Korean Television Research Articles

The TV series "Symphonic Novel" in the Aspect of its Narrative Specificity

The article is devoted to the problem of the formation of narrative qualities in the South Korean television series "Symphonic Novel" (Russian version) as in the journalistic product of media communication. Based on a comprehensive analysis, the author comes to the conclusion that in the TV series "Symphonic Novel", the narrative modality is formed in the TV series together with lyricism as a system of principles and views that are displayed in the plot. Narrative becomes an important distinguishing characteristic of the TV series "Symphonic Novel", which allows it to become a unique and effective tool for influencing foreign (Russian-speaking) audiences in order to form a stable positive perception of South Korean culture and the South Korean state as a whole. The relevance of studying a television series as a way of forming a country image does not decrease due to its specific role in the formation of certain ideological attitudes that enhance its socio-cultural significance. The issue of the narrative of the TV series is also relevant due to its particular popularity among a wide audience. So, in the interaction of the audience with the content of the TV series "Symphonic Novel", media communication, due to its features — publicity and mediation — receives specific parameters for the image of the author. Narrative discourse, complicated by the narrative instance, begins to obey the laws of the media text, the classical concepts of "plot", "image of the author", etc. they can be interpreted differently — through a communicative model. The narrative in the media space is determined by the psychological and social characteristics of the addressee — interests and needs, social status, emotional state (now) and personal qualities (always). The final product is also influenced by his ideas about the communicative situation, about himself as a subject of speech, about the direct recipient and random participants of communication, expectations of a perlocative effect (although the latter often lies outside the linguistic reality).

학술지 『한국극예술연구』와 텔레비전 드라마

The Journal of Korean Drama and Theatre published by the Learned Society of Korean Drama and Theatre is the most representative journal for research on Korean television dramas as a kind of drama act. The number of theses that have been gathered by a total of 75 journal series is as many as 615, which have been issued until 2020, since 1991 when it was launched. Of them, the theses on television dramas began to be initially published by the 21th series issued in 2005, and then 76 theses investigated by 35 researchers are currently published. The scenes beyond/post sheet, which appear in television dramas as image literature, become main texts, due to the genre characteristics. Lines and scenes in screens are naturally mobilized for any quotations. The current research on television dramas, however, do not give any academic guidelines regarding the quotation of lines and scenes. This paper, therefore, attempts to provide a direction of examining the current conditions of the lines and scenes quoted by research on television dramas based on 76 theses gathered in The Journal of Korean Drama and Theatre and helping both the society and the journal improve them. The measure may be largely specified as five proposals. The key point of them lies in the essence of the quotation properly certified by research, in other words, the practice of it, which make it possible to realize scholarly conversations with academic value.

PENGEMBANGAN STRATEGI PEMASARAN PRODUK OLAHAN SUSU “KOMIKU” PADA MERRY FOODIES LOMBOK TIMUR

Milk is a food that is rich in benefits and nutrients. There are many benefits obtained from the content of milk, making milk produced by many producers. One of the home industries that produces dairy products is Merry Foodies, which is located in Selong, East Lombok Regency, West Nusa Tenggara Province. The business idea of ​​making Komiku dairy products originated from the phenomenon of public interest, especially the Indonesian people who are interested in things that are related to the South Korean state, including processed food products that are often shown on South Korean television shows. In this study, we will discuss how to develop a marketing strategy for "Komiku" dairy products at Merry Foodies, East Lombok with a qualitative research approach. The analysis used in this research is SWOT analysis . 
 The results on the SWOT matrix show that Merry Foodies as a milk processing producer has strengths in terms of packaging, taste, raw materials, and prices. However, there are several weaknesses, namely products that are easily damaged, difficulties in terms of distribution to more remote areas, limited capital and the absence of BPOM. Opportunities owned are quite broad market share, large target market and product diversification. Meanwhile, the threats they have are the season, the nature of consumers and new competitors. The development of the marketing strategy used by Merry Foodies is the convert selling strategy and other strategies in the marketing mix.

