Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market
Veluree Metaveevinij*
บทคัดยอ
“ ฮันริว” เปนชื่อที่ใชเรียกปรากฏการณความนิยมวัฒนธรรมกระแสนิยมของประเทศเกาหลี ใตซึ่งเกิดขึ้นในหลายประเทศโดยเฉพาะประเทศในแถบเอเชีย ปรากฏการณนี้เริ่มจากความนิยมใน สื่อทางวัฒนธรรมของประเทศเกาหลี อาทิ ละครทีวี ภาพยนตร และดนตรีปอบ ละครทีวีเกาหลีที่มี ชื่อเสียงโดงดัง เชน เพลงรักในสายลมหนาว (Winter Sonata) แดจังกึม จอมนางแหงวังหลวง (Jewel in the palace) และสะดุดรักที่พักใจ (Full House) มีสวนทําใหนักทองเที่ยวนับลานเดินทาง ไปยังประเทศเกาหลีใต นํารายไดนับพันลานเขาสูประเทศ และที่สําคัญที่สุด สรางใหเกิดเอกลักษณ ของชาติเกาหลีในสายตาของคนทั่วโลก เมื่อเปรียบเทียบกับประเทศเกาหลีแลว ประเทศไทยเองก็มีการสงออกละครทีวีไปยัง ตางประเทศ โดยเฉพาะประเทศในแถบเอเชียตะวันออกเฉียงใต เชน กัมพูชา ลาว และเวียดนาม อยางไรก็ตาม ประเทศไทย ไมเคยไดรับความสําเร็จจากธุรกิจบันเทิงในระดับนานาชาติเฉก เชนเดียวกับที่ประเทศเกาหลีใตไดรับ ดังนั้นผูวิจัยจึงสนใจที่ทําการศึกษาวิจัยในประเทศเกาหลี ดวย จุดประสงคที่จะนําอุตสาหกรรมโทรทัศนของประเทศเกาหลี มาเปนตนแบบในการใชละครโทรทัศน เพื่อเพิ่มมูลคาทางเศรษฐกิจและเผยแพรวัฒนธรรมของประเทศไทย ทั้งนี้แมวาความนิยมของละครทีวีจากประเทศเกาหลีจะเกิดขึ้นจากหลายปจจัย วัตถุประสงคหลักของการวิจัยครั้งนี้คือการศึกษาโครงสรางอุตสาหกรรมโทรทัศนของประเทศเกาหลี เพื่อหาปจจัยความสําเร็จที่สงผลตอความสําเร็จของละครเกาหลีในตลาดสากล การวิจัยมุงเนนที่สี่ องคาพยพของอุตสาหกรรมโทรทัศนของประเทศเกาหลีไดแก รัฐบาล สถานีโทรทัศน บริษัทผูผลิต
* A lecturer in Cultural Management Program, College of Innovation, Thammasat University and a research grant recipient of AMAFek (Art Major Asian Explore KNUA), Korean National University of Arts, Ministry of Culture and Tourism, Republic of Korea วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
และผูสรางสรรคละครทีวี ระเบียบวิธีวิจัยที่ใชคือ การใชขอมูลทุติยภูมิ การสังเกตรายการโทรทัศนของ ประเทศเกาหลี และการสัมภาษณผูที่อยูในอุตสาหกรรมโทรทัศนของประเทศเกาหลีในสวนตางๆ นอกจากนี้งานวิจัยชิ้นนี้ยังกลาวถึงอุปสรรคและโอกาสสําหรับอุตสาหกรรมโทรทัศนของประเทศ เกาหลีในชวงอนาคตอันใกล โดยไดสรุปขอเสนอแนะสําหรับอุตสาหกรรมโทรทัศนของประเทศไทยใน การสงออกละครโทรทัศนไปยังตลาดตางประเทศรวมอยูในบทความวิจัยชิ้นนี้ดวย
คําสําคัญ: ฮันริว ละครโทรทัศนเกาหลี ปจจัยความสําเร็จ โครงสรางอุตสาหกรรมโทรทัศน ตลาดสากล
100 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
Abstract
“Hallyu” is the phenomenon called for the popularity of South Korean pop culture in other countries, especially Asian countries. It starts from the popularity of Korean cultural media, such as TV dramas, movies, and pop music. The famous Korean TV dramas; for example, “Winter Sonata”, “Jewel in the palace”, and “Full House” make million of tourists come to visit South Korea, bringing a billion of revenue to the country, and, most importantly, encouraging Korean national image in the whole world. Comparing to Korea, Thailand, also exports TV dramas to other countries, especially Southeast Asian countries like Cambodia, Laos and Vietnam. However, Thailand has not been as internationally and widely successful with its entertainment business as Korea and its cultural entertainment products. Therefore, the researcher decided to conduct a research in South Korea because believe that Korean TV industry can be a model for Thailand for using TV dramas as a tool to increase the economic value and disseminate our own culture. Although the popularity of Korean TV dramas comes from several factors, the main objective of this research is to study Korean TV industry structure in order to find the key success factors which affect a success of Korean TV dramas in global market. The research focuses on four bodies of Korean TV industry structure: Government, TV stations, Production companies and TV dramas creators. A methodology is conducted by finding secondary data, observing TV programs and interviewing people who work in Korean TV industry. Moreover, this research also mentions about Threats and Opportunities for Korean TV industry that is coming in the near future. Finally, the suggestion for Thai TV industry, focusing on exporting Thai TV dramas in the global market, is also proposed.
Keywords: Hallyu Korean Television Dramas Key Success Factors Television Industry Structure Global Market
101 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
1. Background Compared to South Korea, Thai Television drama is one of the television dramas have also been cultural products, which has high impact broadcast for many years in neighboring among audiences. This statement can be countries such as Laos, Cambodia, proven by a phenomenon of “Korean wave” Vietnam and China. Still, Thailand has not which is the name given to the increasing been as internationally and widely popularity of Korean popular culture successful with its entertainment business including Korean TV dramas such as as Korea and its cultural entertainment Winter Sonata, Dae Jang-Geum and Full products. Therefore, I wonder what the House that have gained millions of fans relevant factors that make Korean TV among many countries in Asia. The Korean dramas succeed in a global market are. Wave is otherwise known as “Hallyu” which This quarry drove me to conduct is a Chinese pun that also translates research focusing on key success factors directly into Korean. Both “cold current” of Korean TV industry structure with a full and “Korean wave” are pronounced “han- support from Korean National University of liu” (or “hanryu” or “halryu” in Korean).1 Arts, Ministry of Culture and Tourism, Hallyu has brought increased interest in Republic of Korea. During my five-month and favorable disposition towards Korean research fellowship to South Korea popular culture, such as TV drama, movie, (September 2006 – January 2007), I intend and music. Currently, the preference of to figure out what “Behind the Scene” of Korean culture has expanded from merely Korean TV dramas’ success is as well as to popular culture to Korean lifestyles in find the way to strengthen the general, including food, fashion, tourism (to competencies of Thai TV industry in a film locations) and sports.2 global stage.
