의 시작과 발전에 있어 터키 텔레비전에서 방영된 한국 드라마의 영향력과 역할은 매우 중요하다. 터키에서 한류의 시작은 2005년 사극 <해신>과 <대장금>, 그리고 <궁>이 대중의 관심을 끌면서 본격화되었다. 이후 <선덕여왕>과 <주몽>의 선풍적 인기로 그 기세는 더욱 거세졌다. 그러나 동남아시아에서처럼 터키 한류를 일으킨 것은 현대극이 아니라 역사극이었다. 대부분 역사극이 방영된 이유는 보수적이고 전통적(무슬림)인 터키 사회의 특성 상 현대극보다는 사극이 더 적합했기 때문이다. 이후 한국 드라마는 터키 국영/민영 공중파 채널로 점차 확대 방영되면서 소재와 시대 면에서 한층 다양해졌다. 또한 터키 텔레비전에서 한국 드라마의 리메이크는 2011년을 시작으로 현재까지 활발히 이루어지고 있다. 리메이크 성패를 좌우하는 데 있어 원작 시나리오를 현지의 문화와 감성에 맞게 각색하는 것은 대단히 중요하다. 터키 드라마의 한국 드라마 리메이크 현상을 통해 한류라는 것이 기본적으로 두 나라 사이의 문화적 교류와 소통의 산물임을 알 수 있다. 이처럼 2005년 첫 방영 이래 터키 국영과 민영 공중파 채널에서 지속적으로 방영되고 있는 한국 드라마에 대한 인기와 한국 드라마 리메이크 유행은 터키에서 한국 드라마의 경쟁력이 높아짐과 동시에 한국 드라마가 글로벌 대중문화 콘텐츠로서 인정받고 있음을 말해준다. 터키에서 한류 문화 중에서 한국 드라마는 한국과 터키 간 문화 소통과 교류를 확대하는 촉매제 역할을 하고 있다. 이 논문에서는 터키에서 한류의 시작과 발전에 있어 한국 드라마의 영향력과 역할을 구체적인 자료 조사와 함께 현지의 사회, 문화적 맥락과 연관 지어 자세히 설명하고자 하였다. 터키에 수용된 한국 드라마에 대한 구체적인 현황과 특징을 중점적으로 다룬 이 논문은 기초 자료 연구로서의 의의를 갖는다. The influence and role of Korean dramas is very huge and remarkable in terms of the beginning and development of Korean wave in Turkey. In other words, Korean wave in Turkey started along with the popularity of Korean historical dramas on Turkish televisions in Turkish society. It reached the peak around in 2010 after the huge success of the drama < Queen Seon Duk > and < Jumong > in 2009 in Turkey. The quite interesting point, however, is that the Korean wave started with the popularity of Korean historical dramas not with Korean modern dramas. It appears that Korean historical dramas would have been well accepted to Islamic and conservative/traditional Turkish society, compared to Korean contemporary dramas. Later on, the broadcasting of Korean dramas in Turkey was able to be possible both in public and private televisions, thanks to the increasing of the popularity of and interest in Korean dramas. On the other hand, it is quite interesting that Many turkish dramas have been re/made from Korean dramas since 2011. Until now, there are 33 Turkish remake dramas. The major key in the success of remaking dramas is to change and adapt the original into Turkish culture, custom, and the sensibility of Turkish people. The Korean wave in Turkey can be seen as the result or product of the cultural exchange and communication between two countries through the phenomenon of Turkish remake dramas. By broadcasting Korean dramas on Turkish publish and private television channels and the phenomenon of remake Turkish dramas from Korean dramas, we could tell that Korean dramas have gained the popularity in Turkish drama market and increased its global and international competitiveness in the world. Korean dramas have been recognized as a global popular cultural contents. Relating to the expansion of Korean wave in Turkey, Korean dramas played an important role in improving and developing the cultural exchange and communication between Korea and Turkey.

