Korean Wave 5

Korean Wave,” within South Korea media from 2001 till 2005.

The cultural nationalist, the neoliberal, and the postcolonial camps were drawing
the discursive terrain of the Korean Wave, sometimes clashing and at
other times engaging each other in strategic compromises. The initial
diverse discourses congealed and merged in their concentration on economic
profit later on, which is indicative of a neoliberal turn in the
2000s Korea. The media technology revolution and global capitalism
prepared the system for the manufacture of cultural products and circulation
within Asia, and formed the coeval space of capitalist Asia.
However, the diverse images and texts circulating within Asia were providing
new opportunities to construct an alternate consciousness
through the sharing of popular culture. Non-Western societies which
used to measure their modernities against Western standards entered
the new stage of subject formation.
Keywords: Korean Wave, globalization, modernity, culture industry,
cultural nationalism, neoliberalism, postcolonialism, contact zone
* A part of this paper was printed in “Modernity, Popular Culture and East-West Identity
Formation: A Discourse Analysis of the Korean Wave”(2002). A draft version of
this paper was presented at the University of Auckland, Cornell University, and the
University of California, Santa Cruz in 2005.
I am grateful to Cho Song-bae who translated this paper into English. I am thankful for
the comments of Professors Song Chang-Zoo, Michael Shin, Minghui Hu, Chris Connery
and Johanna Isaacson, among many others, at those colloquiums. I am also grateful to
Lee Q-Ho and Teresa K-Sue Park for collecting valuable data and editing texts.
Cho Hae-Joang (Jo, Hye-jeong), a practicing cultural anthropologist and feminist, is
Professor of Sociology at Yonsei University. She is the author of Reading Text and
Reading Lives in the Postcolonial Era (in Korean). E-mail: haejoang@gmail.com.
of the reflexive learning process of people living in the semi-periphery
of the world system. Just as Korean people were able to develop
new perspectives on the world through the “IMF crisis,” news of the
Korean Wave enabled Koreans to develop new senses of globalization,
the culture industry, and a newly forming Asia in a short time
span.
I have taken as my chief source of texts the numerous writings
that began to proliferate with the initial boom of the Korean Wave in
2001 and continued through July 2005. Much of the data is comprised
of newspaper and magazine articles dating from February
2001, when news of the Korean Wave first broke, to October 2001,
when the discussion heated up. As luck would have it, the advent of
the Internet made it relatively easy to collect data. I also alternated
between collecting written data and doing field work. Whenever I
went to cities such as Hong Kong, Taipei, Tokyo, Beijing, Yanbian,
San Francisco, and Los Angeles, I visited areas known to be centers
of Asian cultural traffic and talked to consumers of Asian pop culture.
I also attended academic symposiums and gave talks on the
Korean Wave at several universities where I had valuable discussions
with academics and students. Back in Korea, I spent time confirming
my findings by interviewing experts in the cultural industry, both on
a one-on-one basis and through workshops.
I have chosen to quote from various sources that I feel best
express the diverse aspects of the phenomenon of the Korean Wave,
as well as Korean society’s responses to it. At the end of this paper, I
present my own “reading” of the Korean Wave and discuss the several
issues raised by this discourse in relation to globalization, neoliberalism,
colonial modernity, and the formation of “Asian” subjectivities
across national boundaries.
What Is the “Korean Wave”?: Unprepared and Bewildered
Articles on the Korean Wave first started appearing in celebrity gossip
pages during 2001. In February, Yi Jong-hwan filed a report for
148 KOREA JOURNAL / WINTER 2005 Reading the “Korean Wave” as a Sign of Global Shift 149
“The world knows us better than we know ourselves.”
– Electronic Ad Copy in Seoul, 2001
Dramatic Happenings, Hard Lessons
There are signs all over the world of the decline of the sovereign
nation-state and of new forms of territorialization within the rapid
flows of globalization. Caught in their midst, people are trying to
make sense of such changes. Such processes are especially dramatic
and painful in countries that have undergone processes of rapid and
compressed modernization. South Korea is among those countries
that have undergone a compressed period of modernization, experiencing
colonial domination, war, and rapid economic growth all within
the same century. With neither time to prepare for future “disasters”
nor a buffer zone, Koreans have had to “study” such drastic
changes through direct experience. They particularly struggle to
understand the phenomena that have unfolded after the sudden news
of the “IMF crisis” (Cho 2000).
In 1997, the Asian financial crisis struck, precipitating the need
for an economic bailout from the International Monetary Fund (IMF).
The shock of the crisis drove the whole country into a severe depression.
In its midst, however, was a boom in Internet ventures. Once
Koreans became aware of the flow of various forms of capital around
the world—financial, investment, and speculative—they threw themselves
into that world created by full-blown capitalism. One of the
most unexpected dramas to emerge from these large movements of
capital, media, culture, and people centered around hallyu or the
“Korean Wave.” When the phenomenon of Korean popular culture’s
burgeoning popularity in Asian countries first emerged in news channels
and was christened the Korean Wave, almost everyone with
“something to say” put their pen to paper.
In this paper, through a discourse analysis of the Korean Wave,
I attempt to show how people in South Korea are trying to make
sense of a world in transformation. Rather than an analysis of the
phenomenon of the Korean Wave per se, this essay is more a study
and a brand of H.O.T. cosmetics appeared along with H.O.T.-
themed coffee shops aimed at young people. More than 100,000
copies of H.O.T. records have sold. Korean singers are also now
directly entering Chinese living rooms . . . . On billboard charts,
Korean songs are the only foreign songs featured in the Top 10.
Lim Kyung-ok (Im, Gyeong-ok), who shot to stardom in China with
What Is Love (Sarang-i mweogillae), signed on recently as a star
with a Beijing TV drama producer. Chun Paice, the president of the
company said that one of the reasons that he signed Lim Kyung-ok
was because, as a drama producer, they could not afford to not ride
the “wave” of Korean dramas (Yi Jong-hwan 2001b).
News reporters busily listed numerous other phenomena as proof of
the rising popularity of Korean cultural products. In August, Choe
Yong-sik, a staff reporter of the Korea Herald, wrote an interesting
report from a cross-cultural perspective:
Back in 1965, the Beatles were named “members of the most excellent
order of the British Empire.” The members of the pop group
that rocked the world with their powerful music were honored as
esquires, the rank below knight . . . . Today, if the Republic of
Korea were to award the equivalent of British knighthood to a
Korean celebrity, the first person on the list would be actor-cumsinger
Ahn Jae Wook (An, Jae-uk), who may have accomplished
something that no politician, businessman nor diplomat could ever
do for the nation. . . . Ahn now commands unrivaled popularity in
China, having surpassed Leonardo Di Caprio as the most popular
celebrity in a recent poll . . . (Choe 2001).
By endowing these main agents of the Korean Wave with the status
of the Beatles in the 1960s, Choe puts this phenomenon in a world
historical context. He further explains the Korean Wave in terms of
the emergence of youth fan power and the efforts of aggressive marketers
in the culture industry:
The nascent boom for things Korean was further bolstered by the
advance of Korean movies and, more than anything else, Korean
Reading the “Korean Wave” as a Sign of Global Shift 151
the Dong-a Ilbo from Beijing, entitled, “No End in Sight for the Korean
Wave in China.” He wrote:
The Korean Ministry of Culture and Tourism has declared October
“the Month of Korean Culture,” and is currently meeting with Chinese
officials to set up a tour of large cities for groups including
H.O.T., Baby Vox, and the National Ballet Company. The stars of
the “2001 version of Korean Wave” are expected to include Park
Jin-young (Bak, Jin-yeong), who scored big in China with his song
“Honey,” and Kim Min-jong, who became a star among Chinese
teenagers with the Chinese telecast of the Korean TV drama Mister
Q. The Chinese were captivated when Korean ballads and dramas
started airing on TV. Popular Korean dramas . . . in what has
become known as “Korea mania” (Yi Jong-hwan 2001a).