1Wikipedia, “Korean wave,”
2. Research Objectives People Republic of Korea (North 2.1 To study the Korean TV industry Korea). structure 2.2 To analyze the key success factors 4. Definition of Terms of Korean TV industry in a global Key success factors refers to the market factors which have positive effects 2.3 To use Korean TV industry as a towards Korean TV dramas in the global benchmark for Thai TV industry, market especially for exporting Thai TV Korean TV dramas refer to television dramas in a global market content that is scripted and fictional. In this study, it implies with mini-series, 3. Research Scope serial stories produced in Korean 3.1 This research focuses on four major language in limited episodes, which are bodies of Korean TV industry popular in Korea and other countries. structure including the following: Korean TV industry structure refers to - Government a segment of economy concerned with - Television stations production and broadcasting of - Production companies television programs. In this study, it - Television drama creators implies with organizations that play 3.2 The research scope is limited to major role in television broadcasting Korean TV programs and TV system including government, TV popularity rating during September stations, production companies and TV 2006 – January 2007 drama creators 3.3 The researcher focuses on TV Global market refers to broadcasting dramas and TV industry of Republic industry all over the world, especially of Korea (South Korea). This study Asian broadcasting industry that is a does not involve with TV dramas and main market for exporting Korean TV TV industry of The Democratic dramas.
103 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
5. Literature Context to owners of registered sets and 5.1 An overview of Korean TV industry establishing a commercial rate for The era of Korean television advertisers. However, criticism arose broadcasting began on May 12, 1956, concerning the financing system of KBS, when HLKZTV, A cornerstone in the the state-run broadcasting system, which foundation of the future KBS-TV, was depended on the reception fees from the established as a commercial television viewers as well as commercial revenues broadcast station.3 However, during the from the advertisers. In response to the 1960s, the influence of television criticisms, KBS decided to discontinue broadcasting was still insignificant due to a advertising broadcasting on May 5, 1969. poor distribution rate of television sets.4 Since KBS-TV discontinued During 1960s, two commercial commercial broadcasting, there was fierce broadcasting stations were established. competition between the two commercial Tong Yang Television Company (TBC-TV), broadcasting stations to attract advertisers. the first commercial stations in Korea was After 1969, a heavy dose of entertainment founded in 1964. The second commercial programming inundated television television system, Munwha Broadcasting schedules. Melodramatic programming Company (MBC-TV) made its debut in dominated the prime-time slot and 1969. TBC-TV remained a major competitor produced fierce ratings competition among of KBS-TV until it was absorbed by KBS-TV the three networks. This entertainment- in 1980. oriented strategy resulted in the At the same time, the government deterioration of programming standards.5 adopted new ways to finance its The early 1970s (1973-1974) were broadcasting, charging a compulsory fee characterized as a flourishing period of television dramas. For example, TBC 3 Kyu Kim and others, “An overview of television broadcast a total of seven serial dramas programming in Korea,” in Broadcasting in Korea, including 45-minute daily dramas. The (Seoul, Korea: Nanam Publishing House, 1994), p. 48. 4 Ibid.,p.50. 5Ibid., p. 102-104. 104 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij three television networks broadcast about of growing public criticism of broadcasting 15 dramas everyday. As a result of the media practices, many accused the competition among networks for rating and government of wanting to establish a commercial revenue, an abundance of “low monopoly over television broadcasting. taste” programs hit the airwaves. And, At first the new system seemed to public opinion was critical of those work, but it lacked a clear purpose and programs. Therefore, on February 16, 1973, failed to gain public support. This system The Korean government revised the came to resemble the old commercial Broadcasting Law of 1963 under the television system, except that the pretext of improving the quality of government did not allow television stations programming. to produce news and public affairs critical As a result of this revision, KBS of or potentially embarrassing to the was transformed into a public broadcasting government.6 corporation. A main provision of the revised Moreover, with the Broadcasting law required television stations to allocate Law of 1987, the Korean Broadcasting at least 30 percent of their broadcasting Committee was established to oversee all hours to cultural and educational broadcasting in the country. The most programming. As a result, there was a important feature of this law was that it substantial cutback of entertainment guaranteed freedom of broadcasting. programming and an increase in However, one of its main provisions educational-oriented and cultural required that television allocate at least 10 programming intended to reinforce Korea’s percent of their broadcasting hours to news identity. programming, 40 percent to cultural/ KBS-TV absorbed TBC-TV and educational programming and 20 percent obtained the majority shares (65 percent) of to entertainment programming.7 MBC. In effect, all of the nation’s broadcasting systems were put under the control of KBS. Although the government 6 argued that its action was taken as a result Ibid., p.104-105. 7Ibid., p. 105-107. 105 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
On August 1990, the government public broadcasting brought more decided to set up a working committee for intensified competition among the whole the establishment of a second commercial population of broadcasters.8 television network. The government ended Since year 2000, another exciting the 27-year-long freeze on new commercial era of Korean television emerges. Korean television licenses by granting a license to broadcasters’ targets are not only local but the Seoul Broadcasting System (SBS-TV) also global audiences. The success of on December 15, 1990. This breakthrough several Korean TV dramas, such as paved the way for competition between the Autumn in my heart (KBS, 2000) and public and the private networks. Winter Sonata (KBS, 2002) leads to what The establishment of SBS brought we call “Korean wave”. changes in broadcasting environment. The In March 2004, in order to expand private broadcasting system was viewed as Korean culture through its global network, a paying business with an efficient KBS has set up and initiated its global management structure and a possibility of vision and construction the KBS Global tremendous profits from commercials. Center. MBC also enlarged marketing Under these circumstances, the role of department in order respond with foreign broadcasting serving the public interest markets. There is still a substantial demand and its impartiality had to be set aside as a for Korean TV programs, especially Korean secondary value. TV dramas. Moreover, the opening of SBS brought about the improvement of 5.2 An overview of Korean TV dramas treatment for entertainers largely due to the Overall, television drama in Korea recruitment efforts of SBS competing the can be divided into three main segments. existing broadcasting networks. Another The first segment is Morning Dramas, technological breakthrough took place in which have the broadcasting time from the beginning of the 1990s with the 7.50 –9.00 a.m. Most of them are on-air introduction of cable television service. In other words, the coexistence of private and 8 Ibid, p. 107-108.