How Do We Accept YouTube Channels? An Analysis of Sequential Acceptance of a Shared Platform

With the unprecedented growth of YouTube in the South Korean video market, this study aims to understand its exponential expansion of users by investigating the network effects of YouTube as a shared platform. To this end, we propose a new acceptance model where two discrete intentions (to subscribe to and share YouTube channels) were designated within the same phase and named sequential acceptance. For an analysis of the new model, the study conducted an online survey, due to Covid-19 circumstances, on generation Z YouTube users for a month in April 2021 and found 377 valid data. We used PLS-SEM for the model assessment and revealed meaningful explanatory power of sequential acceptance. To be specific, subscription intention plays an anchor point engendering a significant influence on sharing intention in that perceived values revealed mediating effects through subscription intention, validating the sequential acceptance. The value of this study is that our multi-layered intentions explain the user’s acceptance in-depth compared to existing studies and that our model can be a transformative foundation for future platform and acceptance studies by applying them in a different context. The study then recommends a series of actions to improve research and marketing strategy on a shared platform.

How Do We Accept YouTube Channels? An Analysis of Sequential Acceptance of a Shared Platform

With the unprecedented growth of YouTube in the South Korean video market, this study aims to understand its exponential expansion of users by investigating the network effects of YouTube as a shared platform. To this end, we propose a new acceptance model where two discrete intentions (to subscribe to and share YouTube channels) were designated within the same phase and named sequential acceptance. For an analysis of the new model, the study conducted an online survey, due to Covid-19 circumstances, on generation Z YouTube users for a month in April 2021 and found 377 valid data. We used PLS-SEM for the model assessment and revealed meaningful explanatory power of sequential acceptance. To be specific, subscription intention plays an anchor point engendering a significant influence on sharing intention in that perceived values revealed mediating effects through subscription intention, validating the sequential acceptance. The value of this study is that our multi-layered intentions explain the user’s acceptance in-depth compared to existing studies and that our model can be a transformative foundation for future platform and acceptance studies by applying them in a different context. The study then recommends a series of actions to improve research and marketing strategy on a shared platform.

Your Bodies are Our Future: Vietnamese Men’s Engagement with Korean Television Dramas as a Technology of the Self

ABSTRACT In the 21st century Korean television dramas (K-dramas) have featured prominently in the Vietnamese menu of mass cultural consumption as part of Hallyu – the global popularisation of South Korean cultural products. Grounded in Michel Foucault’s notion of ‘technologies of the self’, which conceptualises humans’ use of various means to achieve personal ambitions, this article discusses how Vietnamese working-class men use K-dramas in their constructions of self. It explores these informants’ ‘forward-learning’ reception, manifested in how they draw lessons from two prominent themes in K-dramas: the pursuit of dreams and representations of soft masculinities, marked by upper- and middle-class male characters’ metrosexual lifestyles. Through a psychosocial exploration of these informants’ viewing experiences, the article examines how they construct a modern self that fits their desire for a metropolitan lifestyle and upward mobility in light of neoliberalism in modernising Vietnam. The article contributes to Hallyu research, audience research and contemporary Vietnamese studies.

“I’d Have Divorced My Husband If Not for Korean Dramas” – Vietnamese Women’s Consumption of Television Romance and Melancholia

ABSTRACT Drawing on the Freudian concept of melancholia and David L. Eng and Shinhee Han’s contemporary approach to the concept, this article discusses how Vietnamese married women consume romantic South Korean television dramas as a means to deal with unacknowledged and unresolved loss, or the psychic condition of melancholia. Through a case study of melancholia in a female research participant and a discussion of Vietnamese women’s marital lives, the article proposes two arguments. First, romantic consumption can be a private way for Vietnamese married women suffering from restricted freedom due to societal overemphasis on their familial duties to cope with melancholia. Second, the mass romantic culture, as a melancholic genre, allows married women to collectively mourn lost emotions such as the feeling of being young and being in love. The article makes a theoretical contribution by utilising Freud’s melancholia and Eng and Han’s contemporary approach to the concept for its empirical research. It also enriches an academic understanding of melancholia through its application of the concept to married women’s psychic lives within a contemporary Vietnamese context.