Yi Jong-hwan reported that music and dramas popular in Korea were
gaining popularity in China and that “mania groups” had formed for
Korean pop singers. Soon, all newspapers covered the news of “the
heated surge of the Korean Wave.” Yi Jong-su, the special correspondent
for the Daehan maeil also sent news of the popularity of Korean
pop songs and dramas from Hong Kong, Taipei, and Vietnam (Yi
Jong-su 2001). Jeong Hui-jeong, a reporter for Munhwa Ilbo explained
that the term “Hallyu, the Korean Wave in Chinese Character” came
from the title of a compilation of Korean pop songs that was a smash
hit in China (Jeong 2001). She tried to credit the core agents responsible
for the Korean Wave, such as Kim Yun-ho, a former stock-broker
whose love for Korean pop music led him to quit his job in Korea
in 1997 in order to start a Korean pop music show on a Chinese FM
broadcasting station. Many reporters further noted how the pop
music and dramas that comprised the main elements of the Korean
Wave had spin-off effects in terms of promoting Korean food, language
study, cultural products, and tourism in Korea.
It has become the case that kids have to be able to sing one or two
Korean songs in order to fit in . . . . During H.O.T.’s highly successful
concert in Beijing in February, H.O.T. T-shirts sold like hotcakes
150 KOREA JOURNAL / WINTER 2005
Reading the “Korean Wave” as a Sign of Global Shift 153
pop music, which often incorporates dynamic rhythms, powerful
dances and, more often than not, lyrics deemed progressive or
rebellious enough to appeal to young local fans . . . the current
Korea boom is further consolidated by the deliberate marketing
efforts of some Korea companies operating in these countries.
Beyond listening to Korean pop songs and watching Korea TV dramas,
the new generation of consumers classified as the “Korea
tribes” are aggressively adopting and emulating Korean lifestyles
ranging from fashion, food, and consumption patterns, to even
plastic surgery. Some ardent fans of Korean pop stars and dramas
go as far as to make pilgrim voyages to Korea on packaged tour
programs that make their dreams come true—meeting their idols
and checking out the shooting locations of their favorite dramas.
At the time, vivid descriptions in the papers instantaneously gave the
Korean Wave a reality of its own. Various discussions in early reports
offered bewildered readers ideas on “spectacle popular culture,”
“culture capital,” and “youth culture.” The heated discussions also
caused wise readers to realize that it is crucial to recognize multiple
voices regarding this new phenomenon.
Three Takes: Different Perspectives and Foci
From October 2001, discussions around the “Korean Wave” began to
settle down. While cynical voices claimed that the Korean Wave was
nothing more than a bubble, various groups such as the Munhwa
Yeondae (Cultural Action) and major intellectual magazines and journals
began to discuss the phenomenon at length. Academic symposiums
on the topic were held. In this section, I classify the discourses
advanced by this early phase of reporting in news, columns, and cultural
criticism into three groups, based on the position and focus of
the authors. Each group shares the same general historical perspective,
although there is some diversity in their strategic approaches to
the material. These three different perspectives, namely, the cultural
nationalist perspective, the neoliberal perspective, and the postcolo-
152 KOREA JOURNAL / WINTER 2005
nialist perspective, persist up to 2005, sometimes clashing and at
other times complementing one another in their trajectories.
The Cultural Nationalist Perspective: “The Victory of Korean Culture
and Asian Pride!”
1) What Is Korean Is International!
In reaction to news that Korean pop culture had gained popularity in
Asia, many columnists seemed to have had the instant feeling that
“Korea has finally made it.”
For those of us who have eulogized the aesthetics of living in seclusion
for a long time next to a powerful country, the spread of our
cultural products throughout the world these days cannot but be
good news . . . the news that Joint Security Area has earned about
two million dollars in Japan is proof that the foreign competitiveness
of Korean films has vastly improved. Above all, it appears that
the Korean temperament is touching people’s hearts around the
world. . . . We can now say that what is Korean is, in fact, international
(Park G. 2001).
Park declares above that a “Korean sensibility” is “the sensibility of
the whole world.” Still, his effort to dismiss dance music as a central
force in the Korean Wave is interesting. “When we look inside the
Korean Wave, we see Chinese teenagers who have had no outlet to
express their desires. They appear fascinated by the sophisticated
appearance and stylish dance moves of young Korean singers, as well
as by the fast, exciting dance music. This makes it difficult to see the
Korean Wave as a result of a deep affinity for the sensibility of the
Korean people. Its implication is that the foundation for reproducing
the Korea Wave is weak. Park praises the popularity of Korean
movies in the same breath that he neglects to mention dance music.
Why does Park highlight “Korean culture” but not “popular culture”
despite his recognition that the Korean Wave is a phenomenon of
popular culture in the same column?
Is the assertion that American and Japanese dramas are more
sensationalistic and violent than Korean dramas true? The idea could
be defended if one considers family-oriented dramas such as What Is
Love, which circulated in the beginning of the Korean Wave. However,
there are many counter examples, such as a report that parents
in Vietnam wish to prohibit Korean TV dramas because they “emphasized
sexual love and promoted luxurious and hedonistic lifestyles
among Vietnamese youngsters” (Kang Jin-gu 2001). Cultural nationalists
who claim that Korean culture, because of its Confucian base,
is less violent and sensationalistic than other cultures are likely the
ones who call Korea a land of family and filial piety. They ignore the
reality that the divorce rate of Korea ranks as high as most OECD
nations in 2005.
3) Anti-Japanese Sentiment Has Helped
The argument that Korean pop culture is popular in Asia because of
anti-Japanese and anti-American sentiments was a point emphasized
in many articles, particularly in the cultural nationalistic discourse.
Im Jin-mo, a pop critic, contributes to this discourse:
First of all, China is ideologically opposed to the United States. A
sense of nationalism operates against the United States. It’s the
same with Japan. When the younger and older generations in
China hear the word “Japan,” they feel an inward hostility. . . .
Korea is entirely different. First of all, there is no sense of competitiveness
with Korea. That doesn’t mean that the Chinese look down
on Korea; they view Korea as a country to learn from. Just like we
turned towards Hong Kong rather than Japan in the past, they feel
comfortable with Korea. . . . People who have come back from
China report that when the Chinese talk about Korea, they say,
“Somehow, it is not a hateful country,” or, “It is a country that is
strangely attractive.” . . . In a situation in which the United States
and Japan are both disliked, Korea becomes the logical choice for
China’s affections (Im 2001, 7).
Reading the “Korean Wave” as a Sign of Global Shift 155
This emphasis on pride of “Korean culture” or “recovery” is a
natural reaction for nationalist people who felt that Korea had finally
joined the ranks of advanced nations. The downplaying of popular
youth culture highlights Korea’s competitive edge while deemphasizing
the demotic aspects of the Korean Wave. Kim Hyun Mee (2001)
relates this high expectation that nationalists had of the Korean Wave
to the contemporary sense of crisis felt by Korean people during an
era of high unemployment, especially after the IMF financial crisis. It
is very plausible that these high expectations were responses to the
sense of diminished self that Korean people experienced from the crisis.