106 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij from Monday to Friday and have broadcast around 9.55 –10.55 p.m. (21.55 - housewives as the target audience. The 22.55 hrs). This kind of dramas gains the second segment is Evening Dramas, which highest popularity among the audiences. are on-air around 4.05 – 8.55 p.m. (16.05 – And it is also the big resource of Korean TV 20.55 hrs). Target groups of the evening dramas that are exported to a global dramas are housewives and family. market. Therefore, situation comedies and family dramas are shown during this time. The last 5.3 Korean TV dramas that play major segment is Prime-time Dramas, which are role in Korean Wave phenomenon
“Autumn in my heart” (also known as “Autumn Fairly Tale” and “Fall Legend”) Figure 1 Korean TV drama: “Autumn in my heart”
* The pictures above are provided by KBS. Copyright KBS. All Rights Reserved.
This TV drama directed by Yoon create sequels of his drama with theme Seok-ho, broadcasted by KBS television in based on four seasons of Korea; Autumn, year 2000, is a starting point of Korean TV Winter, Summer and Spring. The results are dramas’ international popularity. It is not three following TV dramas, Winter Sonata overstated to claim that Autumn in my heart (2002), Summer Scent (2003) and Spring is a first water-drop of Korean wave. Waltz (2006). After the success of Autumn in my heart, Yoon Seok-ho had an inspiration to
107 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
“Winter Sonata” (also known as “Winter Love Song”) Figure 2 Korean TV drama: “Winter Sonata”
* The pictures above are provided by KBS. Copyright KBS. All Rights Reserved.
Winter Sonata is one of the most Sonata, the popularity of Korean souvenirs successful TV dramas in Korean history. and other indirect economics effects.9 Winter Sonata has created the obsession of According to Lee Hyang-Chul, Japanese women towards Bae-Yong Joon professor of Japanese studies at Kwang (or, Yonsama in Japanese), the leading Woon University in Seoul, Fans of Winter actor of this drama. The effect of Winter Sonata are women in their 40s and 50s, the Sonata widely spread, from television to age group that has the most discriminating tourism, from culture to economics. attitude towards Korea. They saw negative Dai-Ichi Life Research Institute of aspects like the war and periods of Japan has announced recently that the dictatorship. But, now their attitudes are economic effect of “Yonsama” Bae Yong- changing and they are looking at Korea joon and the miniseries “Winter Sonata” has reached 230 billion yen, or 2.3 trillion won in Japan and Korea. The revenue comes from the overwhelming demand to visit the ski resorts and hotels featured in Winter 9 KBS, “Effects of ‘Winter Sonata’ and Yonsama frenzy on economy,”
108 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij differently.10 Today, even Japanese textbook Bae, Yong-joon under the title, ‘Korean life for high school students featured and culture & Japan’.11
“Jewel in the palace”, produced by MBC (Munhwa Broadcasting Corporation) (also
known as Dae Jang-Geum)
Figure 3 Korean TV drama: “Jewel in the palace” (Dae Jang-Geum)
Source:http://times.hankooki.com/lpage/culture/200601/kt2006011616582311690.htm
10 Anna Fifield, “South Korea’s soppy soaps win hearts across Asia,” Financial Times,
109 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
Jewel in the palace is another TV 5.4 Reasons of the popularity of drama that highly affects on Korean tourism Korean Television Dramas: industry. This drama based on a true story After reviewing articles and about a legendary girl (Jang-Geum) who interviewing people working in Korean TV lived during the time of Chosan dynasty, industry, the researcher concludes that when Korea had a rigid hierarchy and male Korean TV dramas’ popularity comes from dominated social structure. But Jang- the following reasons: Geum, using her talent and merit, became the first woman to be the royal physician of 1) Right Place and Right Time the King. Because the TV drama’s setting is Japan is always the leading in Korean history, the storyline is open to country who produces the popular show many Korean cultural heritages such culture in Asia and the rest of the as cuisine, herbal medicine, and traditional world. However, because the custom. Comparing with Winter Sonata, political relationship between China Dae Jang-Geum may not cause frenzy and Japan went worse in the 1990s, effect among female audiences like Chinese started to disclaim Japan “Yonsama syndrome”. But, it can capture and its culture. Moreover, since wider target audiences than Winter Sonata. Japanese culture became too After this TV drama was exported westernized, audiences do not feel to 17 countries, including Arab and that they can relate themselves with 12 European market, MBC decided to keep Japanese cultural products. That is drama’s location setting to be “Dae Jang- why Korean TV dramas come at a Geum Theme Park” for the tourists who right place and a right time when would like to get more experience about audiences want to find something, their favorite TV drama. which is different from Japanese culture and western culture.
