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And China's Active Choice for the Korean Wave Xin-Yue HU1,A 1School of Foreign Studies, Nanjing University, Nanjing, Jiangsu, China [email protected]

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And China's Active Choice for the Korean Wave Xin-Yue HU1,A 1School of Foreign Studies, Nanjing University, Nanjing, Jiangsu, China A1010332292@Qq.Com 2021 International Conference on Education, Humanity and Language, Art (EHLA 2021) ISBN: 978-1-60595-137-9 China's "Korean Wave" and China's Active Choice for the Korean Wave Xin-yue HU1,a 1School of Foreign Studies, Nanjing University, Nanjing, Jiangsu, China [email protected] Keywords: Korean wave, TV series. Abstract. Hallyu has gradually exerted greater influence in China and even in the world. Through the development of Korean TV dramas imported to China, and compared to the development of Japanese TV dramas in China, the author found that the development of Korean TV dramas was influenced by the development of the Chinese society and reflected China’s active choose on the import of Korean TV series. 1. Introduction "Korean Wave" was first used on the Chinese media in the 1990s, and within a few years it has become one of the most common vocabularies in various media. After China introduced the first Korean TV drama "What is Love" in 1991, Korean TV dramas and Korean music and dance gradually became familiar to Chinese audiences, and gradually formed an important part of Chinese people's perception of Korea. And after Korean drama and Korean music and dance became popular in East Asia, the Korean government supported more related industries in export in both economic and diplomatic aspects. The Korean Wave not only has an impact on China and Japan, but also gradually spread across the world with the development of the Internet. Many scholars have worked to decode the popularity of Korean popular culture. 2. Literature Review Culture is a stable symbolic symbol and spiritual will created by people themselves. A specific cultural form constitutes the cultural identity of a specific group and affects the development of a country or region. As a part of culture, mass culture is the embodiment of technology in mass society. Cui Shiguang researcher of Chinese Academy of Social Sciences believes that popular culture is those that is supported by large cultural industries, copied through industrial way for the majority of the cultural market and cultural form of production and consumption of cultural goods. It is both a product of modern society, but also the object of mass consumption. Some Western scholars believe that the ideology of the country runs through popular culture, and some scholars believe that the essence of popular culture is the consumption demand generated by symbols. Popular culture mainly includes a series of subjects that have characteristic of popularity, commodity and transmissibility such as best-selling novels, movies, popular songs, games and animation. Some scholars believe that the development of Hallyu is mainly based on the overall development of Korean popular culture, and discuss the development history and influence of Hallyu in other countries. Therefore, it often be concluded that the uniquecultural "gene" that distinguishes Korean popular culture from Western culture or other East Asian cultures is an important factor among them. Modern and contemporary Korean historical and cultural "genes" have affinity with other countries in terms of ethics and values. This paper will focus on film and television to reflect the Chinese culture in Korea to accept popular culture when the active choice was made. 11 3. The Development and Characteristics of Contemporary Korean Popular Culture in Korea From the 1920s, the beginning of the development of South Korea's popular culture, the development of mass media is one of the important factors in popular culture. The first Korean popular song was " 사의찬미 (死의 Praise)" released in 1926 . This song is a temporary recording after the female singer Yoon Sim-duk (윤심덕)went to Japan to record cover songs. It is said that when returning home after the recording is completed, Yoon Sim-duk and playwright Kim Woo-jin(김우진) both disappeared at sea shore. It is widely believed that they died in love. The spread of the song reflects the technological development of mass media at that time. The song was released in the form of a record, but the public found it mostly through radio stations. After that Japanese manga, animation and other aspects of popular culture were completely banned, but they were still translated into Korean in an unsigned manner and became well known to the Korean public.