Changes and continuities of Makjang drama in the Korean broadcasting industry

ABSTRACT This paper examines the changes and continuities of makjang drama series within the structural changes that abound in the Korean broadcasting industry. Based on analysis of publications by terrestrial broadcasters and statistics of television ratings, the findings indicate that terrestrial television networks, which have been the major production and distribution outlets of Korean television dramas, recognize makjang drama to be important in securing their position following the entry of new players into the market, namely mobile and social media platforms, streaming services, and new broadcasters. While leading screenwriters and production studios strive to evolve and move away from the genre by reflecting the changing tastes of audiences, terrestrial broadcasters continue programming makjang drama despite criticisms against the genre as they record high television ratings with strong support from older audiences. In spite of criticisms and controversies over their improbable plots and violent and sensational clichés, the findings of this study explain that much of broadcasters’ persistence in producing makjang drama should be understood within the context of industrial changes.

Mapping Fairy-Tale Space: Pastiche and Metafiction in Borderless Tales

Mapping Fairy-Tale Space: Pastiche and Metafiction in Borderless Tales contains just two sections: “Mapping Fairy Tales” and “Fairy-Tale Maps.” The first section analyzes and critiques the ABC television series Once Upon a Time (2011–2018), Marissa Meyer's series of The Lunar Chronicles (2012–2015), and Seanan McGuire's Indexing (2014), each of which uses a combination of classic fairy tales (such as Cinderella and Snow White) to create physical and sometimes geographical boundaries that guide audiences through the story lines. Christy Williams deems these stories “borderless” because they transcend political and geographical boundaries and exist without confinement of storytelling techniques, determined geographical boundaries, or general understandings of science.The book's second section, “Fairy-Tale Maps,” analyzes the Korean television drama Secret Garden (2010) and three short pieces of fiction by Kelly Link. Williams demonstrates how the characters in those works learn that fairy tales may contain outdated lessons and thus are not always reliable guides for modern-day behavior. For example, the characters in Secret Garden recognize that they must reject the misogynistic and gender-normative tropes of “Cinderella” and “The Little Mermaid” in order for their relationships to succeed. For those characters, fairy tales are not so much a Global Positioning System (GPS) or digital map as they are antiquated maps, which allow these characters to navigate their own stories. Williams argues that fairy tales, despite their outdated lessons, maintain their value. Through pastiche and metafiction, fairy-tale retellings may provide the same useful tools—specifically, maps and guidance—for which they were created.Mapping Fairy-Tale Space eloquently and substantively creates a basic understanding of both pastiche and metafiction as narrative styles, and also explains how these tools lend themselves to mapping fairy-tale retellings in a metaphorical way. Williams carefully explains the premise of each text before engaging with her argument. As both an example and introduction to the study of fairy tales, Mapping Fairy-Tale Space should serve as an excellent teaching tool and a guide (literally a map) for engaging with the popular fairy-tale retellings she has selected.Williams’ treatment of Secret Garden best exemplifies how she deconstructs fairy-tale retellings to demonstrate how metafiction acts as a map for the characters and how each tale's cultural context may impact the story. By the end of chapter 3, I found myself enthusiastically nodding along, and even more so with the book's conclusion: “Fairy tales are a fantastic space, open for exploring issues of one's own culture and life, and fairy-tale maps need not lead in the same directions as they have in the past” (p. 173).Nevertheless, the book left me craving more cultural context and more social commentary from its other case studies. With Secret Garden from Korea, Williams readily engages with the drama's social commentary, but unfortunately does not do the same with Once Upon a Time from the United States. The latter, for example, provides social commentary by incorporating the character of Mulan as a potential for lesbian/queer love stories. Here, Williams might have considered how popular shows like Once Upon a Time may sometimes commodify LGBTQ+ communities by queerbaiting (when creators of shows tease at but do not canonically include same-sex relationships or LGBTQ+ representation), which situationally affects the retelling of the fairy tale. Similarly, Williams fails to address the wider implications of Once Upon a Time's inclusion of a story line from Disney's Frozen (2013) shortly after the latter's release in order for Disney (which owns the television network ABC) to maximize its profits from the film. Here, too, Williams might have better connected threads and probed more deeply into the cultural contexts of these texts.Scholars in folklore studies should appreciate the way that Williams effectively demonstrates how fairy-tale elements are used in retellings. Some non-academics may need more frequent reminders that Williams uses maps and geography metaphorically. However, even though written in an academic voice, the book may appeal to a wider audience because (as Williams points out) retellings of fairy tales have become more popular, especially for the Disney generation (meaning the generation that grew up watching Disney's animated versions of fairy tales). Thus, shows like Once Upon a Time and book series like The Lunar Chronicles are fairy-tale texts that have already captivated wide audiences, who consequently may find this book alluring. For those readers, Mapping Fairy-Tale Space may be a safe, enthralling way to enter the academic realm of folklore studies.