12
110 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
2) Balance Between Modernism and from the space of love between Traditionalism woman and man. In contrast, According to an article “Cultural Jealously still showed a relationship contact with Japanese TV dramas: between mother and daughter and Modes of reception and narrative maintained family issue in its transparency” written by Dong-Hoo content.13 Lee, it claimed that a root of several At the conclusion, Korean TV Korean popular TV dramas came dramas try to negotiate between a from Japanese TV dramas called new life style and an old culture “Trendy drama”. These dramas are value. That is why Korean TV emerged to meet the need of young dramas can serve the needs of generation during the late 1980s to Asian audiences who live in the the early 1990s. modern societies but cannot ignore However, Korean directors try to their own tradition. create their TV dramas in a Korean socio-cultural landscape with 3) Cinderella story balancing between modernism and An attractive story is a simple traditionalism. For example, comparing explanation for Korean TV dramas’ between Japanese TV drama “Tokyo popularity. Even Kim Yun-chul, Love Story” (Fuji TV, 1991) and Director of “My lovely Kim Sam- Korean TV drama “Jealously” (MBC, soon” and Harrison Yu, General 1992), both of them have similar Manager of Korean Broadcasting subject matters and main Institute, also mentioned about the characters. While in Tokyo Love
Story young lovers sleep or live 13 Dong-Hong Lee, “Cultural Contact with together, in Jealousy premarital Japanese TV dramas: modes of reception and sexual purity is maintained. Lovers narrative transparency, ” in Feeling Asian just kiss and hug. Moreover, in Modernities: Tranational consumption of Japanese Tokyo Love Story, family is absent TV dramas, ed. Koichi Iwabuchi (Hong Kong: Hong Kong University Press), 2004, p. 269
111 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
scriptwriting as a key success factor fulfilled the empty feeling of people of Korean TV dramas. Mr. Boo-sung, in a materialistic era. We can see General Manager of Marketing how the moral value shown in Department, Olive Nine Co., Ltd, Korean TV dramas affects other argued that Korean TV dramas story countries in the following statement: is like Cinderella story. It is simple. But, usually, there are main “Flowing naturally like water, hallyu is a characters that audiences get pity of peaceful link bridging together the and want to see their happy- three countries of Korea, China and ending.14 Additionally, because Japan in Northeast Asia, where target audiences of TV dramas are confrontation due to nationalism women, seeing a female character and historical relations remains a win the entire struggle and live serious concern. As such it happily with her man also satisfied provides freshness to Southeast their need. They can relate Asian countries, which have been themselves with the whole story or uncomfortable with long-held even wish their live would be the antagonism toward Japan; same. meaningfulness to the seemingly materialistic and pleasure-seeking 4) Asian moral value cultures of Singapore and Hong Korean society is based on Kong, the most affluent areas in the Confucianism, which is a culture root region; and cultural harmony in 15 of China and Japan as well. As a contrast to Chinese hegemony.” result, a Korean TV drama like Dae Jang-Geum, which displays Ethics, Values from Confucianism, has 15 Kim Dae Sung, “Hallyu: How far has it come?,” Korea Foundation newsletter 14, 14 Interview with Boo-Sung, Choung, General
112 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
5) Good looking actors and actresses 1980s and early 1990s.17 The with sensible acting and expression success of TV dramas also draws Mrs. Haewon Chin, Senior investors and higher budgets. Even Marketing Officer of MBC TV station technology-oriented companies thought that the gorgeous look of such as KT Company also decided Korean actors and actresses is the to invest in drama production main reason of Korean TV drama companies. The higher budget 16 popularity. Additionally, Korean TV Korea production companies have, stars can act very well with a the higher production quality of sensible expression. In a tragic Korean TV dramas they can scene, both actors and actresses produce. And this leads to higher can cry to express their painful competency of Korean TV dramas in feeling. This kind of acting may be a global market as well. judged as over-acting. But, it can get along with a whole melodrama 7) Low cost story that needs a lot of emotion and Comparing with cost of Japanese sensibility. dramas, Korean TV dramas are better choices for local TV stations. 6) High production quality Its cost is ranged 1,000 – 20,000 The Korean broadcasting industry USD per 1 episode, depending on became fully equipped with modern the imported country. television technologies in the late of
16 Interview with Haewon Chin, Senior marketing 17 Dong-Hong Lee, “Cultural Contact with officer, MBC, 1st November 2006. Japanese TV dramas: modes of reception and narrative transparency,” in Feeling Asian Modernities: Tranational consumption of Japanese TV dramas, ed. Koichi Iwabuchi (Hong Kong: Hong Kong University Press, 2004), p. 264. 113 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
Table 1 Standard prices for MBC TV dramas in global market Country Price (per 1 episode) Japan 20,000 –100,000 USD Taiwan 20,000 USD Thailand and 4,000-8,000 USD Malaysia Vietnam 1,000 USD Source: Interview with Haewon Chin, Senior marketing officer, MBC, 1st November 2006
In several countries, Korean effectiveness of every segment in TV dramas’ price is lower than the the industry. cost of local TV programs. And it can guarantee the level of 6. Research Methodology popularity rating as well. That is no This research is qualitative wonder why there is still a demand research which uses an in-dept for Korean TV drama in a global interview as a major data collection market. tool. The research process includes the following: 8) Well-structured television industry 1.) Search initial information from the The last reason is an assumption of secondary data such as articles, this research. It comes from the fact documents and website of related that the success of one TV dramas organizations may be the result of a good director, 2.) Observing TV programs from the producer or scriptwriter. But the main Korean TV stations success of whole industry, like 3.) In-depth interview people who Korean TV industry did, should work in Korean TV industry come from the efficiency and
114 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
4.) Analyze and summarize the key 1.) Government: Ministry of Culture success factors of Korean TV and Tourism (MCT) and Korean industry that leads to the success Broadcasting Institute (KBI) of Korean TV dramas in a global 2.) TV stations: Munhwa Broadcasting market. Corporation (MBC) 5.) Analyze and summarize threats 3.) Production companies: Olive Nine and opportunities of Korean TV Co.,Ltd. industry structure 4.) Television drama creators: Director, 6.) Summarize a conclusion and a Producer and Scriptwriter of suggestion for the future of Thai TV Korean TV drama “My lovely Kim industry in a global market Sam-soon” 7. Conceptual framework Moreover, the researcher uses In order to demonstrate Korean TV purposive sampling to select the target industry, the researcher expresses the samples in each body of Korean TV conceptual framework of this research as industry as the following: the following diagram:
Figure 4 Conceptual Framework of Television Structure in Korea
Government
Rating-evaluate TV dramas creators agency (Directors, Producers Broadcasting channels Scriptwriters, Actors) Free TV: KBS, MBC, SBS, EBS Audiences
Production Cable TV
companies IP TV
115 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
There are six major bodies of TV industry structure: Government, Broadcas- 8. Research finding ting Channels, Production companies, TV 8.1 Key success factors of government dramas creators, rating-evaluate agent organizations related with TV industries 1) Changing organization according to companies and TV audiences. However, in changing environment order to study the key success factors and Analyzing Ministry of Culture and key risk factors of Korean TV industry, this Tourism, Republic of Korea, government, research will focus on only four bodies: the researcher found that there were Government, Broadcasting channel (focus several major changes in the organization on free TV stations), Production structure as the following table. companies, and TV drama creators.