Kim also suggests that upon hearing of the Korean Wave, it was
possible to imagine a “Korean dream” similar to the fabled “American
dream” dreamt by Koreans decades ago. In order to explain popularity
in terms that speak to nationalist desire, the discussion among
nationalist writers ended up revolving around two ways of understanding
this ascendance: the violence and sensationalism of American
and Japanese pop culture versus the non-violent and familial
ethos of Confucian culture, and the wide spread anti-Japanese sentiment
that permeates Asian nations.
2) The Culture of Violence vs. the Culture of Familism
The recovery of Korean people’s sense of pride and self-confidence is
linked to notions of cultural essentialism. The prevalent assertion
that the popularity of Korean popular culture stems from family values
and a Confucian sensibility assumes a common “Asian culture.”
Kim Han-gil, the head of the Ministry of Culture and Tourism (MCT),
explained the popularity of Korean drama in China this way: “Compared
to Western drama’s sensationalism and violence, which
doesn’t suit Chinese sensibilities, Korean dramas are drawing interest
from Chinese people” (Daehan Maeil, July 21, 2001). An MCT
administrator said in an informal interview, “Compared to American
and Japanese popular culture, which is so violent that people are
repulsed, Korean culture is relatively easier to consume because it
has been filtered through a Confucian sensibility.”
154 KOREA JOURNAL / WINTER 2005
Reading the “Korean Wave” as a Sign of Global Shift 157
Koichi Iwabuchi (2000, 54), who has for years researched the reception
of Asian dramas, adds that “the remnants of Japanese imperialism
in Asia form a barrier to the export of (Japanese) cultural products
abroad.” Socio-political factors, such as anti-Japanese sentiment
arising from Japan’s imperial past or Korea’s status as a “marginal”
nation (less threatening to other countries), must be at work here to
explain Korea’s rising popularity. However, Japanese dramas and
songs are also popular in many parts of Asia (Kim Hyun Mee 2003).
Paik Won Dam, who studies Chinese culture, asserts that China, after
going through the chain of events that included the Tiannenmin
Square Massacre, the Asian Games, and full economic liberation, was
able to break its fantasy about the West and turn to Asia after the
mid-1990s (Han et al. 2002). However, the nature of this turn to Asia
during this period was not the Korean Wave but the “Japanese
Wave.” The Korean Wave followed later, with teenagers acting as its
main agents.
It is possible that an argument stressing anti-Japanese sentiment
as a reason for the Korean Wave is a projection of the anti-Japanese
sentiments of nationalists. Whatever degree of truth this interpretation
is based on, it is important to remember that any sentiment
toward Japan involved in the Korean Wave looks quite different for
the younger generations than for those older. With increasing cultural
exchanges across national borders and the internalization of consumer
society, which must continually find things that are new and
different to appeal to consumers, the younger generations have
already divested themselves of such consciousness around national
borders. This is precisely where the gap between the older generations,
who comment on the phenomenon of the Korean Wave, and
the younger generations, who are enjoying it, can be most keenly
felt.
4) A Cultural Center in the Global Village
The position of Im Jin-mo is further developed in his discussion of
the Korean Wave as the retrenchment of American culture in East
Asia.
156 KOREA JOURNAL / WINTER 2005
It is no exaggeration to say that the Korean popular music scene is
a smaller version of the American music scene. . . . Even though
we like to believe that we have discovered our country’s code
through the rapid assimilation and processing of any and all American
and British music styles, we haven’t yet discovered the creative
musical code that leads the world. . . . Some people also say that
the pop songs and TV dramas that form the basis of the Korean
Wave are in fact nothing more than copies of American and Japanese
Waves. Right now, China is learning the “here and now” of the
cultural scene through the Korean Wave. . . . Right now, [China] is
emerging from the past, gazing steadily at and learning from the
present while preparing to take off into the future. . . . In fact, there
are signs of East Asia becoming nothing more than a production
center and a subcontracting base for Europe and America—a cultural
colony. No East Asian country has been able to successfully
export its culture to America or Europe (Im 2001, 7).
To Im Jin-mo, cultural hegemony is the key concept through which
to think about the Korean Wave. Im, who does not think Asian culture
advanced enough to be equal in the world, proposes the China-
Korea connection as a solution for Western cultural hegemony.
Although Japanese jazz has received some attention, that hasn’t
translated into increased sales or other forms helpful to the cultural
industry. Meanwhile, hits from Europe and America are spilling
into Korea everyday. . . . What China undoubtedly dreams of doing
is transforming itself into a “global cultural center.” For China, it is
not just about escaping the status of a cultural colony; it is about
becoming a cultural center. China is waiting for the day when it
can control the world’s cultural flows not politically, but as a cultural
superpower. For China, Korea is a stepping stone towards this
goal. If China emerges as a new cultural furnace, it will mostly likely
mean East Asia’s emergence from cultural colonialism. . . . We
need to view the Korean Wave not in terms of market expansion
but as an opportunity to establish an identity. There needs to be a
serious debate as to whether we have our own unique cultural
code and grammar, whether ballads are really Korean music, and
Reading the “Korean Wave” as a Sign of Global Shift 159
whether TV dramas are really creative. . . . Through the Korean
Wave, we must create a sense of cultural solidarity with China and
use that position to raise the status of East Asia vis-à-vis Europe
and United States (Im 2001, 7).
Im Jin-mo, who views popular culture products as imports of a global
American culture, uses the terms pastiche, subcontract base and
counter cultural flow. To counter cultural colonization, he recommends
searching for something “authentically Korean” and rejecting
commercialism. Im proposes a strategic China-Korea alliance as a
way to escape Korea’s marginal position. In phrases such as “cultural
products that are really ours,” and, “our very own identity,” one
senses a worldview that is at once defeatist and hegemonic. The
dichotomy of margin and center, and the oppressor and the oppressed
is clearly expressed in his writing. A similar ideological position to
that of Im is expressed by Kim Han-gil:
The interest in the Korean Wave has reached such a feverish state
that not only are teenagers registering with Korean language institutes
in order to learn the lyrics of Korean pop songs, but also Korean
tastes have become a marker of distinction between the generations.
. . . The Korean Wave is not only fighting back against the
monopolistic position held by American and Japanese cultures in
the Asian region, it is also demonstrating how a Korean culture,
which has been oppressed for over 5,000 years, can, using the cultural
similarity between Asians and Asians’ familiarity with Korean
culture as its basis, spread throughout the world (Daehan Maeil,
July 21, 2001).
Kim here takes on an imperialist modernism that prides itself on penetrating
territory that until now was monopolized by American culture;
as an essentialist nationalist, he views the Korean Wave as the
manifestation of 5,000 years of pent-up energy.
It may be worthwhile to borrow an insight from a study of the
“Japan Wave”: Iwabuchi in his study of fandom (2000, 59), argued
that though Japanese dramas are tremendously popular in Taiwan,
158 KOREA JOURNAL / WINTER 2005
they occupy a different position from the American culture that was
previously the object of envy. In interviews with Taiwanese viewers
of Japanese dramas, he was unable to find attitudes indicative of Taiwanese
viewers’ identification with or envy of the powerful. According
to Iwabuchi, the Taiwanese audience viewed Japanese dramas
with the attitude that “they were living lives similar to ours,” and
there was no sense that Japanese culture was superior. With increasing
cultural flow among the Asian countries, he finds instead that a
growing number of people are experiencing various forms of cultural
homogeneity along gender, class or generational lines across national
boundaries.