성인사이트에서 디지털 성범죄 실태와 대책

This study analyzed adult sites serving in Korean that were surveyed through Google Web search to respond to digital sex crimes. As a result of the analysis, There were 270 adult sites that were serviced in Korean. ② From the 270 searched adult sites, there were 100 adult sites that could be accessed. ③ Adult sites can check all illegal content for free without membership. ③ In adult sites, 55% of adult sites have Korean video-only boards, and 66% of adult sites have Korean videos regardless of exclusive bulletin boards. ④ There are an average of 14,250 videos posted on the Korean video-only bulletin board. ⑤ Seventy-seven percent of adult sites posted sexual exploitation of children and adolescents abroad and 34 percent of adult sites posted sexual exploitation of children and adolescents in Korea. ⑥ Thirty-six percent of adult sites have photo-only boards. ⑦ In 100 adult sites, 94 adult sites have first (main) page banner advertisements, 72 adult sites have video page banner advertisements, 50 adult sites have pop-up advertisements when playing videos, and 61 adult sites have video player advertisements. ⑧ The first (main) page banner advertisement on 94 adult sites is 1,485 in total, with an average of about 16 on one adult site. The content of banner ads on the first (main) page was 73.2% for illegal gambling and 11.9% for prostitution businesses. ⑨ There are 373 banner advertisements for video pages on 72 adult sites, an average of about five on one adult site. In the content of banner advertisements on the video page, 72.4% were illegal gambling and 12.3% were prostitution companies. ⑩ When playing a video on an adult site, the content of pop-up advertisements and player advertisements were different each time the video was played. Legal businesses and companies such as games, online shopping malls, online travel agencies, and Internet broadcasting are being advertised. If digital sex crime measures are sought based on the analysis results, illegal gambling sites, which are the largest advertisers than adult sites, should be blocked. ② Measures should be taken against organized criminals who are participating in the operation of illegal gambling sites. ③ Measures are needed for legal business and corporate advertising that are being advertised on adult sites for adults. ④ Policies should be implemented to reduce fears of digital sex crimes.

ARTISTIC REFLECTIONS IN THE GLOBAL SENSATIONAL SQUID GAME SERIES

Squid Game, Netflix platformunda yer alan dokuz bölümlük Güney Kore yapımı bir dizidir. Gerilim-dram türünün bir örneği olan dizide oyun sahnelerinde çocuksu masum temalar gösterilmesine rağmen gerçekte çokça kan ve şiddet unsuru yer almaktadır. Söz konusu dizide, birçok sahnede bilinçaltına yönelik etkileme yöntemleri uygulanmaktadır. Bilinçaltındaki bilgiler çağrışımlar yoluyla izleyici hem sorgulatıp hem de merak ettirmektedir. 
 Dijital platformların sıklıkla kullanıldığı günümüzde Squid Game dizisi; gerek sosyal medya paylaşım ve tartışmaları gerek konusu gerek içerdiği şiddet sahneleri ve gerekse küçük yaşta izleyiciler tarafından da izlenmesi gibi unsurlar nedeniyle dünya çapında adından söz ettirerek gündemde kalmayı başarmaktadır. Son dönemlerdeki popüler dizilerden olan Squid Game şiddet sahneleriyle çok tartışılsa da, bazı bölümlerde sanatsal göndermeler de bulunmaktadır. Rene Magritte, Van Gogh, Picasso, Claude Monet, Maurits Cornelis Escher, Friedrich Nietzscheve ve Jacaques Lacan gibi sanatçı ve düşünürlerin eserlerinden izler barındıran dizi bu bakımdan incelenmiştir. Bu amaçla araştırmada dizide yer verilen ve kimi sahnelerde kullanılan sanatsal yansımalar ve bu yansımalarla ilgili sanatçı eserlerine yapılan göndermeler ele alınmıştır.