Table 2 History of Ministry of Culture and Tourism (MCT) Year Historical events 1968 The Ministry of Information was replaced by the Ministry of Culture and Information and, finally, the newly born agency came to control all the cultural and arts affairs in Korea. 1990 The Ministry of Culture was set up. With the advent of the new Ministry of Culture, printing, broadcasting and other mass-media related affairs were transferred to the Ministry of Information. 1993 The Ministry of Sports and Youth, and the Ministry of Culture were integrated into the Ministry of Culture and Sports. 1994 The Ministry of Culture and Sports expanded to incorporate tourism affairs that had been under the control of the Ministry of Transportation. 1998 The Ministry of Culture and Sports was replaced by the Ministry of Culture and Tourism, and began handling affairs relating to the print and broadcast media, which had been the responsibility of the former Ministry of Information. 2004 The Ministry of Culture and Tourism, with the aim of strengthening the functions of cultural and art education, divided the Culture Industry Bureau and Culture Media Bureau. Source: http://www.mct.go.kr/english/section/about_mct/history.jsp
116 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
From Ministry of Culture and policies and strategic achievement. 18 The Information in 1968 to Ministry of Culture in data that KBI collects come from not only 1990 to Ministry of Culture and Sports in the local but also international database. 1993 and, finally, it becomes Ministry of And publications and database of KBI can Culture and Tourism in 1998. be borrowed through broadcasting library These changes do not occurred or searched through KBI web as well. independently. But the Ministry itself was Therefore, Korean broadcaster can know changed according to the changing up-to-date information of global environment. In 1993, after cultural affairs broadcasting industries. It is a key factor became more related with tourism industry, that make Korean broadcaster can adapt the cultural affairs were changed to be the with the changing business environment subsidy of Ministry of Culture and Tourism. and media technologies. And, it also set up “Culture Industry Bureau” and “Culture Media Bureau” in 3) Realizing the importance of human 2004 in order to respond with the popularity resources of Korean wave. KBI tries to encourage human resources development for Korean 2) Focusing on research and development broadcasting industry. For examples, there Another government organization are courses for working professionals (36 related with Korean TV industry is “Korean courses for 407 people in 2002) and Broadcasting Institute” (KBI). One of the courses for prospective broadcasting missions of Korean Broadcasting Institute is personnel (workshops on program collecting historical database, which is production for university students).19 This important for broadcasting industry. can make sure that Korean broadcasting Examples of the data that KBI collects include annual report of Korean 18 Korean Broadcasting Institute, “Research and survey on broadcasting and media,”
industry will have abundant of skillful and 5) Financial support talent human resources in the future. KBI has various financial support systems for program production to enable 4) Initiating corporation between academic producers to make competitive, creative scholars and working professionals. programs with cultural merit and distinction KBI has provided open forms for in this era of open broadcasting, using the the development of TV programs by broadcasting promotion fund and the contributing special articles, papers, and cultural industry promotion fund. It even broadcasting-related criticisms, and played guaranteed the distribution and supply of a mediating role between scholars and the distinguished programs, including working professionals through the dubbing into foreign languages and introduction of academic theories and the catalogue production, to actively views of experts. encourage local TV programs’ Moreover, there are workshops on advancement into foreign markets. program production for university students. (Financial support in 2002: one billion won This factor enables to create educational for 19 programs.) 20 system with balance between practical skill 8.2 Key success factors of Television and theoretical foundation. stations
20 Korean Broadcasting Institute, “Financial support,”
118 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
Table 3 Broadcasting stations in Korea
Broadcasting Channel TV Radio Station Korean Broadcasting System (KBS) KBS 1 1R,2R,3R 25 local stations KBS 2 1FM,2FM Satellite 1 Socail Satellite 2 Educational Public Radio Korea Int’l Munhwa Broadcasting Corporation (MBC) MBC TV MBC AM 19 local stations MBC FM Korean Educational Broadcasting System EBS TV EBS FM (EBS) Satellite 1 Satellite 2 Seoul Broadcasting System (SBS) SBS TV SBS AM SBS FM Chongju Broadcasting Company CJB TV (CJB) Commercial Jeonju Television Corporation (JTV) JTV Kwangju Broadcasting Company (KBC) KBC TV KBC FM Kyonggi Broadcasting (KFM) KFM Kyungin Broadcasting (iTV) ITV Pusan Broadcasting Corporation (PSB) PSB TV PSB FM Taegu Broadcasting Corporation (TBC) TBC TV TBC FM Taejon Broadcasting Company (TJB) TJB TV TJB FM Ulsan Broadcasting Corporation (UBC) UBC TV Source: http://www.kbi.re.kr/english/broadcasting.html
119 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
1) Oligopoly nature have a significant difference.21 Therefore, According to Professor Kim Yun- TV stations know quite well what kind of TV chul, director and producer of “My lovely dramas the market wants, although they do Kim Sam-Soon”, there are three main not have marketing research process. players in TV drama market, KBS, MBC and SBS. Therefore, the stations are under the 3) Copyright owner market which is dominated by a small According to Mr. Boo-Sung, number of firms. The decisions of one firm general manager of marketing department, influence and are influenced by the Olive Nine Co., Ltd., 80% of TV drama decisions of other firms. With the high copyrights belong to TV stations. This competition in an oligopoly market, each factor makes TV stations be able to sell station has to produce new attractive TV broadcasting right in other countries. dramas in order to gain popularity among Therefore, there is a chance for making audiences. That is why Korean TV dramas profit not only in local but also international can attract not only local but also markets as well. international TV audiences. Professor Kim Yun-chul also predicted that if the 4) Outsource production teams competition in Korean TV drama business KBS, MBC and SBS still was like this, Korean TV dramas could usually use freelance system. Producers, sustain the popularity in global market directors and production companies are around 3-5 years. outsourcing. Even main actors and actresses do not sign contract with TV 2) Creditable rating system stations. With this system, TV stations can There are two main rating agent reduce fixed costs. But, they cannot ensure companies in Korea, TNS media and that producers, directors or actors who Nielsen. According to the interviews, used to create popular TV dramas will people working in Korean TV industry quite trust in rating-evaluate system. Figures from two companies are not the same but do not 21 Interview with Haewon Chin, Senior marketing officer, MBC, 1st November 2006. 120 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij continue to produce successful TV dramas supported by Korean government. After with their stations. Even producers and selling the dramas, TV stations will use directors who are permanent staffs tend to commercial and invite TV stars to promote leave TV stations after they are famous. As in other countries. However, sometimes, it a result, there is no a strong commitment is difficult for TV stations to ask TV stars between TV stations and production crew. joining the promotion campaign because 22 most of stars have their own managers or sign contract with agent companies. 23 5) Marketing strategies For high competitive products, TV 8.3 Key Success Factors of stations do not need to promote or use Production companies marketing strategies. Korean TV dramas, which are successful in Korea, have a huge Most of popular prime-time TV demand in the global market. Sometimes, dramas in Korea are produced by agent companies decide to buy TV drama outsource production companies. when the production does not yet finishes Therefore, there are a lot of freelance because they think the cast or the synopsis production companies in Korea. However, are interesting. the researcher chose Olivenine Co.,Ltd as Nevertheless, TV stations have to a sampling target of this study because give marketing supports for low competitive Olivenine is a big company which products. The strategy that TV stations produced well known TV dramas such as often use is international exhibition, for Jumong (MBC, 2006) and Hwangjinyi (KBS, example, international TV market 2006). Moreover, the recent merger exhibitions in Hong Kong, France, between Olivenine and KT company is also Singapore and Korea. Usually, part of a model of synergy between content exhibition or traveling expenses will be company and telecommunication company as well.
