Life is Beautiful: Gay Representation, Moral Panics, and South Korean Television Drama BeyondHallyu

Abstract

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Foreign places as Korean spaces: Representations of national trauma in the South Korean dramas Ireland and Descendants of the Sun

“…However, in generating these temporary resolutions, these dramas also reinforce restrictive perceptions of inter-Korean relations that may hinder potential progress in the future through their reproduction of narrow, self-serving South Korean perspectives. While Glynn and Kim (2017) suggest that more critical attention be paid to overtly controversial and political dramas, this article hopes to have demonstrated that it is equally important to recognize that all K-Dramas have the capacity to engage with a variety of social and political issues. While these dramas may approach such sociopolitical issues in an indirect manner, we should not take for granted the direct impact they may have on the perspectives of their South Korean audience.…”

“…In order to do so, I shall analyse two K-Dramas with the aim of revealing the complex meanings that can be derived from their respective narratives. In keeping with Glynn and Kim's call, the first of these two dramas, Aillaendeu (Ireland) (MBC, 2004-present), diverges from the traditionally conservative romantic themes and norms that have become K-Drama canon (Glynn and Kim 2017). Ireland breaks from these conservative traditions through its representation of broken families, infidelity, promiscuity, and incestuous romance.…”

“…Ultimately, this article will argue for a more nuanced approach to the study of K-Dramas, one that acknowledges Glynn and Kim's (2017) call for a refocusing of critical attention towards lesser-known, socially and politically critical dramas, but that also recognizes the indirect reflexivity of the melodramatic mode. In this manner, I hope to demonstrate that all K-Dramas have the capacity to offer multiple and complex levels of meaning to viewers, be they big-budget international hits or smaller, more domestically oriented dramas.…”

“…The second drama I analyse, Taeyang-ui Huye (Descendants of the Sun) (KBS, 2016), was arguably the most popular K-Drama of 2016, breaking domestic viewership records, as well as finding success with international audiences (Lee 2016a;Wong 2016). Not only does its conventional romantic plot align it with the narrative conservatism discussed by Glynn and Kim (2017), but its unexpected international success also links it with the Korean Wave (Lee 2016a), and these Hallyu credentials are frequently referenced in discussions and reviews (Diana 2016;Park 2016). 1 Despite this, I argue that even conservative dramas such as Descendants of the Sun (Descendants) have the capacity to offer social and political commentary.…”

Not just Netflix: Interventions of Korea's domestic streamers

“…The former is a reality dating show with gay men and the latter features the everyday lives of gay, lesbian, and transgender couples. Homosexuality continues to be controversial on Korean television and is treated as a topic that needs ‘careful monitoring, censuring or occasional outright censoring’ by official powers (Glynn and Kim, 2017). While Wavve's shows did receive pushback from conservative civic groups, this did not lead to any action because Wavve was not subject to television regulations.…”