The Industrialist and Neoliberal Position:
“Culture Is Money. Let’s Produce More Cultural Exports.”
While cultural nationalists emphasize the existence of “authentic culture,”
industrialists and neoliberals highlight the cultural “industry.”
What excites them is news that Korean companies greatly increased
their sales by featuring the main stars of the Wave in ads for products
ranging from computers to cellular phones. Many columnists
proposed the development of a large potential market by linking the
boom in popular culture to the market distribution system and to the
improvement of the country’s image. Fear that the Wave will fade
like a fad inspired frequent discussions about the need for state support
and appropriate state policies. The bulk of editorials and
columns by news reporters, government officials, and people in the
culture industry are concerned with how to advance and continue the
promotion of the Korean Wave. Lamenting a lack of strategies, people
in the forefront of cultural export institutions sought clever ways
to crack open the enormous emerging Asian market. To them, the
origin or quality of cultural products did not matter as much as the
market and the bottom line.
ment officials and businessmen had in common their concern about a
lack of a coherent policy or strategy. A “cultural engineering mindset”
was emphasized over and over in their discussion of how to produce
and sell competitive cultural content. They urgently discussed
solving problems faced by small event planners, ranging from the
issue of establishing diplomatic agreements to that of making an
exemption from compulsory military service for male singers.
2) Not High Culture, But Mass Culture; Not the Old, But the Young
Television documentary producer Seo Hyeon-cheol, returned from a
month-long intensive field investigation in Asia, excited about the
enthusiastic consumption of Korean popular culture. He was convinced
that Korean dance music could be a world competitive export
item.
Even though we still need to wait and see when it comes to dramas
and movies, I am confident that our dance music is a competitive
product in Asia . . . weren’t all singers who have occupied the
throne of pop music—Elvis Presley, Michael Jackson, and Madonna
—all dance music artists? By combining visual and auditory elements,
dance music is easily accessible to the masses . . . (Seo
2002).
According to Seo, Korean dance music singers, like Elvis Presley,
Michael Jackson or Madonna, became stars by dancing together with
the “masses” in their countries. The main agents of the rise of Korean
Wave then are the popular masses who irrepressibly love to dance.
Seo goes on:
Even though we derive our dance music from America or Japan, it
is inevitably colored by Korean sensibilities during the process of
copying. The reason that the Chinese are crazy about our dance
music is not because our dance artists and singers created the
music with the Chinese market in mind. The music that they like is
the music that we created for the domestic Korean market—that is,
160 KOREA JOURNAL / WINTER 2005 Reading the “Korean Wave” as a Sign of Global Shift 161
1) Not the Culture, but the Market, Matters.
Not unexpected in a society that has undergone state-led economic
development, the Korean government took the position that the Korean
Wave must be the product of sheer competition in the global market
and an export-oriented policy should be established to maximize
economic profit. In an interview, Kim Han-gil stated: “the Korean
Wave, spreading like wildfire throughout Asia, especially China, is
proof of the international competitiveness of Korean popular culture”;
he added, “we will actively support the penetration of our culture
into foreign markets” (Daehan Maeil, July 21, 2001). Those
working in the culture industry urged the government to station
experts in various countries to gather information on cultural trends
and set up permanent consultative bodies between national governments
(Yi Jong-su 2001; Yi Song-ha et al. 2001).
The government moved quickly to increase the national culture
industry’s budget, to station government specialists in large cities in
China and elsewhere and to set up a “hall of the Korean Wave.” In
response, there were reports of the Chinese government’s displeasure
and fear that the South Korean government was acting too aggressively.
The government, which so anxiously leapt into this field, realized
that, with no experience in the field of popular culture, it might
now be in over its head and that it should refrain from direct interference.
The government became aware that that it could provoke a
backlash from its partner governments and jeopardize the penetration
of Korean products into foreign markets by being too visible as
promoters of the Korean Wave.
In an interesting discussion by cultural industry figures on how
to “promote long-term development by allowing a counter (Korean)
wave” (Kim and Bae 2001), the main concern was to transform the
Korean Wave into a sustainable source of income. Proposals for dismantling
the “barriers to maintaining the Korean Wave” included
developing a stronger strategy for continuous distribution through
larger scale production, regulation of content quality, and delinking
the Korean Wave from nationalistic fervor. Export-oriented governThe
Postcolonialist Position: Building Cultural Infrastructure and
Rewriting a History in Specific Contexts
A postcolonialist perspective views the Korean Wave as a result of
several centuries of modernization, capitalist expansion, and homogenization
of global culture. Most of those who take this position are
cultural researchers sensitive to global shifts. Many of them are also
consumers who actively enjoy these popular culture products themselves.
1) B-class Culture Created by the Colonial Modernity
Paik Won Dam and Lee Dong Yeun are particularly critical of commercial
culture. Paik views the Korean Wave as a creation of shrewd
agencies in the Korean cultural industry. She flatly claimed the Korean
Wave to be nothing but the product of capitalism.
Regardless of whether it is called colonial modernization or uneven
capitalism, the first form of popular culture to emerge out of that
modernization is the Korean Wave. I mean that the Korean Wave is
the embodiment of the West penetrating our bodies (Han et al.
2002).
Paik’s article warns against the creation of a shallow and snobbish
culture of capitalism and take a position contrary to the neoliberal
position.
The Korean Wave is nothing other than a game of pop stars produced
by capital. The cultural relations between Chinese teenagers
pursuing the Korean Wave, Korea and China, and Korea and East
Asia are all ultimately formed through the logic of capital. Especially
in China, the first version of the Korean Wave, positive or negative,
functioned to fill in the culturally empty space left by enormous
changes that swept through China in 1990. In the confusion,
the marketing strategies of Korean companies in China had the
good fortune of hitting their targets, creating the Korean Wave
(Paik 2001, 6).
162 KOREA JOURNAL / WINTER 2005 Reading the “Korean Wave” as a Sign of Global Shift 163
music reflecting a Korean sensibility and sung in Korean. . . . We
are probably the only nationality that enjoys dancing on tour buses.
. . . Some people say that the Korean Wave is the product of “B”-
grade cultural capital and that it should not represent our cultural
character. . . . Those who created the Korean Wave are not the people
who create the so-called “high” or traditional “Korean culture,”
nor the classical music played by Koreans. The Korean Wave
derives from Korean dance music, which we like so much that we
treat it with contempt (Seo 2002).
Seo objects to discussions of high/low culture, and stresses that the
cultural commodities received so well by the Asian youth are popular
mass culture; the competitive product was not made by or for elites,
but the masses who enjoy mass culture. Note here that Seo calls “the
love of music and dance” a “Korean sensibility.”
3) Building a New Express Highway!
Yi Song-won, the CTO of Miro-Vision, a film production and distribution
company, shares a similar opinion. He says the film industry has
woken up to the fact that there is no use in making a “good film”
without a proper distribution network. Stating that, “once the system
for the commercial films is set in place, the art market will also
emerge by default,” Yi says that the most urgent task at hand is to
increase the scale of production and to establish a distribution channel
by making many commercially successful films. To Yi, building a
new express freeway is the most urgent task.