22 Interview with Haewon Chin, Senior marketing officer, MBC, 1st November 2006. 23 Ibid. 121 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
Figure 5 Olivenine Co.,Ltd. ’s business units
Resources Pr Contents Business Connected - Creative - Drama - Media Marketing Resources(Writer, - TV Show - Drama
Director) oduction Program Merchandising - Human resources - OST. Music - Star Merchandising
- (Performer) - Musical - Theme Park, Network - Technology (Performance) Production
resources distribution - Broadcasting
- (Convergence) - HD movie, channel (PP)
- Business Network animation - Capital Network
1) Variety of broadcasting channels high bargaining power to choose the Because, nowadays, there are a condition of work that they prefer. variety of broadcasting channels in Korea, production companies are not limited to 2) Economy of scope produce TV dramas for only free TV Economy of scope primarily refers channel. They can produce TV dramas for to efficiencies associated with demand- cable TV and IP TV, which are new media sided changes such as increasing or trends. Even marketing officer of MBC, Mrs. decreasing scope of marketing and Haewon mentioned that cable TV could be distribution. Regarding the economy of a competitor for free TV because it could scope, Olive Nine is established in order to give more preferable offer to the production produce TV programs, but it extends its companies. As I noticed, one production business scope to other media services company can work with all of three TV such as performer management, Theme stations. For example, Olive Nine, it Park and brand merchandising. Therefore, produced “Jumong” for MBC, “Hwang-Jin- the cost that Olive Nine spends is not Yi” for KBS and “Lover in Prague” for SBS. allocated to only TV drama. But, it is shared Therefore, production companies have a among several services that Olive Nine
122 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij provides which cause the higher are Kim, Eun Sook (Writer of Lovers in distributing and marketing efficiency and Paris and Lovers in Prague), Jung, Hyung create the synergy between the completed Soo (Writer of Damo, Jumong) and Kim rang of products. So, the overall cost of Cheol Kyu (Producer of Summer Scent) Olive Nine can be reduced. In business term, Olive Nine utilizes the Economy of 5) Synergy between telecommunication Scope. channel and media content Recently, there is a changing point 3) Product line of TV dramas for Olive Nine after merging with KT Another key success factor of Company, one of the biggest Korean production companies is the fact telecommunication companies in Korea. that they can raise the profit from not only Before Korea Telecom Co.,Ltd. (KT TV dramas program but also TV drama company) decides the large scale product lines. For example, during Hwang- investment in Olive Nine on October 2006, Jin-Yi, a famous TV drama broadcasted by it also acquired Sidus FNH’s movie branch KBS, was on-air; Olive Nine launched last year. Therefore, this acquisition creates branding products of Hwang-Jin-Yi almost a big synergy among telecommunication, at the same time. However, doing like this movie and TV drama business. The also has limitation because the company acquisition of Olive Nine will increase the cannot ensure whether the drama is competitiveness of KT Company in content popular enough for selling TV drama business and strengthen KT relationship product line. with broadcasting system, thus maximizing KT capabilities and negotiation power, as 4) Full of creative resources well as content abilities. Although Olive Nine uses two human resources strategy, permanent 6) High budget staffs and freelances, it has enough pool Because of merger between resources of drama creators. Some part of content providers and telecommuni- cation Olive Nine writers and producers name list companies, it increases potential of
123 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
production companies to get a high that Korean TV industry will be more production budget. Moreover, nowadays, competitive in the future. Korean TV dramas can be sold not only in local but also international market. There 2) The freedom of drama creators are increasing investors who are interested According to Prof. Kim Yun chul in TV business. Korean directors and producers quite have The high budget may be not an a freedom in creating their own dramas only one factor that can guarantee the without intervention from TV stations. He success of TV drama. But, the high budget can comment a script from scriptwriter also indicates that Production Company will without TV station management approve. be able to extend a production scale, hire Moreover, marketing is not first important talent production crew and TV stars like factor for Korean producers and directors. Jumong and Hwang-Jin-Yi. “I’m a director. I just do my job. I don’t think I have to worry about arketing. 8.4 Key success factors of TV That kind of business should belong to drama creators business unit of TV stations”24 This statement is quite relevant
1) The industry attracts talented people with interview from TV station marketing Because Korean TV industry is a officer as following. high return business, many more talented “We (marketing department) can people are attracted to be part of the give an advice to a production team. But, a business. Even Ms. Kim Do-woo, a final decision depends on a production scriptwriter of “My lovely Kim Sam-soon”, team because production team has to said that she became an “idol” for the young ladies who want to be a scriptwriter. Unlike the past, the careers in entertainment business become the fascinating careers especially for teenagers 24 Interview with Kim Yun Chul, Director and and young generations. This can ensure producer of “My lovely Kim Sam-soon”, 23rd October 2006
124 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij consider about production budget as together as a team. Ms. Kim Do-woo thinks well.”25 she gets a respect from co-workers as Therefore, creators in Korean TV much as she respects others. She does not business have a freedom to create their involve with other process such as casting own work. Marketing officers and TV station or costume because they are not her managements do not intervene during the specialists. As a result, the researcher production process. It does not mean that conclude that one of key success factors Korean TV stations do not care about for Korean TV dramas is the fact that marketing. However, Korean TV dramas Korean dramas creators can work as a use contents lead marketing; marketing team with a respect on each other works does not lead the contents. They quite and opinions. believe that good products and good stories, not a marketing force, are the 4) Enough working time and return beginning of success. From an interview, Ms. Kim Doo- woo said that she wrote one TV drama per 3) Teamwork one year. Scriptwriter and director work
25 Interview with Haewon Chin, Senior marketing officer, MBC, 1st November 2006. 125 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
Picture 5 Duration of scriptwriting process
Start scriptwriting Start production Broadcast Synopsis
6 months 5 months 4 months 3 months 2 months 1 month 0 month
As a result, she has enough time 6) Professional institute for creative to think thoroughly about the synopsis, workers create the characters and discuss with the In Korea, there is an institute director. However, this also means that the called “KTRWA” (Korean TV & Radio Writer return of writing script for one TV drama is Association) which is private organization enough for one scriptwriter to survive in one established by one Korean scriptwriter. year as well. Otherwise, there will be a 80% of Korean scriptwriters graduated from pressure for scriptwriter to keep working in this institute. Ms. Kim Do-woo, a scriptwriter the industry. of “Snow man”, “My lovely Kim Sam-soon” and “Foxy lady” also got a certificate from 5) Opportunities for new raising stars this institute. The establishment of There are opportunities for gifted professional institute such as KTRWA is people who are interested in entertainment another key success factor for Korean TV business in Korea. For example, there are industry. With professional experience, competitions for scriptwriters every year. KTRWA can provide qualified graduates Although talented persons do not have who will become a next generation of connection and do not know anyone in Korean scriptwriters. industry, they can turn to be professional scriptwriter if they have competencies.