Symbolic distancing: Indonesian Muslim youth engaging with Korean television dramas

This article deals with Indonesian Muslim youth engaging with Korean television dramas. This article employs observation and interview among 43 Indonesian Muslim youth. This study has shown that there is symbolic distancing that happens in Indonesia because of Islamic and Hallyu’s interaction and negotiation. Based on symbolic distancing concept, Indonesian Muslim youth engaging with Korean TV dramas involves the localized appropriation. Indonesian young Muslims believe that it is crucial to preserve Islamic values while consuming Korean TV dramas. Images and representations of Korean TV dramas basically do not reduce their Islamic identity. Ultimately, images and representations in Korean television dramas support their Muslim identity. Indonesian Muslim youth who enjoy watching Korean television dramas learn from the scenes depicted. However, these young Muslims also negotiate or even oppose the representations which contradict with their Islamic understandings. These images and representations have been appropriated based on their Islamic values.

Foreign language education at the nexus of neoliberalism and coloniality: subjectivity in South Korean discourses of education reform

ABSTRACT This paper discusses how critiquing the convergence of neoliberalism and coloniality can become a crucial juncture for imagining alternatives to neoliberal foreign language education. Neoliberalism and coloniality are both mediated by aspects of subjectivity, which not only obscures their co-dependence, but also naturalizes their logic as they become embedded in dimensions of affect, desire, and morality. Discourses of educational reform that do not attend to this link risk being appropriated by neoliberal ideologies, as they may fail to situate neoliberal conditions of education within broader historical conditions of inequality. This paper illustrates this point through a critical analysis of debates on education reform in Korea, with a focus on a Korean television documentary which argues for liberal reforms emphasizing creativity, individuality, and excellence. The analysis shows how the voice of white Westerners as perceiving subjects is frequently invoked to problematize the Korean education system for its supposed irrationality and backwardness, naturalizing the mutual constitution of historical conditions of capitalism and colonialism through representations of affect. Based on this discussion, this paper argues that alternatives to neoliberal language education must be rooted in policy and practice that questions deeply entrenched subjectivities of capitalism and colonialism.

Reckoning with the World: Infrastructural Imaginaries of Cuba in Contemporary Korean Television

Since the 2000s, there has been a growing visibility of Cuba in South Korean television programs, such as 2 Days & 1 Night (KBS, 2007-present), Encounter (tvN, 2018–2019), and Traveler (JTBC, 2019–2020). While these TV shows employ the tropes of travel and tourism to introduce Cuba as an alluring geographical region, they also illustrate how television formulates and exploits a monolithic imaginary of the Caribbean and Latin America for the audience. This article examines how television's infrastructural imaginaries of Cuba not only illuminate the intertwinement between modernity and interculturality but also contribute to Korea's reckoning with the world in which it comes to understand the self in new ways through different forms of encounters with Cuba, including its peoples, spaces, and infrastructures. I analyze the travel documentary Traveler to explore how popular television's imaginary of Cuba operates as a discursive space in which the production of knowledge about the island is mediated through the lens of modernity. More specifically, the infrastructural imaginaries of Cuba call forth the lens of peripheral modernity that renders the island both as primitive and anachronistic. While Korea's participation in the reckoning process offers an illusory, pretentious, and staged engagement with the Caribbean and Latin America, it is also incomplete and problematic as it continues to exploit the region as the Other despite its vast historical and cultural heterogeneity.