女性勵志篇 : 조선영화와 한국드라마의 社會文化學적 解讀

우상렬(Uoo Sang Ryul) 건국대학교 통일인문학연구단 2010 통일인문학 Vol.49 No.-

이 글의 목적은 중국에서 조선영화와 한국드라마의 흥행에 대해 사회문화학적 시각에서 조명하는 데 있다. 우선, 조선영화의 집단주의와 한국드라마의 개인주의적 성향은 사회주의와 자본주의의 사회생활의 기본 흐름을 보여주고 있다. 조선영화와 한국드라마가 중국사회에 어필했던 것은 각기 개혁개방 전후 중국사회의 주류담론, 즉 집단주의와 개인주의적 경향에 맞아떨어졌기 때문이다. 다음으로 중국에서 조선영화나 한국드라마의 인기는 한반도 여성들의 ‘고난과 승리의 역사’에 기인한다. 사실 한반도 여성들의 ‘고난과 승리의 역사’는 칼 융이 제기한 신화원형비평의 키워드인 집단무의식적인 원형질로 면면히 흘러내려 왔다. 즉 조선영화와 한국드라마는 잘난 여성 대 못난 남성이라는 한반도 고유의 집단무의식적인 원형패턴을 잘 보여주고 있다. 그러나, 조선영화와 한국드라마는 하나는 사회주의적이고, 다른 하나는 자본주의적이라는 점에서 사회와 개인, 거대담론과 미세담론 등 두 극단의 분열상태를 보인다. 분열은 온전하지 못하다. 조선영화와 한국드라마의 상호 보완적인 하모니를 통해만 통일 한반도의 신여성상이 창출될 수 있다. The purpose of this paper is to illuminate North Korean movies and South Korean dramas boom in China from socio-cultural perspective. First, the collective tendency of North Korean movies and individualistic tendency of South Korean dramas, each show the basic flow of socialist and capitalist social life. Appeal to the Chinese society of North Korean movies and South Korean dramas is equivalent to main discourse of Chinese society before and after 'Reform and Opening up', that is, collective and individualistic trend. Second, the popularity of North Korean movies and South Korean dramas in China is due to 'the history of suffering and triumph' by Korean Women. In fact, 'the history of suffering and triumph' by Korean Women has been constantly flowing in the form of collective unconscious protoplasm, the keyword of archetype mytho-criticism raised by Carl Jung. In other words, North Korean movies and South Korean dramas are best illustrated by 'so called' superior Women vs inferior men, Korean peninsula's unique collective unconscious archetype pattern. But, North Korean movies and South Korean dramas seem to an extreme state of division, that is, society and individual, macro and micro discourse in that one is socialist and the other one is capitalist. Division is no less than perfect. A new Women's image of unified Korea could be created only through complementary harmony of North Korean movies and South Korean dramas.