126 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
8.5 Threats of Korean TV industry “Manga Kenkanryu” has published in Although several Asian countries Japan. supported Korean wave in order to balance China’s State Administration for with Japanese popular culture, their Radio Film and Television (SARFT) also national television programs are said last December that China had been overwhelmed by Korean TV dramas, which too generous with the import of Korean TV make people realize that Korean TV drama dramas and called a stricter screening is not just an entertainment. Zhang Guolin, process. It said China could limit airtime for a Chinese actor, has said China is Korean dramas to 50 percent. becoming “a giant in importing foreign Soon after, China Central Tele- culture” and watching Korean TV dramas vision (CCTV) said it would gradually was tantamount to selling out the nation”. 26 reduce the amount of time allotted to soap “Cultural imperialism” becomes a contro- operas from Korea, and Beijing TV is versial accusation for Korean TV dramas. pondering a similar move and says it will And, a signs of backlash against the start showing more Hong Kong and Korean wave has begun in 2005. Taiwan-made soap operas. 27 Though their tremendous success, Meanwhile, Hong Kong’s Wen- the long-term future of Korean TV drama weipo newspaper also reported sign that popularity is still in question. There is a Taiwan is following Mainland China’s lead warning sign that, in next two or three in a drive to limit airtime for Korean drama years, exporting Korean TV dramas to other as well. The daily quoted Taipei’s Asian countries will face an obstacle. For Government Information Office (GIO) Chief example, in Japan, starting from 2005, a Pasuya Yao as telling the island’s Manga (Japanese comic) with a title usually parliament Tuesday that the GIO was translated as “Hating Korean wave” or assessing a proposal to ban or limit foreign
26 The Chosun Ilbo, “Taiwan, China united in Backlash against Korean wave,”
127 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
TV drama in the prime time slot from 8.00 8.6 Opportunities of Korean TV p.m. to 10.00 p.m. 28 industry For Taiwan, the main reason for The Changes of Media Technology: limit Korean TV dramas’ airtime may be not IPTV (Internet Protocol Television) nationalism or cultural conservation. Korean describes a system where a digital officers thought this action came from the television service is delivered using the fact that Taiwan has to protect their own Internet Protocol over a network dramas and support their own movie and infrastructure, which may include delivery television industries. by a broadband connection. IPTV is an In Southeast Asia, the cultural interactive media which audiences can confrontation is less than East Asia. select TV program by themselves. Unfortunately, there is a sign of Anti-Korean Audiences can watch IP TV with wave as well. A high-level Vietnamese TV set or mobile phone if there is an government official recently threatened to Internet access. Now, 80 % of Korean stop broadcasting South Korean television household has Internet access. Therefore, dramas unless the South Korea’s TV within three years, IP TV will become media networks introduce Vietnamese shows on a for a future. This statement is relevant with more equal basis. 29All of these warning the research “challenge on IP TV”. signs are the issue that Korean government According to this research, supposed that and Korean TV industry have to concern. IPTV commercial launch begins in 2006 in Otherwise, Korean wave will be like a Korea, it is projected that the number of firework, sparkling and disappearing only subscribers would reach 570,000 in 2006 for a few minutes. and increase up to about 3 million by 2012. In addition, sales would record 160 billion
28Ibid. 29 Asain Times online, “South Korea in trade flap with neighbors,”
KRW in 2006 and increase to 770 billion The integration between telecommunication KRW by 2012.30 and content providers: As above statement, media The Changes of TV advertisement format: content will be very influent in the future. Because of media technology That is why, recently, the big Korean change, TV advertisement format in the telecommunication company like KT future will be very different from the Company decided to merge with present. There will be no real TV production house Olive Nine. advertisement because audiences can KT announced it would invest in program their own TV. They will not choose production house Olive Nine to the tune of to see any TV commercials. However, 20.4 billion won. With such a hefty sum, KT Korean broadcasters predict that home will acquire 8.5 million Olive Nine shares, shopping channel will replace commercial. becoming largest shareholders with a Audiences can watch drama and buy 19.12% share. CEO Go Dae-Hwa, formerly products that actors or actresses use for the largest shareholder, will leave with 4.3 play in drama. Otherwise, we can say that a million shares (9.66 %). KT announced that content and commercial in TV industry will in addition to an enthusiastic investment in be merged together. There is no line to BCN (Broadband Convergence Network), separate between content and commercial they would invest in the contents field, anymore. And the content business will be creating a blue ocean of communications very influent in the future.31 infrastructure and media contents. With their convergence model of communication and contents, they now have a better chance of entering the global market.