Guest Editors' Introduction

Guest Editors' Introduction Min Wonjung (bio) and Dal Yong Jin (bio) In the 2020s, several elements from Korean culture, including the music of BTS, Bong Joon-ho's movie Parasite, and the TV drama Squid Game, penetrated both Western and non-Western cultural spheres. When the Korean Wave, referring to the rapid growth of Korean cultural industries and Korean cultural content's permeation of global cultural markets, started in the mid-1990s, the major target region was East Asia. Since the early 2010s, however, Korea has rapidly advanced into global cultural markets, including North America, Europe, Latin America, and the Middle East. Korea has also expanded its cultural forms to be exported, from dramas, films, and K-pop to digital technologies and cultures, including digital games and webtoons (Longenecker and Lee 2018; Kim 2021; Yoon 2022). There have been several significant factors behind the recent growth of the Korean Wave in global cultural markets, including the increasing role of social media, the involvement of global capital in local cultural production, and shifts in people's cultural consumption habits in the OTT (over-the-top) platform era. While these elements playing essential roles in the Korean Wave are various, the concept of transnationalism allows for their understanding within a single theoretical framework. In other words, the Korean Wave in the global context since the 2010s is an example of the transnational circulation of popular culture [End Page 1] and digital media forms and practices, generating and deploying alternative media consumption and moving beyond conventional routes and infrastructures (Jin, Yoon, and Min 2021). Transnationality implies flows of people, culture, and information beyond national boundaries, and the Korean Wave has actualized flows of popular culture and digital technologies beyond national and regional boundaries. The Korean Wave is negotiated by different audiences and re-situated by different uses of cultural literacy for its translation and decoding. This special issue on Hallyu Storytelling in the Americas examines how the concepts of transnationalism, transnational proximity, and the universality of the Korean Wave have created a story encompassing an imaginary new continent that spans North and South America. The four articles included in this special issue were presented at the fourteenth Kyujanggak International Symposium on Korean Studies held via Zoom in Seoul, Korea on November 4–6, 2021. The panel examined how the Korean Wave is imagined and negotiated by different audiences and proposed new orientations for the Korean Wave in a post-pandemic world. This special issue discusses COVID-19's sociocultural impact on Korean Wave fandom and how that fandom has been strengthened in a pandemic environment. Specializing in the diverse sociocultural effects of the Korean Wave, the authors also address how different modes of storytelling and imagination have emerged and been negotiated by local audiences in North and South America. In the first article, "Transnational Proximity and Universality in Korean Culture: Analysis of Squid Game and BTS," Dal Yong Jin suggests a new approach to understanding the global popularity of the Korean Wave. Rather than traditional cultural proximity, he argues, transnational proximity based on similar sociocultural experiences in late capitalism—including social inequality, youth culture, beautiful storytelling, and fascinating choreography—can explain the Korean Wave's continuing prevalence. In his discussion, Jin investigates fan communities and several distinctive cultural programs in K-pop and Korean film and television, particularly BTS and Squid Game (2021). He concludes by assessing the prospects for the role of transnational proximity in the growth of local popular cultures in the global cultural sphere. In the second article, "Pandemic to "Fandomic:" The Revival of Fandom Publics in the Digital Space of Latin American K-pop Fandom," Hyunsuk Jang examines the ways in which individual fans coalesce into fandom publics, focusing on their affective intimacy. COVID-19 has dramatically changed our daily life. Fears about the virus inhibit face-to-face communication, leading people to spend more time in the digital world. Jang also examines how the [End Page 2] pandemic has impacted K-pop fandom in Latin America, which is characterized by cultural hybridity and bottom-up globalization. In the third article, "Reckoning with the World: Infrastructural Imaginaries of Cuba in Contemporary Korean Television," Benjamin Han examines how popular television...

A study of Korean drama and Indonesian teenager’s perception on images of South Korea as a potential tourist destination

The popularity of Korean culture among teenagers around the world has made many teenagers, including Indonesian teenagers, affected by this culture. This Korean culture well known as Korean Wave or Hallyu. Korean Wave or Hallyu is a term to describe South Korean pop culture that has been successfully exported across the globe, including Indonesia. In Indonesia, Korean Wave or Hallyu products were introduced through the Korean television series called Korean drama. The objectives of this study are to determine how the teenagers in Indonesia perceive South Korean images as a destination that is seen in Korean dramas and could lead to the intention to visit South Korea in the future, to find out what are the impacts of watching Korean drama on consumer decision-making on Korean products and to find out whether watching Korean drama could increase the brand awareness towards a brand on Indonesian teenagers. This study uses qualitative methodology. Informants in this study were Indonesian teenagers range age 20-21 years old. Data collection for this study is obtained through interviews. By conducting this research, the researcher hopes to increase readers' insight into consumer decision-making that is influenced by the Korean Drama. The researcher hopes that this study may help future researchers who will conduct similar research from different aspects.

