Hanryu Sweeps East Asia

Abstract

/ The present article analyzes the popularity of Winter Sonata (a South Korean television series) among Japanese audiences, especially among middle-aged women, and the impact of the accompanying hanryu phenomenon (the current fad for every aspect of South Korean popular culture) on Japanese society. Various types of primary and archival data were collected including indepth qualitative interview surveys from 33 female Japanese viewers of Winter Sonata. The interpretive analysis of the data reveals the reasons for Winter Sonata's popularity in Japan, and how this television drama and the hanryu phenomenon have influenced Japanese perceptions of Korean residents living in Japan, South Koreans and North Koreans. In light of the troubled historical relationship between Japan and Korea (given Japan had colonized the Korean peninsula for several decades), the impact of Winter Sonata and the hanryu phenomenon is especially noteworthy.

HallyuRevisited: Challenges and Opportunities for the South Korean Tourism

“…To date, there have been relatively substantial efforts from both national and international tourism academics on the subject, but few of them have sought to synthesise and engage with the wider social science paradigm of culture, society, film, media and tourism research. Within the realm of media, communication and cultural studies, previous works have examined the impact of Hallyu on local audiences' reception of Korean TV dramas and the social and cultural meanings attached to their viewing experiences in importing countries such as China, Taiwan, Singapore and Japan (Hanaki et al, 2007;Huang, 2011;Kim, Singhal, et al, 2009;Joo, 2011;Leung, 2009;Ryoo, 2009;Shim, 2006 … academically this pan-East Asian transnational pop culture phenomenon has yet to be submitted to a more systematic comparative analysis, both in terms of its reception and consumption in different locations, and in terms of a comparison with similar genre entertainment from other parts of East Asia.…”

“…This social and cultural phenomenon immediately attracted significant interest from industry practitioners and academic researchers in a variety of ways, and has been studied by international scholars across multiple disciplines, including media and communication studies (e.g. Cho, 2005;Hanaki, Singhal, Han, Kim, & Chitnis, 2007;Kim, 2005;Kim, Singhal, et al, 2009;Oh, 2009;Ryoo, 2009;Shim, 2006;Yin & Liew, 2005) and cultural studies (e.g. Cho, 2011;Huang, 2011;Joo, 2011;Leung, 2009).…”

O mercado de streaming na Coreia do Sul: disputas internas e a invasão estrangeira

“…Hoje, a Coreia do Sul simboliza, em meio aos fluxos internacionais, um centro pulsante de tendências e formatos de sucesso, que se expande regional e globalmente. Esse fenômeno cultural é chamado de Hallyu (Onda Coreana), que abarca o fluxo de produtos e influências culturais originários da Coreia do Sul que estão alcançando diferentes públicos pelo mundo (Hanaki et al, 2007;Shim, 2006). A produção televisiva do país é essencial para entender as lutas de poder construídas dentro e fora da Ásia em favor da cultura pop e da identidade contemporânea nacional, além de ser o primeiro termômetro do potencial sul-coreano como produtor e exportador global de cultura.…”

Korean Dramas and Films: Key Factors for Their International Competitiveness

“…In addition, other scholars asserted successful variables such aŝ For the analysis of the Korean wave, Lee and Lee (2007) focused on Korean dramas and films, whereas Ko (2005) dealt with K-pop as well as Korean dramas and films, although most of Ko's variables were for explaining Korean dramas and films. cultural diversity (Park, 2009), Korean tradition , and the depiction of "pure love," nostalgia, longing, resonance with character portrayals, and esthetic and poetic beauty (Hanaki, Singhal, Han, Kim, and Chitnis, 2011), while several scholars pointed out recipient and audience conditions (Kim, 2004) and political and economical reasons (Jin, 2003;Son, 2001).…”

“…"The computer graphics (CG) industry," which is very important for films and dramas, is also added to related and supporting sectors. Various stories or themes (The Washington Post, 2006;Hanaki et al,, 2011) are incorporated into strategy of business context Lastly, high competition and competitive environment including audience measurement are classified as rivalry of business context. Lastly, Ko (2005) classified abundant labor, particularly students in the artiste (entertainment) field who are competing and hoping to become actors and actress, or producers in the future, as factor conditions.…”