O Jeong-wan, the CEO of Bom-Film Production, also expressed
that it is time to prioritize making Korean blockbusters and cultivate
the market and distribution system. In order to get a foot in the door
of the market led by the U.S. film industry, she believes it is necessary
to imitate Hollywood’s movies. The Korean Wave provided producers
and agencies in the film industry a great opportunity to pave a
powerful distribution channel.
development responsible for reducing “culture” to a disposable item,
it should now provide citizens a chance to activate their cultural
lives. Lee’s ceaseless efforts to reclaim a “public cultural sphere” and
to secure survival rights for “indie” and underground musicians
emerge from his commitment to a democratic cultural society.
2) Building an Asian Cultural Bloc
Cultural researcher Won Yong-jin, whose position is postcolonialist,
raises new issues in his column, “Reading the Korean Wave Inside
Out”:
Ten or twenty years ago, we worried about the social effects of
American and Japanese culture on our country. We scolded young
people who indulged in American and Japanese culture and took
measures to protect our culture. When the American and Japanese
cultural invasion turned into economic invasion through the sale of
cultural products, we got angry and raised our voices. Now that the
shoe is on the other foot, we do not think seriously about what the
Korean Wave means for people on the other side. If we were to
view ourselves from the other side, we would be ashamed (Won
2001).
Won calls into question the lack of self-reflection within Korean society
and those who are eagerly promoting the export of popular culture.
He writes sarcastically, Gather everything that we can sell! . . .
Let s make sure we use this opportunity to increase our market
share! . . . The logic of market expansion rules the day. . . . I wonder
if we are not engaging in cultural sub-imperialism. Nonetheless, he
wishes to use this phenomenon as an opportunity to create an Asian
cultural block that could stop the flow of Western or American culture
into Asia.
The first priority should be to set up a cultural block to the flow of
American culture. The Korean Wave, an Asian event, is an ideal
opportunity to construct an Asian regional community. In order to
Reading the “Korean Wave” as a Sign of Global Shift 165
To Paik, the Korean Wave is a temporary appearance within the
“cultural void” created in the period in which the Chinese have not
yet become ready to make “Chinese” cultural commodities. Opposing
the positions that Asian neighbors are economic targets and that
transforming Asia into one big market is desirable, she suggests: “By
frankly exposing the cultural ups and downs of modernization, let us
establish healthy chains of communication and authentic means of
understanding. That way, we can control the Korean Wave and create
a genuine culture.” Paik wishes to promote “minjung culture”
rather than commercial culture. In fact, from the 1980s, she helped
Kim Min-gi, the prominent artist of “minjung movement” to produce
his musical Subway Line #1 in China.
Cultural critic Lee Dong Yeun, who also views the Korean Wave
as a product of shallow capital culture and the industrial state, is particularly
critical of chauvinist nationalism and the entertainment
industry. He sees not only the stage on which the Korean Wave is
perched but also its background, and writes:
Congratulations are in order to the entertainment industry, which
took the initiative to plant a flag of victory in the popular cultural
market of mainland China, with all its endless possibilities. Even
the government, which has been grappling with an advancing
modernity, is performing a supportive role this time. . . . Historically,
no country other than Korea has ever held an emergency meeting
and dispatched bureaucrats to another country to help its entertainment
industry settle in foreign soil (Lee 2001).
Lee then scathingly reports on the lack of a genuine cultural infrastructure
in order to point out a need for it, and claims products that
emerge from a barren ground have little hope of sustenance. He
argues that products created by the “illicit union” of an export-oriented
state and short-term capitalist logic that forces everything to either
turn a quick profit or disappear, cannot but remain low quality. He
further urges the government to invest in libraries, live stages, and
conditions that allow pop artists to live properly. According to Lee, a
leader of the Cultural Action, since the state carried out an economic
164 KOREA JOURNAL / WINTER 2005
Kim describes the desire to turn the Korean Wave into a golden hen
able to lead South Korea into an era of high value-added cultural
industry. Viewing the Korean Wave as part of the process of global
capitalism and the unique experience of modernization in the Asian
region, Kim suggests the need to look carefully at the innumerable
points of exchange created through the operation of transnational
financial capital and human flows. Won and Kim particularly emphasize
the reciprocal cultural exchanges and the coexistence of multiple
cultures.
Kim emphasizes the importance of field work in understanding
the historical context and specificities of the “locals” to be contacted.
She stresses that the popularity of Korean dramas must be understood
in relation to the vast increase in the number of cable television
channels to about 120 channels in Taiwan and the viewing
habits of an audience used to viewing diverse foreign programs (Kim
Hyun Mee 2003). She also notes the much cheaper price of Korean
dramas compared to Japanese dramas as another factor of the Korean
Wave. She criticizes simplistic approaches to the Korean Wave, saying
that inter-Asian cultural flows create complicated and multidimensional
transnational ones. Kim particularly emphasizes the different
patterns of East Asian cultural consumption along class, race,
and gender lines.
The “Second Korean Wave”: After 2003
The discourse analysis of writings on the Korean Wave that appeared
from the beginning of the year 2001 ends here. Optimists hoped that
in a short period of time South Korea would become a first-rate
“cultural nation” while more cynical observers predicted that the
Korean Wave would soon cool. However, contrary to most expectations,
the Korean Wave seems to have grown stronger. In the fall of
2003, Winter Sonata (Gyeoul yeon-ga), a drama of romantic love,
became a big hit in Japan.
Research by the Korean Economic Research Center calculated 3
Reading the “Korean Wave” as a Sign of Global Shift 167
construct a strong cultural block, we need several things. We
should not make commercial mass culture and consumer culture
the basis of the regional cultural block. . . . The formation of an
Asian cultural block is important for the creation of a community
based on a mutual understanding. . . . The Korean Wave is an
important start so it is unfortunate that we are discussing it only in
terms of increased business opportunities and profit maximization.
We are incurring a bigger loss by pursuing a smaller gain (Won
2001).
Won views the Korean Wave from a cultural relativist position (yeokjisaji
…….., or putting in the other’s shoes). In order to respond to
the power of the North America, he thinks that Asia should create its
own cultural economic bloc just like Europe. Cultural anthropologist
Kim Hyun Mee (2001) proposes similar but more realistic suggestions
to move beyond grand analyses or normative declarations. She suggests
a two-pronged strategy: getting to know the workings of secular
capital and finding the site of intervention for building postcolonial
communities in a “coeval” Asia.
Today’s situation, in which various pop cultural products flow and
are exchanged, definitely differs from the period in which pop culture
was mainly produced and distributed by major Western record
companies, film companies, distributors, etc. Precisely because of
this, it is imperative that we understand the “Asian context” of cultural
production, distribution, consumption, and “fandom.” . . .
One way to understand the flows of pop culture within the Asian
region is the “coevalness” of cultural production and consumption.
The various cultural exchanges within Asia are not exchanges
occurring at the level of the state. Regardless of the boundaries of
nation-states, it is shared by people who have experienced the contemporaneous
changes brought about by Asian modernity and who
are seeking to solve its “problems.” . . . Rather than being a product
of Korean popular culture’s uniqueness or superior quality, the
Korean Wave may be a result of the “ability” of a most secular capitalistic
materialist desire to appease the newly emerging desires
and diverse anxieties in the Asian region (Kim Hyun Mee 2001).
166 KOREA JOURNAL / WINTER 2005
magazine, reported the international popularity of Korean movies in
this way: “Korean Movies Resolve People’s Age-old (historically
accumulated) Wrath” (Weekly Chosun, February 19, 2004, 22-23).
The tone of media discourse about the “Second Korean Wave” is less
ideological, although the nationalist undercurrent remains strong.
The news and reports are more fact-oriented than the discussions of
2001, and include world maps full of celebrity photos, the names of
hit movies and dramas, and figures describing the prevailing popularity
of Korean pop culture.