Beyond Entertainment: Gastrodiplomacy Performance in Korean Drama and Reality Show

As the world keeps advancing due to globalization, countries across the world were competing against each other to be more acknowledgeable. The use of nation branding appears to be better suited to solve that problem. The use of public diplomacy such as gastrodiplomacy is believed to be the perfect tool in achieving that goal. South Korea was one of the many countries to do so. The country does not solely rely on the concept of gastrodiplomacy alone, rather it combines diplomacy with the use of media and entertainment industry. This research aims to elaborate the use of Korean television programs as the medium for cultural representation through gastrodiplomacy performed within. This research attempts to interpret gastrodiplomacy performances within the Korean drama, ‘Weightlifting Fairy: Kim Bok-Joo’ and Korean reality show, ‘BTS: In The Soop’ by applying diplomacy and performance concept, and food as nation branding theory. This study shows that television drama and reality show were able to create an engagement and connection with their audience, making both shows effective in delivering the message. The research will be carried out using qualitative research measurement, by analyzing the food appearances happening within the selected scenes from both the series.

‘We are Korean people and we must speak Korean well:’ parental involvement in five Korean American families with successful heritage language maintenance

ABSTRACT This study investigated parental involvement in five Korean American families where there was evidence of successful heritage language (HL) maintenance in the second generation. The data in the current study were drawn from interviews of five Korean women who were first-generation immigrants to the U.S. and their daughters who were raised in the U.S. for most or all of their lives and were able to successfully acquire a high degree of competence in their HL. The data were analyzed for evidence of parental involvement in the children’s HL education, which was categorised according to Grolnick and Slowiaczek’s (1994, ‘Parents’ involvement in children's schooling: A multidimensional conceptualization and motivational model.’ Child Development 65: 237–252. doi:10.1111/j.1467-8624.1994.tb00747.x.) framework. The findings demonstrate that parental involvement in HL education was wide-ranging, taking the form of behavioural involvement (for example, speaking Korean at the home, teaching Korean to their children, watching Korean television shows with their children), cognitive-intellectual involvement (for example, exposing their children to formal Korean language instruction), and personal involvement (for example, explicitly expressing positive attitudes toward the Korean language and culture, expressing high expectations for their children’s Korean language competence).

Cultural Exportation, Digital Distribution, and Penetration of K-Dramas in Turkey

South Korea has pursued a multidimensional public diplomacy strategy in which Korean television exports and capitalization have emerged as a public and commercial cultural diplomacy tool over the last two decades. This article examines the widespread influence of Korean television content, including digital serial delivery, cultural exportation, cultural interactions, and capitalization—that is, content sales, indirect advertising, and media-induced tourism. Empirical data was obtained from Turkey’s audience members using the online survey tool. As a result of the social and cultural impact, the respondents’ opinions on Korean serials are both animated and rational. The creation of audience members’ social, psychological, and cultural experiences with K-Dramas clarifies their intimacy and activeness. Unlike local or other international content, a significant number of respondents claim that Korean TV serials are not only a source of entertainment but also have profound edifying aspects. According to the results, “Cultural Proximity” and “Content Availability” are two of the most important factors in choosing Korean TV serials over foreign content. The “content availability” is based on the emergence and expansion of Streaming TV; however, in cultural proximity, similarities in family norms and values in both nations are notable.

Transnational media consumption dissonance and ambivalent sexism: How American and Korean television drama consumption shapes Chinese audiences’ gender-role values

Driven by globalization, modernity and the development of media technology, transnational media consumption is increasingly prevalent. Together with domestic media consumption, transnational media consumption constitutes the fragmentation and diversification of individuals’ media consumption behaviors. Yet research concerning the hybrid media effects generated by domestic and transnational media consumption is still underdeveloped. Using a sample of 556 Chinese Internet users, this study proposes a concept of transnational media consumption dissonance to compare the effects of hybrid media consumption on sexism and gender-role norms in marriage (GRIM). The findings suggest that individuals’ perceptions of gender-role norms are not only affected by domestic media usage but also altered through transnational media usage. We illustrate how transnational media consumption dissonance can affect Chinese audiences’ perception of GRIM through the mediating roles of perceived sexism in American and Korean dramas and their general sexism values.