[1] Another important turning point in the history of Korean popular culture was Seo Taeji's debut. Seo Tae-chi’s songs caused a trend, which led to a sudden increase in the study of music in popular culture by Korean scholars. Scholars became aware of the influence of popular music itself on people and related industries. The first two stages of The Four Cultures Unrestrictions can be reflected in the refinement of 'kayokyoku' by kayo and popyura ongaku, and the influence of the native Japanese culture and the European and American cultural values and music culture that are passed to Korea after being interpreted by Japanese culture. In the following two stages (2002-2006), South Korea's acceptance of foreign cultures has further improved. In South Korea's popular culture, the further differentiation of Japanese popular music and film and television and directly from Western music forms such as Europe and the United States influenced the form and production of Korean popular music, film and television at that time. The support of the government and the trend of globalization have promoted part of popular music. 4. The Peculiarities of Korean TV Series Dissemination in China 4.1. The Development of Korean TV Dramas in China is Affected by Chinese TV Policies and Mass Communication On November 19th, 1999, "Beijing Youth Daily" used the word "Korean Wave" for the first time to report the unprecedented success of a famous Korean pop band's concert in Beijing. After that, it was widely used to describe the popularity of Korean pop culture abroad. After the introduction of the first Korean TV drama "What is Love" in 1991, the influence of Korean film and music on China gradually increased. The influence of the Korean Wave has been weakened by so-called “restriction on Korea”, even though no official document was issued. National Radio and Television Administration has restricted the visual Korean elements on television under the political relationship between China and South Korea that had cooled down rapidly due to the "THAAD" system in 2012. The influence of Korean film and television on China can be divided into three stages: the first stage from 1997 to 2005; the second stage from 2006 to 2012; and the third stage from 2013 to 2016.[2]. According to author, the rest will focus on two phases: 1991 to 2005; 2006 to 2012 to explore the special nature of the spread of Hallyu in China. China Central Television introduced a great number of foreign TV dramas in the 1990s, and introduced 133 foreign TV dramas within 10 years, which is 2.4 times more than that in the 1980s. In 1990 alone, 16 dramas were introduced, and in 1999 number even reached 20.[3] In the 1990s, China’s mainstream TV dramas had just underwent separation between producing from broadcasting; the high cost of TV dramas began to fall; China Central Television had a larger share of the TV drama market; the main themes of domestic TV productions were crime, ordinary people and cities Life, but the top-rated TV series are all historical and family comedy series. Among the imported dramas, TV dramas from Hong Kong and Taiwan accounted for 53.6% of the broadcasts and 64.4% of the broadcast frequency. The number of TV series in Hong Kong is more than three times that of Korean TV series (Shanghai TV Festival Organizing Committee CCTV- Sofrey Media 12 Research, 2004, P223-226). Under the influence of the TV market, compared to the Taiwanese TV drama, Korean dramas impact of a different degree in the region: Taiwan drama affected the near Taiwan's southern China more; the influence of Korean drama in south is less than that in the north. In the mid-to-late 1990s, the number of TV stations broadcasting Korean TV series was higher than before. The main topics of TV series introduced were "romance and conflicts, career building and daily family lives in the urban area" [4] It took over the craze of Japanese youth dramas in the mid-90s. Another reason is the price of TV series. According to the Table 1, the price of Japanese TV series in Asia is far higher than others. Table 1. 1996 Asia Pacific TV Price List. Country Name TV series (USD/hour) Japan Broadcasting Association (NHK) 10000-50000 Japan Commercial Television 10000-60000 Korea 2000-4000 China 1500-2500 Hong Kong 1500-3500 American Business Network 80000-180000 American Public Television 1500-10200 In 2005, Dae Jang Geum" became a phenomenon-level TV series in China, breaking the highest ratings in 13 cities, with more than 164 million viewers. National Radio and Television Administration immediately declared that Korean dramas are a means of cultural invasion. In 2006, TV stations that restricted Korean TV series to broadcast for no more than 20 hours a year, only introduced 7 Korean TV series. The revenue of Korean TV dramas that year fell from 101.6 million US dollars to 85.9 million US dollars. At the same time, TV drama-related staff blamed low-quality Korean TV dramas for occupying the Chinese TV drama market. Therefore, the main means for Chinese viewers to watch Korean TV series transferred from TV stations to the Internet. National Radio and Television Administration restricted overseas-produced programs not to exceed 25% of the total daily program duration, and prohibited the broadcasting of overseas-produced programs from 7 to 10 pm.
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