Research reports, academic conferences and policy meetings
soon followed. The Samsung Economic Research Institute (2005)
drew up a special report on the economic effects of the Korea Wave.
Entitled “The Korean Wave Sweeps the Globe,” the report classifies
countries that import Korean pop culture into four stages, in terms of
their pattern of consuming Korean cultural products. The first stage is
that of simply enjoying Korean pop culture, and this is applied to
Egypt, Mexico and Russia. The second stage involves buying related
products such as posters, character items, and tours; Japan, Taiwan,
and Hong Kong are classified in this category. The third stage is buying
“Made in Korea” products; China and Vietnam fit this description.
The final stage reflects the development of a general preference
for Korean culture itself. According to the report, there are no countries
that belong to this category yet. The report urges the development
of high quality “content” by paying more attention to “marketing
strategies,” such as the “co-development of content.”
The report concluded by proposing the reinvention of something
uniquely Korean. This report concluded, “If the Korean Wave represented
an East Asian trend in Korean contents, then we need to make
people interested in Korean culture through “feeling Korea” and
increasing the export of Korean food, drinks, and lifestyles, which
contained the essence of Korean aesthetics, emotions, traditions, and
culture.” Modeling itself after “Japonism,” through which Japan at
the end of the nineteenth century made its existence known to European
culture, with expressions like “Japanese style,” “Nippon feel,”
and “Japanese Wave,” “feel Korea” was an attempt to create a struc-
Reading the “Korean Wave” as a Sign of Global Shift 169
billion dollars as the profit generated from the “Yonsama (the male
actor) Heat Wave.” Tourism revenue alone totaled 840 million dollars,
and the running royalties for KBS reached more than 100 million
dollars.1 Another drama, A Jewel in the Palace (Dae Janggeum),
which portrays the heroic life journey of a dedicated female cook
who finally receives the title of “master” from a king during the
Joseon dynasty, also became hugely popular in Taiwan, Hong Kong,
and China. Movies and dramas continue to be popular in Asia and
sell well in Japan, as well as other parts of the world, including the
Middle East and Eastern Europe. Norimitsu Onishi, a New York Times
correspondent in Taipei reports that about 80 percent of Taiwanese
tourists to South Korea pick television-themed tours, visiting spots
where their favorite dramas were filmed (New York Times, June 28,
2005).
Films such as Friends (Chin-gu), Silmido, Taegukgi, My Sassy Girl
and many others have become big hits in Asia and are shown in the
West. In 2002 and 2004, three film directors were chosen as the best
directors of the year by the world-renowned film festivals, namely,
the Cannes Film Festival (2002), the Venice Film Festival (2002) and
the Berlin Film Festival (2004). Having received internationally
renowned awards meant much to people in the “margin.” Several
pages in special editions of weekly and monthly magazines paid tribute
to Korean film’s historical figures (Weekly Chosun, February 19,
2005, 30-31).
The Korean Wave surged once more around TV dramas and
films in the spring of 2004. Some media described it as the “second”
or “new” Korean Wave (Weekly Chosun, March 11, 2004, 25; Sisa
Journal Weekly, April 22, 2004). The Weekly Chosun, a conservative
168 KOREA JOURNAL / WINTER 2005
1. Even though the profits are shared by Japan and Korea, NHK earns a lot more
through its licensed broadcasting of the Winter Sonata than Korean broadcasters.
Producer Bak Jae-bok, who has played a key role in exporting the dramas, said, in
response to complaints that NHK earned more money than the production company,
that NHK deserves the money for their carefully tailored service (KCTPI 2005,
39).
emerge. In contrast, the facts that the film industry was able to put in
place the “screen quota” system and that many filmmakers were student
activists who entered the film industry with a historical consciousness
are both stressed as key differences of the film industry
from the cases of other countries.
The government’s roles in the rise of the Korean Wave were
assessed at the forum, and Bak and Sim Sang-min both criticized the
government’s lack of assistance in the development of the cultural
traffic, both in terms of the lack of resources and the way that money
was invested. Stressing the idea that Korean culture was being
received and consumed in each culture differently, Kim Hyun Mee
emphasized the need for differentiated policy measures depending on
the consumption pattern of popular culture in each country. She stated
that, in contrast to multi-media and multi-cultural industrial countries
like Japan and Singapore, where consumer choice is important
and the government has little room to intervene, in post-socialist
countries such as China and Vietnam, there is greater room and need
for the government to intervene. Kim Hyun Mee emphasized the
need for field research to deal with various problems that arose due
to ignorance of local agencies, such as the preparation of cooperative
agreements regarding intellectual property rights, and support for the
translation industry, etc. Kim Hyun Mee also maintained that it is
time for the market people to reinvest their economic gain from the
Korean Wave in order to improve the poor working conditions of
laborers in that industry (2005, 45).
Professor Paik Won Dam, who in 2001 called the Korean Wave
the “embodiment of the West having penetrated our bodies” published
a book in 2005 entitled Korean Wave: The Cultural Choice of
East Asia, in which she goes beyond her initial proposition that the
“conscious minjung” should engage in a cultural exchange. Following
Koichi Iwabuchi’s argument that Japan’s penetration into Asian
culture or the “Japanese-style Korean Wave,” as she puts it occurred
through erasing traces of the national origins of the products, she
wrote that the Korean Wave, in contrast, “is entering the Asian cultural
market with a ‘Made in Korea’ sticker displayed proudly on its
Reading the “Korean Wave” as a Sign of Global Shift 171
ture of consciousness and feeling through which South Korea could
make itself known to the world. The report added that when the sensibility
contained in these contents surpassed “Korean sensibility” to
include Asian values such as Neo-Confucian and family values, then
it would be more appealing to non-Koreans and that South Korea
could build a cultural Silk Road (SERI 2005, 19-20).
If the report by the Samsung Economic Research Institute reflects
the convergence of market logic and cultural nationalism, then the
discussion contained in Munhwa siseon (Culture/Gaze), a semi-academic
journal published by the Korea Culture & Tourism Policy Institute
(KCTPI), reflects more diverse voices in the field. The discussion
took place in March 2005 with the postcolonialist Won Yong-jin as
the chair, and six academics including Kim Hyun Mee (KCTPI 2005,
30-57). At the forum, Bak Jae-bok and other participants predicted
that the Korean Wave would continue to surge for some time. They
agreed that the traffic in Asian drama began with the liberalization of
Taiwan’s drama market in the early 1990s, Japan being the main
exporter at the time. Korean drama, then, entered the niche market
in the late 1990s when consumption of Hong Kong and Japanese
popular culture was declining.
For the last five years, Bak has argued that the dance music that
started the upsurge in the Korean Wave is not very prominent in Asia
now. Even though its energetic tunes brought an enthusiastic
response from Asian teenagers, the industry did not have enough stamina
to keep on producing competitive products for Asian teenagers.
In contrast, from the mid-1990s, the Korean dramas started entering
the living rooms of all Asian countries, as Samsung and LG distributed
free copies of Korean dramas to the broadcasting stations in
Asia to promote its own products. In the case of South Korea’s drama
industry, the state’s protection of South Korea’s three broadcasting
stations from foreign media is said to have largely contributed to the
high quality of the current dramas. The existence of the three large
broadcasters KBS, MBC, and SBS, which received the monopolistic
protection of the state, further helped mobilize the viewers into one
group while competition among them caused “popular products” to
170 KOREA JOURNAL / WINTER 2005
growth. This fact is itself indicative of larger problems at work in
Korea, especially neoliberal turn that has been taken since the IMF
crisis. However, I think it is possible to attend to the logic of capital
at work in the Korean Wave while still holding out for other stories
that can be told about the dissemination of and response to this new
cultural phenomenon.