한국 드라마 영상에 대한 중국 시청자들의 인식에 관한 연구

김종무(Kim, Jong Moo) 한국디자인문화학회 2016 한국디자인문화학회지 Vol.22 No.2

디지털 기술의 발달, 인터넷의 확산과 새로운 미디어의 등장은 드라마 시청의 패러다임의 변화에 영향을 주었다. 이러한 기술의 발달은 드라마를 시청하는 공간적 제약에서 벗어나 언제, 어디서든, 원하는 시간에 원하는 영상을 시청 가능하게 되었다. 1997년 중국에서 “사랑이 뭐길래”가 방영되면서 한류의 붐이 일기 시작했고, 그 후 한류 콘텐츠의 지속적인 성장세를 보이고 있다. 이러한 상황에서 세계 최대 내수시장의 하나인 중국에 한국 드라마 콘텐츠를 수출하기 위해서는 먼저 중국 수용자의 한국 드라마 시청 태도에 대한 분석이 필요하다고 본다. 본 연구는 중국 시청자를 대상으로 한국 드라마 영상에 대한 인식을 알아보고자 총 6개의 연구문제를 제시하고 중국 상동지역에 거주하고 있는 100명의 실험자를 대상으로 2015년 7월 22일부터 8월 10일까지 설문을 실시하고 오류가 없는 94명의 설문 결과를 바탕으로 분석하였다. 분석 결과 첫째, 한국 드라마에 대한 중국 시청자들의 매체 선호도는 여성의 경우 27명(43.5%)이 PC를 가장 선호하며, 뒤를 이어 19명(30.6%)이 Smart phone을, 남성의 경우는 12명(37.5%)이 TV와 PC를 선호하는 것으로 나타났다. 둘째, 한국 드라마에 대한 중국 시청자들의 장르 선호도는 여성 52명(83.9%)과 남성 15명(46.9%) 모두 로맨틱 장르를 가장 선호하는 것으로 나타났다. 셋째, 한국 드라마에 대한 중국 시청자들의 시청 동기는 여성 38명(61.3%)과 남성 19명(59.4%) 모두 드라마 내용을 가장 선호하는 것으로 나타났다. 넷째, 한국 드라마에 출연한 배우의 연기력에 대한 중국 시청자들의 만족도는 여성 58명(92.9%)과 남성 24명(75.0%)이 보통이상의 만족도를 보였다. 다섯째, 한국 드라마의 영상 효과에 대한 중국 시청자들의 만족도는 여성 50명(80.1%)과 남성 25명(78.2%)이 보통이상의 만족도를 보였다. 여섯째, 한국 드라마에 대한 중국 시청자들의 평가는 여성 46명(74.2%)이 보통이상의 만족도를 보였으나, 남성 15명(47.0%)이 보통이상의 만족도를 보였다. 연구 결과를 정리하면 첫째, 중국 시청자 중 여성이 남성 보다 먼저 한국 드라마를 접하였고 총 시청 횟수와 총 시간에서도 여성이 남성보다 많은 것으로 보아 드라마 제작에 있어 여성이 흥미를 느끼는 로맨틱 장르와 함께 한국의 최신 유행을 반영한 세련된 소재를 바탕으로 제작하는 것이 효과적일 것이다. 둘째, 전통 드라마 시청 매체인 TV 보다는 Youku, Iqiyi와 같은 웹사이트 매체에서 다룰 수 있는 소재를 발굴하여 젊은 소비자의 기호에 맞는 영상 콘텐츠를 제공해야 할 것이다. 셋째, 중국 시청자들이 한국 드라마를 PC나 Smart phone을 통해서 시청하는 것을 선호하기에 짧은 시간 동안 어디서나 쉽게 볼 수 있는 드라마를 제작하는 것이 효과적일 것이다. 넷째, 드라마 내용이 다른 드라마 시청 동기 보다 높은 것으로 볼 때, 새로운 내용을 지속적으로 발굴해야 할 것이다. 다섯째, 한국 드라마에 출연한 배우의 연기력과 영상 효과에 대한 중국 시청자들의 만족도가 높지만 남성의 경우 여성에 비해 한국 드라마에 대해 전반적인 평가에서 낮은 것이 특이 사항이며, 이에 대해서는 추후 연구가 필요하다고 본다. The development of digital technology, the expansion of Internet and the emergence of new media affected the change of paradigm of viewing drama. The development of such technology enables viewers to view desired video anytime, anyplace without spatial restriction in which they view drama. After "What is love?" was broadcast in China in 1997, the boom of Korean style began to soar, after which contents of Korean style showed constant tendency of growth. In such situation, it may be necessary to analyze Chinese receivers" attitude in viewing Korean drama at first in order to export Korean drama contents to China, one of the largest domestic markets in the world. Presenting 6 study issues to investigate the direction of producing video contents by analyzing Chinese viewers" recognition of Korean drama and distributing question papers to 100 respondents living in Sangdong, China from July 22 to August 10, 2015, we analyzed the result of error-free question papers from 94 respondents. According to analysis, first, when it comes to the Chinese viewers" preference of media for Korean drama, women preferred PC most - 27 women(43.5%) followed by 19 women(30.6%) who preferred Smartphone. In the case of male, 12 men(37.5%) preferred TV and PC. Second, when it comes to the Chinese viewers" preference of genre for Korean drama, 52 women(83.9%) and 15 men(46.9%) preferred romantic genre. Third, when it comes to the Chinese viewers" motive to view Korean drama, 38 women(61.3%) and 19 men (59.4%) preferred drama contents most. Fourth, when it comes to the Chinese viewers" satisfaction in the performance ability of actors appearing in Korean drama, 58 women(92.9%) and 24 men(75.0%) were more satisfied than usual. Fifth, when it comes to the Chinese viewers" satisfaction in the video effect of Korean drama, 50 women(80.1%) and 25 men (78.2%) were more satisfied than usual. Sixth, when it comes to the Chinese viewers" evaluation of Korean drama, 46 women(74.2%) and 15 men(47.0%) were more satisfied than usual. Summarizing study results first, considering that out of Chinese viewers, women contacted Korean drama earlier than men and women"s total viewing times and viewing duration is more than those of men, it may be effective to produce drama in romantic genre in which women are interested on the basis of refined materials which reflect the latest Korean fashion. Second, it may be required to find materials which can be handled by web site media like Youku, Iqiyi rather than traditional drama viewing media, TV in order to provide video contents preferred by young consumers. Third, since Chinese viewers prefer viewing Korean drama through PC or smartphone, it may be effective to produce drama which can be easily viewed anywhere in short time. Fourth, considering that drama contents are the highest motive to view drama than any others, new contents should be constantly produced. Fifth, although Chinese viewers are quite satisfied in the performance ability of actors appearing in Korean drama and video effect, it is peculiar that men"s evaluation of Korean drama is generally low in comparison with that of women. This point should be studied later.