In addition to Olive Nine’s drama, 30 Interview with Boo-Sung, Choung, General entertainment program, music and celebrity Manager of Marketing Department, Olivenine Co., Ltd, 29th November 2006. management sectors, KT acquired Sidus 31 Interview with Boo-Sung, Choung, General FNH’s movie branch last year. With Manager of Marketing Department, Olivenine Co., investment from KT, Olive Nine now has the Ltd, 29th November 2006. 129 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
financial ability to sign key actors and Therefore, people in other countries will produce more than ten dramas and realize Korean wave as a cultural entertainment programs a year. Olive Nine embracement, not a cultural invasion. 33 and KT will develop a new business model for the digital media environment that will The corporation among the organizations maximize profit and take advantage of the in TV industry Korean Wave market. 32 Recently, there is a new association called CODA (Corea Drama The co-production programs: Association). Kim Jong-Hak Production, In order to resolve anti-Korean Group 8, Olive Nine, Yoon’s color, DSP wave problem, Korean government try to ent., Logos film, Appletree Pictures, iHQ, initiate more program of cultural exchange JS Pictures, Chorokbaem Media, Pan ent., among Asian countries. Moreover, Korean and many other production houses have Broadcasting Institute (KBI) also already enrolled as member of the encourages Co-production between Korean association. According to official CODA TV companies and other countries. Co- establishment announcement, the main production means using Korean production reason for CODA establishment is to reach facilities with other countries content. For consensus through cooperation and example, in Thailand, Korean production development of Korean TV drama crews work with Thai production crews to companies. In order to continue the Korean make Thai content. Korean government Wave, Korean TV industry needs a medium hopes that the localized process will to help acquire the appropriate information reduce the cultural conflict between two and feedback. As a result, they have countries. Korean government tries to created the Corea Drama Association to change Korean wave from one-way cultural export to two-way cultural exchange.
32 “KT and Olive 9 join hands: Fusion of telecommunication and media contents,” ASTA TV, 33 Interview with Harrison Yu, General manager of (November 2006): p. 82. Korean Broadcasting Institute, 6th December 2006. 130 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij play the role of the medium and strive for a in order to produce the graduates who better broadcasting culture together. 34 can work effectively in a real business sector. ; 9. Conclusions and Suggestions for Thai 4. There should be an effort to create a TV industry synergy between content providers From overall research information, and telecommunication business. ; the researcher concludes the following 5. The rating evaluate system should be issues, which can be a benchmark for Thai reliable and reflect the real audience television industry. : behaviors. ; 6. There should be an incentive for the 1. The government organizations related people who work in the entertainment with TV industry should be flexible and industry, both in form of return and adapted with the changing reputation. ; environment. ; 7. There should be a norm, which 2. An organization, which has mission to encourages teamwork among people conduct and develop researches of working in the TV industry. An current trends in broadcasting effective communication should be industry, should be established. created with a respect for each other Moreover, there should be a channel expertises and opinions. ; to disseminate valuable information to 8. There should be an opportunity for the broadcasters in the real business new raising stars that want to enter in sectors. ; an entertainment business. The new 3. Higher budget should be provided on raising stars are not included only human resource development in actors or actresses but also creative broadcasting industry. Moreover, workers such as scriptwriters, there should be a linkage between directors and producers. ; education sector and business sector 9. There should be an establishment of professional association that has a 34 “Corea Drama Association (CODA) What will role to create interactive community. they do?,” ASTA TV, (November 2006): p. 66-67
131 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
This community should encourage 10. Recommendations for the future people in the industry to share their studies professional experience. In addition, In order to use the Korean the association should be an television industry as the benchmark for academic institute, which produces Thai television industry, the comparative the talented young professionals for studies between two industries should be the industry as well. ; conducted. The comparative framework 10. There should be a “freedom space” can rang from the industry structure, the for people working in television media policy law & regulation, the viewer business, especially creative workers behavior, the rating system to the such as directors and scriptwriters. marketing practice. Also, it is interesting to They should have a chance to focus compare between Thai television dramas on their own work without pressure which are popular in neighboring countries from management decision. ; and Korean television dramas which are 11. The “content” of should lead the exported in a global market. The question “marketing” of TV dramas. People in which is still not answered is whether Asian TV business should believe that the dramas, including Chinese, Japanese, secret of success is nothing more Korean and Thai, have common factors that than the fact that they can make the make them be able to overcome the audiences like their dramas. ; cultural barriers and be popular among the 12. The government should encourage audiences in foreign countries. This would the corporation between Thai help extend our knowledge of transnational broadcasting industry and other media consumption in a globalization era. countries in order to make Thai broadcasters have an international working experience and prevent a
cultural conflict as well. ;
132 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
References Books Albert Moran and Michael Kane. Television Shin Hyunjoon. “K-Pop in The Cultural across Asia, Television industries Economy of Asian Pop.” Journal of program formats and globalization. Communication Arts 25 (2007): 1- London: RoutledgeCurzon, 2004. 9. Koichi Iwabuchi. Feeling Asian Modernities: Transnational consumption of Other materials Japanese TV dramas. Hong Korean Broadcasting Institute, “Brochure of Kong: Hong Kong University KBI,” (Seoul, Korean Broadcasting Press, 2004. Institute, 2006). Kyu Kim and others. Broadcasting in Ministry of Culture and Tourism. “Korea & Korea. Seoul: Nanam house, 1994. Asia: Developing the cooperation among Asian in the ACPI Articles program” Paper from ACPI “Corea Drama Association (CODA) What symposium, Jeonjo, 22 September will they do?.” ASTA TV (November 2006. 2006): 66. “KT and Olive 9 join hands: Fusion of Interviews telecommunication and media Boo-Sung, Choung. General Manager of Contents.” ASTA TV (November Marketing Department, Olive Nine 2006): 82. Co., Ltd. Interview, 29th November Montira Tada-amnuaychai. “K-Pop, Korean 2006. entertainment industry and its Haewon Chin. Senior Marketing Officer, cultural marketing strategy MBC. Interview, 1st November in Thailand.” Journal of Communi 2006. cation Arts 25 (2007):12-24.
133 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
Harrison Yu. General Manager of Korean Times,
134 Key success factors of Korean TV industry structure that leads to the popularity of Korean TV dramas in a global market Veluree Metaveevinij
______. “Effects of ‘Winter Sonata’ and
135 วารสารเอเชียตะวันออกศึกษา Journal of East Asian Studies
136