Constant Learning about the Self and Society:
Globalization, (Post) Modernity, (Post) Coloniality,
Neoliberalism and “Asia”
Within the rapidly swirling whirlpool of which we are all a part, our
lived realities are radically different. The world is moving so rapidly
and in such a complex manner that we have almost given up any
attempt to analyze it comprehensively. However, as is apparent in
the diverse discussions presented above, the real learning has just
begun.
When we sort the different stories above, several things become
clear. First, it is worth considering the way that nationalist fever
helped coin the term “Korean Wave” in the first place. One story
says that the term Korean Wave was created when a record company
put it on the cover of a Korean pop record jacket. Another story
insists that it was a term the Korean government attached to promotional
copies of Korean records (Paik 2005, 179). However, the term
“Korean Wave” would seem to have first appeared in 1999 when a
Chinese newspaper used it in an article about a H.O.T. concert in
Beijing. Some Chinese informants told me that the word has a cynical
nuance since the word also sounds like “cold wave.”
When it was introduced to South Korea, however, it caught the
imagination of the Korean media, causing them to believe that the
wind of Korean culture was blowing through the entire Asian region.
To the people of “a marginal country,” who had for so long lived
under the oppressive culture of other countries, the news that their
own culture was influencing other countries’ cultures could have
Reading the “Korean Wave” as a Sign of Global Shift 173
sleeve” (2005, 288). Following this logic, she further stated that the
“Korean Wave is ultimately not something that can be continued
through the efforts of state and capitalism . . . rather, the Korean
Wave is something that we need to create in order to shake off the
burden of an unhappy history and head towards more peaceful relations.”
What is notable about her book is her positive reevaluation
of the Korean Wave, seen in her statement, the “Korean Wave is
enabling mutual communication in East Asia,” and in her high confidence
in the ability of “ordinary Asian people” to communicate with
each other through the Korean Wave.
In contrast, Lee Dong Yeun, who declared that “the Korean
Wave is simply another form of B-class culture created by colonial
modernity and its derivative culture,” recently presented a paper entitled
“Korean cultural capital’s phenomenon and cultural nationalism”
in the Marxist journal Munhwa gwahak (Culture/Science) (Lee Dong
Yeun 2005, 154-175). In this article, he identifies many ominous
traces of cultural nationalism within the phenomenon of the Korean
Wave. He concludes his article by warning, “If the Korean Wave continues
to surge, reflecting the diplomatic relations that supports a
capitalist logic rather than a strengthening of the communicative
power of civil society to provide the possibility of diversifying the
cultural tastes of the masses, then it will have to put up a hard fight
against China’s ethnocentrism and Japan’s malleable nationalism.”
The discussions of the Korean Wave that emerged in the early
millennium were so hot that they did and continue to affect the
whole country. Overall, market-oriented vocabularies became more
and more prominent as the economic possibilities of the Korean
Wave were eagerly calculated. At present, it is difficult to invoke
strong criticism against the Korean Wave, which is heralded as “the
drum of victory.” Struggling to interpret a constantly changing reality,
the cultural nationalist, neoliberal, and postcolonialist camps are
redrawing the discursive terrain of the Korean Wave, sometimes
clashing, sometimes engaging each other in “strategic compromises.”
The initial diverse discourses surrounding the Korean Wave in some
respects congealed and merged in their concentration on economic
172 KOREA JOURNAL / WINTER 2005
Dam point out, copies. The Korean ballads were imitations of Western
music while most of the Korean dramas were clearly copied in
many aspects from those of the Americans and Japanese.2 In a way,
the South Korean cultural industry succeeded in creating their version
of the products through quickly copying Western blockbuster
films and Japan’s comedies and dramas. However, in the global modernization
process, most subcontractors eventually make their own
brands. Modernity is a history of imitation, and one should not deny
or underestimate the power of “copying.”
Within a “turbo capitalism” society that raced forward without
the space to engage in cultural reflection, popular culture started easily
dominating everyday life. In other words, the more a society
becomes accustomed to pursuing the new rather than guarding the
old, the easier it is to “massify” it. As Seo Hyeon-cheol indicated
above, Korean dance music was created through a massification
process. The dramas and dance music that was made this way is now
captivating Chinese women and teenagers who are becoming part of
a “turbo capitalist” country at an even faster pace than South Koreans
did. In contrast to viewers in Taiwan, China, Hong Kong, and
Japan, who feel a sense of identification as fellow “urban, global, and
middle-class” citizens in viewing the “sophisticated and individualistic
Korean stars,” teenagers in countries like China, Thailand, and
Vietnam are enthusiastically consuming the images and messages
offered through Korean-style block-busters and soap operas with the
desire to enter into that class.
Reading the “Korean Wave” as a Sign of Global Shift 175
been nothing other that amazing and wonderful. The statement,
“We’ve never had this experience of seeing our culture spread outside
our country. I’m very proud but also very cautious,” captures
well the sentiment of Korean people who first heard the news.
After all, the Korean Wave is not an incident centered in South
Korea but part of the phenomenon of capitalism’s rise in Asia. As Lee
Dong Yeun, Paik Won Dam and Kim Hyun Mee and others have indicated
above, the Korean Wave was a pop culture spectacle that
appeared as part of the process of global capitalism. Accordingly, an
understanding of the Korean Wave, or the production and circulation
of Korean popular culture, has to start from a look at the political
economy. The circulation of popular culture within Asia started with
the development of media technology, particularly in the 1990s.
Iwabuchi (2002, 152) has emphasized the development of communication
technologies in the advent of giant transnational media corporations
such as News Corp, Sony, and Disney having facilitated the
simultaneous circulation of media images and texts on a global level.
Since the 1990s, media interactions between East Asian societies
have increased through the global capital of the media industry.
In other words, the media technology revolution and global capitalism
have prepared the system for the manufacture of cultural products
and circulation within Asia. During that process, South Korea
became an exporter nation after having been a cultural importer just
as it became a producer of Nike shoes after having simply been its
manufacturer. At present, with the Nike factories that opened in the
1980s in Korea having fled to Southeast Asia, Korean drama producers
are planning the release of different products and preparing a system
for their circulation. The industry that began in 1993 with the export
of the trendy drama Jealousy (Jiltu) to Fukuoka, Japan, reached the
stage of exporting the hugely popular Winter Sonata within a decade.
The popular culture industry that was established in the late 1990s,
especially through the efforts of entrepreneurs who were looking for
an escape from the IMF financial crisis, is at present reaching its
zenith through the export of diverse products.
Of course, these products are, as Lee Dong Yeun and Paik Won
174 KOREA JOURNAL / WINTER 2005
2. Lee Dong-hoo (2004, 270-271) who did comparative research of Korean and Japanese
dramas, argued that the drama Jealousy (Jiltu), which was extremely popular
in 1992 in Korea and which signaled a turning point in Korean drama production,
shared a very similar storyline and cinematography with the Japanese drama
Tokyo Love Story, which was made in 1991. Both dramas portray young lovers
with urban and cosmopolitan life styles. The sit-com, Three Men and Three
Women (1996) is heavily influenced, if not a copy of, Friends (made in the United
States), while Old Miss Diary or My Name is Kim Sam-sun shares similar plots and
expressions with Sex and the City (made in the United States).
ing the Korean Wave. Even though the world looks as if it is heading
towards homogenization under American rule, in fact, the trend
towards regionalization is gathering force. Although they are similar
to American products, the products that have recently been called the
Korean Wave are said to possess the distinction of evoking a sense of
familiarity among people in Asia.