試論台灣博碩士論文關於韓劇的研究

胡?茹(HU Chien Ju) 한국외국어대학교 대만연구센터 2022 대만연구 Vol.- No.20

The kinetic energy that triggered the first wave of Hallyu came from Korean dramas. In 2000, “Sparks” was introduced into Taiwan’s eight major TV stations and broadcast, which ignited the spark of the Korean drama boom and opened up the popularity of Asian Korean dramas. “Dae Jang Geum” in 2005 and “You Who Came From the Stars” in 2014 pushed Korean dramas to another peak. Taiwan’s research on K-drama, which is the main driver of the Korean Wave, is also increasingly enriched. Among them, Ph.D. and master’s are the talents cultivated by higher education. Their research papers can be used as an indicator of research effectiveness in academia, and their research topics can be used as research trends and important references on related topics. The Taiwan Ph.D. and Master’s Dissertation Knowledge Value-Added System is the most important database for collecting dissertations from universities and colleges in Taiwan. Therefore, this article systematically compiled 88 theses on Korean dramas, trying to analyze the trend of research topics. Through the statistical data chart of the system, it is known that two research peaks fell in 2007-2008 and 2016. In terms of topics, it is in line with the trend of the Korean Wave research theme. First, the introduction and success of Korean dramas are discussed, including the business strategy of Taiwan TV station for Korean dramas, and the analysis of the audience. The benefits and impacts of Korean dramas have become research topics. This paper uses the keywords in the system to show that the focus of the research is on marketing and consumption, so this is the focus of the explanation. Finally, the issue of screenwriting, and after 2020, Korean dramas such as NETFLIX’s “Squid Game”, which have been under the shadow of the COVID-19 outbreak epidemic but have repeatedly achieved good results on the broadcasting platform, etc. is a treasure to be developed.

中國人의 韓國 드라마 視聽 動機에 관한 硏究 - 北京 젊은층을 中心으로-

제효봉,채가흔 한국중국언어문화연구회 2008 한중언어문화연구 Vol.- No.15

Korean Tv drama has contributed on the formation and development of the “Korean Wave.” However, there has been little study on the motives of viewing from the perspective of Chinese audiences. Thus, the current study is to address Chinese audiences’motives to watch Korean TV drama, which is the main engine of “Korean Wave”, based on “the uses and gratification approach”through survey method. The current study sets research questions like the following: 1. From what motives Chinese young audiences watch Korean TV drama? 2. Are there any differences between Chinese young audiences’ motives to watch Korean TV drama and Chinese TV drama? Through the factor analysis, the current study finds 10 motives of Chinese young audiences to watch Korean TV drama because they like “elements of TV drama”, “consolation”, “social reality”, “the interaction with society”, “time spending”, “information and education”, “the uniqueness of Korean TV drama”, “ relaxation”, “habitual viewing” and “entertainment” which Korean drama provides. Through the current study has a significant implication on the cultural exchange between Korea and China, it has some methodological limitations. Thus future research needs to be done to overcome these limitations.

