Da’ Chosun ran a piece Wednesday on the reasons behind the popularity of Korean dramas in China. Actually, the Chosun paraphrased a Xinhua article on the reasons behind the popularity of Korean dramas in China. Heady stuff it ain’t, but kind of interesting nevertheless:
Xinhua, borrowing the words of “Double Take” (”Bogo ddo bogo”) director Jang Du-hee, said that Korean dramas were so widely viewed in China because they represent a common sentimentality that both nationalities share and the actors express their emotions with greater candor, as well as the fact that Chinese culture is also deeply rooted in Confucianist thought.
The news agency said that Korean dramas were saturated in East Asia’s traditional culture — such as how characters show a clear respect for those above them and how several generations lived under the same roof.
Xinhua/Chosun pointed out, however, that many Chinese dramas also focus on the family and are imbued in the traditional culture, but the key to the success of Korean dramas is that they connect with the real-life experiences of viewers:
Korean dramas make viewers reflect on themselves, and by focusing attention on such matters as the relationship between mother-in-laws and daughter-in-laws, or by naturally introducing subjects like traditional Korean cooking, it gives viewers a reference in their real lives.
Xinhua said the key to the success of Korean dramas with Chinese viewers was that, unlike Chinese soaps with their highly charged plot lines, the characters in Korean dramas were often normal people living normal lives, which naturally reduces the distance between them and the audience.
Back when I was in Gwangju, I knew a brilliant professor of East Asian philosophy there who was, coincidentally, one of the nicest guys you’ll ever meet. Anyway, the Korean Wave (Korean: Hanryu) was something of a specialty of his, and he offered a rather interesting explanation as to why Korean dramas and movies were doing so well in the Chinese market. Confucianism was definitely part of it, he said, as family-based, Asian-produced dramas from Korea obviously connect with East Asian audiences in a way that U.S. dramas cannot. But there was something else. Korean dramas, he explained, give viewers in China an image of “modernity” without the political baggage associated with U.S. cultural imports, and they were cheaper that Japanese dramas (which, although I don’t recall him ever saying it, probably carry with them considerable political and historical baggage of their own). Definitely something to consider.
9 Comments
More shameless boosterism from the Chosun.
Kind of funny, the view that these soaps “give viewers in China an image of ‘modernity’ without the political baggage associated with U.S. cultural imports,” because I often think of Korea as America with different labels, i.e. Samsung instead of IBM, Lotteria instead of McD’s, and so on. I also suspect that seeing Asian neighbors living in relative affluence has something to do with their popularity.
I would also point out (if I haven’t in this blog) that they are also quite popular in Vietnam. For the reasons that both Michael and Mr. Marmot point out. Bravo for Korea. More evidence that the “Pacific Century” may come to pass (if not derailed in China by that periodic historic upheaval curse).
“Xinhua said the key to the success of Korean dramas… characters… were often normal people living normal lives”
I was on the ground laughing on this one. If “normal” means Chaebol’s bad boy son turning out to be a misunderstood do-gooder with an emotional wound due to some tragic incident, only to be redeemed through the do-gooding actions of an equally obnoxious and syrupy girl from a “regular” Korean middle income family from Seoul, then yes.
There are very few Korean shows about farming or auto-mechanics. If there are major characters holding these blue-collar jobs, it’s merely as a plot device so that when the character turns out to be really the long lost son of a rich Chaebol family, the contrast is all the more dramatic. But I guess this is the good ol’ “Modern Life” that everyone wants to watch. Fancy cars, fancy clothes, fancy houses… I mean how many middle income Seoulites live in a spacious 2 story houses?
The story would definitely resonate with the mainland Chinese. In fact, the Marm would probably know this better than me how Korean shows are popular in the Marmotess’ homeland as well.
These stories would indeed be more “real” from the Chinese or even the Mongolian perspective compared to say, “24″ or any SMAP infested Japanese dramas. I don’t think it’s just politics and low cost that keeps these US or Japanese dramas from doing well in China. Americans/Japanese are the world’s richest, and the shows reflect the desires/insecurities of Americans/Japanese.
I have never seen a Japanese drama with political or historical content.
I don’t know about the Chinese perspective, but for Japanese, the popularity of Korean dramas can be partially explained because they are so retro. The Japanese used to do a lot of similar dramas 20+ years ago, but have stopped for the most part. The Confucianism angle may have something to do with it, as family ties in Japan are not what they used to be.
Thus, middle-aged and older Japanese (women) like these shows. The younger women like Yon-san for whatever reason some women of all cultures and ages seem to like somewhat fruity guys.
Another factor is the combination of the exotic and the familiar. Situations (and geography and physical features) are similar enough to provide a comfort zone for the viewer, yet different enough to provide a touch of the exotic. Similar examples elsewhere: the popularity of British rock groups and Monty Python in the US, and the popularity of salsa music in Africa.
Re my previous post–by political or historical content, I was referring to the type of modern trendy dramas that are under discussion, and not historical dramas. (In any event the Japanese seldom refer to the occupation of Korea in popular culture.)
I think the difference in the popularity of Korea drama and US drama has some to do with confucianism, but more to do with beauty criteria.
For US, beauty is color blind. Good body is more important than sweet face. Woman tend to be strong and muscular. In China, people of dark skin will less likely be referred as beauty. Also, woman tend to be sweet and more traditional feminine.
I’ve watched both Chinese and Korean serials. Korean serials just generally have better writing and better stories. Period. The plot twists are more believable, the characters are more realistic. Heck, Chinese serials often tend to be nothing but collections of anecdotes that sometimes have nothing to do with each other, and only are only loosely organized by a common plotline. Korean serials, on the other hand, are more unified and consise: everything that happens has a reason and advances the storyline.
That’s what I’ve seen, anyway.
I’m always curious to what the “average” Mainland Chinese person watches, because not only do they have their domestic CCTV, but they have shows from Taiwan/Hong Kong/Singapore as well. I wonder if a Chinese person can explain to me if South Korean culture is more similar to Beijing culture as opposed to South Chinese culture. Hmm…
Even if there was no anti-Japanese feelings in China, it’s obvious why the Chinese wouldn’t watch Japanese trendy dramas. They must seem like shows made by Martians for the Chinese who grew up watching CCTV.