What is significant about cultural proximity is not the sum of
shared values, but rather “the dynamic process of feeling ‘real time’
resonance in other non-Western modernities while simultaneously
recognizing difference” (Iwabuchi 2001, 73). The circulation of popular
culture is narrowing the geographical, social, and psychological
distance between Asians by providing many topics for conversations,
stimulating tourism, and providing opportunity for diverse meetings.5
The non-Western people who have so far confirmed their existence
only through the West are finding new opportunities to construct an
alternate consciousness through the sharing of popular culture.
The importance of encountering and “discovering” neighbors
(and selves), who have so long existed as “the other,” cannot be
underestimated in the discourse of post-colonial history of Asia.
Mandy Thomas, an anthropologist who works primarily in Vietnam,
observed that East Asia is “no longer seen as politically and socially
different from Vietnam, as popular culture is being shared throughout
the region” (Iwabuchi et al. 2004, 181). In other words, the trend
through which people in Asian countries are forming new groups,
discovering new selves, and are constructing a new “contact zone” is
becoming stronger. In fact, there is an abundance of research con-
Reading the “Korean Wave” as a Sign of Global Shift 177
After all, the crucial issues here are those of global capitalism
and class. As Kim Hyun Mee emphasizes, the Korean Wave is a product
of the consumer desires of Asia’s rapidly emerging middle-class,
which is “eager to transform their (and their parents’) economic capital
into cultural capital using notions of ‘individuality’ and ‘distinction’
in order to construct their identities” (Kim Hyun Mee 2001).
Korea’s dance music and the dazzling images of the drama heroines
became the medium for the transformation of capitalist Asia. In a
way, the Korean entertainment industries have contributed greatly to
forming a new subjectivity for a rapidly changing Asia, especially by
defining “Asian femininity.”3 As the United States has circulated capitalistic
desire through Hollywood movies and popular dramas since
the mid-1950s, the Korean culture industry is accomplishing the same
with neighboring Asian countries. Korean pop culture is gaining popularity
in fact, not only in Asia but outside as well.4 More accurately,
it appeals to a certain global middle and lower middle-class by presenting
upscale hyper-modern lifestyles. In a way, the Korean Wave
plays a significant role in accelerating the transformation of global
residents into neoliberal subjects in an era where all types of communities
are being disintegrated and atomized.
However, the diverse images and texts circulating within the
region known as “Asia” are causing unexpected ripple effects. The
final topic that I would like to emphasize is this aspect of postcoloniality,
a conjuncture and disjuncture of people and culture (Appadurai
1990). Within the international context, the existence of an Asian
middle-class audience that was either antagonistic towards or bored
with Western cultural hegemony played a significant role in promot-
176 KOREA JOURNAL / WINTER 2005
3. One has often heard the criticism that Korean dramas are creating a hyper-consumeristic
culture and promoting plastic surgery. Observing Chinese teenagers
becoming addicted to Korean on-line games, the Chinese newspaper Guangming
Daily recently called Korean on-line games “electronic heroin” (Paik 2005, 8).
4. The Times (November 14, 2005) reports about Korean pop culture under the title
of “Reinventing Korea.” The South China Morning Post has a report on the worldwide
popularity of Korean pop culture with the headline, “It’s Seoul Cool in America”
(October 31, 2005).
5. Yukiko Sato immigrated to Los Angeles from Japan in her 20s and now works as a
hair stylist. Unable to resist the strong suggestions of a customer, Yukiko, who did
not consider herself a “drama person,” was persuaded to view a Korean drama All
In, featuring the star Lee Byung Hyun (Yi, Byeong-heon). Now she has become an
ardent fan of Lee and Korean dramas. Going frequently to the Korea Town to rent
videos, she became interested in Korean food and she, who could not even eat
spicy food, now loves to cook spicy kimchi (gimchi) stew. She recently purchased
a DVD copy machine in order to copy her favorite dramas and give them to her
friends. She has plans to visit Korea soon.
production and the strategies of “subversive,” not “submissive,”
mimicry. Derrida (2001, 164) suggested that with such multifaceted
transformation occurring, “We must not forget that nationalist sovereignty
can resist the concentration of power in transnational capitalist
power and, at the same time, weaken the very notion of national sovereignty.”
I imagine a postcolonial Asia constructed through the
flows of popular culture where the term “Korean Wave” will be used
together with the “Taiwanese Wave,” “Chinese Wave,” “Vietnamese
Wave,” “Malaysian Wave,” etc. I plan to pay more attention to the
Korean Wave rather than discarding it, since it provides me/us with
new “contact zones” (Pratt 1992) within which to find an interest in
my/our neighbors and to reflect upon both them and myself who
have been “othered” for so long in modern history.
REFERENCES
Apaeth, Anthony, and Donald Macintyre. 2005. “Reinventing Korea.” Times,
November 14.
Appadurai, Arjun. 1990. “Disjuncture and Difference in the Global Cultural
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firming that middle-class women in the Asian region are engaging in
historical reflection through watching dramas (Iwabuchi 2002, 121-
157, 2004, 165; Kim Hyun Mee 2003; Kim E. 2005).
Many cultural researchers trivialize the effects of TV dramas, and
view them as something viewed only by bored housewives. There
are also many Westerners, especially American academics, who view
the consumption of Korean dramas as being no different than consumption
of American soap operas. However, the position that popular
culture occupies in South Korea, Asia, or some other part of the
world is different. The popular media has become a powerful voice
influencing and disseminating public opinion. Because of this, television
and dramas are not the trivial pursuits of people without power,
but rather, represent a popular genre that plays a key role in the construction
of public opinion.
In the similar manner, the discussion about an “Asian bloc” also
has room to be freshly interpreted. There is a tendency within Western
academia to easily dismiss stories about Asian solidarity as
another form of nationalism. However, cultural exchanges within
Asia are not just the exchanges occurring at the level of the state.
They are shared by people who have experienced the contemporaneous
changes brought about by colonial modernity and who are seeking
to solve its “problems.” In the American context in which
Asians/Asian Americans are racialized and marginalized, for example,
Park Jung-Sun (2004, 292) finds a construction of an imagined
pan-Asian community in which people of Asian backgrounds share
common cultural references, feel comfortable and have fun. Of
course, the “people” here are not one subject but diverse subjects.
They include women, men, youth, the middle-aged, teenagers, gays,
and diverse people and communities with diverse desires and
dreams.
Is it possible to say the “public realm” is being constructed
through the common consumption of popular culture in the place
where the public realm has not been yet been constructed? Ordinary
fans as well as cultural researchers have begun to engage in postcolonial
practices through discussions about alternative forms of cultural
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Korean Wave on Film and Drama
? Based on the two articles about ‘Korean Wave’, write a literature review that gives a detailed discussion and assessment of how experts have approached this issue. Compare and contrast the works you are discussing. The review should show their strengths and weaknesses, how they agree/disagree, and what contribution they make to your understanding of the topic.
? Structure: Introduction, body and conclusion, well-formed paragraphs, and a logical structure.
? This essay will undergo plagiarism check software called ‘Turnitin’ Direct copy from the original articles is strictly prohibited.
? Do not outsource other articles. Stay with the two articles that

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