일제시대 재일본 유학생 신극운동 연구

정주영(Ju-Young Jeong) 한국엔터테인먼트산업학회 2017 한국엔터테인먼트산업학회논문지 Vol.11 No.3

이 논문은 한국 신극사에 있어서 학생극이 차지하는 위치가 지대함을 전제로 한다. 특히 3․1 운동 직후부터 동경을 근거지로 해서 일어난‘신극운동’은 한국 연극사를 바꿔놓을 만큼 커다란 영향력을 행사했다. 그 중 가장 주목할 부분은 상업주의적인 신파극에 대항해서 이 땅에 본격적인 서구형 근대극을 이식하는 데 큰 기여를 한 재일본 유학생들이 조직한 「동경학생예술좌」의 신극활동이다. 일제치하, 그것도 적지에서 민족운동의 일환으로 큰 사명감을 품고 나섰던 「동경학생예술좌」는 4회의 라디오 방송과 3회의 연극공연, 그리고 3집의 기관지 『막』 발간과 함께 다수의 유능한 연극인을 배출하고 6년여 만에 막을 내렸다. 한국연극사에 있어서 「동경학생예술좌」 만큼 조직적이고 아카데믹한 연극 활동을 벌인 경우는 거의없다. 특히 연구 · 공연 · 출판 등으로 나누어 그 활동분야를 넓힌 경우는 현재까지도 극히 드물다. 바로 이러한 점에서 「동경학생예술좌」는 대학극, 더 나아가 이 땅에 모든 연극단체가 나아갈 방향을 올바르게 제시한 신극운동 단체였다. 「동경학생예술좌」는 1930년대의 우리 학생극운동이 일궈낸 큰 결실로서 그들의 연극활동은 국내의 「극예술연구회」와 함께 이 땅에 신극을 정착시키고 발전시키려는 가장 적극적인 몸부림의 하나였다. 이들은 다른 재일본 유학생들의 신극운동과 구별되며, 한국 신극사의 주요한 부분을 차지하고 있다. 그러나 이들이 타국(일본)에서 활동했다는 이유에서, 또한 연구 자료가 미비하다는 이유로 그 연구가 미미했다. 이에 본고는‘일제치하’라는 어려운 여건과 학생이라는 신분으로, 일제와 신파극에 대항하여 이 땅에 ‘신극정신’과, 이를 통한‘민족의식’고취에 크게 기여한 바 있는 「동경학생예술좌」의 활동을 중심으로 재일본 유학생들의 신극운동 활동을 연구하였다. This thesis assumes that the location of the student Drama is great in history of the Korean New Drama. Especially immediately after the “3.1 Independence Movement”, the ‘New Drama Movement’ which was based on Tokyo was influential enough to change Korean theatrical history. One of the most noteworthy part of these is the “New Drama activity” of the “Tokyo Korean Students Art Association”, organized by the “Korean students studying in Japan”, they did against commercialism soap opera, also they has contributed greatly to the transplantation of “western-style modern dramas” in this country. During Japanese imperialism, Korean Student Art Association spoke over the radio four times and gave a play three times. In addition, they published a magazine, Mak. Moreover, they produced many men of theatrical. However, they dropped the curtain for six years after they started an independent movement in Japan. In the history of Korean theater, Korean Students Art Association in Tokyo was well organized and went into the study of play. In particular, they extended three field; play research, performance, publish at that time. This is out of ordinary until the present. In this way, Korean Students Art Association in Tokyo was a role model all of play organizations as a New-Drama Movement. Korean Students Art Association in Tokyo achieved good results as a college theater movement in the 1930s. As a result, Drama Art Study Association was influenced by Korean Students Art Association in Tokyo. furthermore, both associations established a New-drama movement in Korea. They are distinguished from the “New Drama Movement” of other Korean students in Japan, also It is a one of major part of the “Korean New Drama history”. However, the research was made insignificantly because they were active in other countries (Japan), and because of lack of research data. Therefore, this paper has studied that activities of “New Drama Movement” of Korean students studying in Japan based on the activities of “Tokyo Korean Students Art Association”. Despite the difficult situation of ‘Japanese colonies’, by the student’s identity, against ‘Japanese imperialism’ and ‘commercialism soap opera’, in this country, they have greatly contributed to the “spirit of New Drama” and “National consciousness”.

한국문화 교육과 한류의 연관관계 연구 -드라마를 중심으로-

박찬숙 ( Park Chan Sook ) 한국언어문화교육학회 2008 언어와 문화 Vol.4 No.2

This study purposed to examine the effectiveness of the utilization of popular culture in cultural education in association with the importance of cultural education in Korean language education for foreigners and with the recent waves of Korean popular culture. Although the importance of culture in Korean language education has been discussed intensely, yet frames for cultural education have not been structured clearly. In addition, according to the recent tendencies of Korean language learners, many of them learn the Korean language as their interest in the language has been stimulated by Korean popular culture spread through the Korean Wave, but the image of popular culture presented in Korean language education is considered not much different from popular culture viewed from Korean culture (treated as popular, entertaining, and vulgar). However, popular culture and in particular dramas contain many elements for effective cultural education, so we can develop desirable Korean culture teaching learning plans by studying and utilizing dramas. Thus, the present study purposed to examine the relation between Korean culture education and the Korean Wave centering on dramas, to select and suggest cultural items that can be learned through dramas, and to analyze the merits of dramas for cultural education. (Sun Moon University of Korea/Il-Stad Youth Center of Port-Said, Egypt)

韩剧在中国大学生中的接受现状浅析 - 在威海、西安六所高校的一次问卷调查

장홍추 한국중국언어문화연구회 2008 한중언어문화연구 Vol.- No.15

This survey has shown the following four aspects. Firstly, Korean drama has widely been accepted by Chinese college students, and Chinese college students prefer Korean drama to that of other countries. Secondly, by contrast with Korean historical drama and Korean family ethics drama, Chinese college students prefer Korean love drama and Korean romantically comedic drama. They are attracted because Korean drama has veritablyrepresented daily life, and they are also attracted by stars. Thirdly, Korean drama has affected the daily life and thinking of Chinese college students, and the influence is mostly positive. Fourthly, Chinese college students have an relatively objective opinion on Korean drama. Korean drama has its strongpoint, but it will not lead the world tide of drama. It has certainly damaged the advantage of Chinese drama, but it will not be a danger to domestic drama because it is not absolutely superior. Therefore, although in an inferior position, domestic drama should not refuse and depreciate Korean drama, but should assimilate the strongpoint of Korean drama so as to produce more wonderful drama.

일본 내 글로벌 SVOD 서비스를 통한 한국 드라마 수용

박소정(Sojeong Park),장인희(Inhee Jang),홍석경(Seok-Kyeong Hong) 한국언론학회 2021 한국언론학보 Vol.65 No.3

The current popularity of Korean dramas in Japan—including Crash Landing on You (tvN, 2020), which ranked first place in the 2020 rankings of Netflix Japan—is suggesting the emergence of a 4th Hallyu in Japan, implying a change in the reception of Korean dramas among the Japanese audience. This study seeks to understand the specific aspects of this change by focusing on the experiences of the Japanese audience who watch Korean dramas on Netflix. What is new about the current Hallyu phenomenon in Japan, where global SVOD platforms mediate Korean dramas? Furthermore, what significance can we interpret from this? To answer these questions, this study conducted in-depth interviews with 8 Japanese viewers of different ages and gender and observed Japanese news articles on the 4th Hallyu or Crash Landing on You. Our findings reveal that Netflix plays a significant role in attracting Japanese viewers to Korean dramas as it provides the latest Korean dramas in real-time and its recommendation system prompts the audience to explore more Korean dramas. Secondly, another remarkable reason that the Japanese audience chooses Korean dramas among other various global content is the growing quality of Korean dramas. With the qualitative turn in the 2010s, Korean dramas have been gradually growing in scale and in quality through changes in production systems and with the production of Korean Netflix Originals. These changes have shifted the preconceived notion that Japanese people have had of Korean dramas, that they mostly show old-fashioned melodramatic stories or light romantic comedies aimed primarily at the female audience. All of the interviewees had a high opinion of the current Korean dramas, saying that they are a good blend of sophisticated stories and spectacular scenes. Therefore, among Japanese viewers, Korean dramas are regarded as an outstanding form of global content rather than the content that Japanese people consume based on nostalgia or cultural proximity. Lastly, this study discusses the political implications of the reception of Korean dramas by the Japanese audience. While political relations between Korea and Japan have not met a positive moment for the last several years, the reception of Korean dramas seems to promote cultural exchanges and mutual awareness in terms of cultural politics. In particular, it is noteworthy that the narratives and characters of recent Korean dramas provide progressive milestones for feminism and gender discourse in Japanese society. In conclusion, Korean dramas are shifting to a more high-quality global content that represents the future of drama production in Japan, beyond the nostalgic or romcom-style content consumed based on cultural proximity.