DOCSLIB.ORG

Jeon, Won Kyung (2013) the 'Korean Wave' and Television Drama Exports

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jeon, Won Kyung (2013) the 'Korean Wave' and Television Drama Exports Jeon, Won Kyung (2013) The ‘Korean Wave’ and television drama exports, 1995-2005. PhD thesis. http://theses.gla.ac.uk/4499/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] The ‘Korean Wave’ and Television Drama Exports, 1995-2005. Won Kyung Jeon M.A. Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow July 2013 ⓒ Won Kyung Jeon 2 Abstract It is clearly an unexpected phenomenon that Korean television dramas have gained popularity among Asian audiences since the late 1990s. Evidently, Korean dramas have become, within just a decade, one of the types of broadcasting content most in demand in many Asian countries, but this popularity, frequently called the Korean Wave, seems to have been obtained rather unexpectedly. This thesis examines how the Korean broadcasting industry succeeded in breaking into neighbouring markets over a relatively short period of time, and whether the Korean government played a certain role in supporting the fast acquisition of Korean dramas of Asian audiences. Through the analysis, using a combined research method, the thesis uncovers how the government’s support policies have not provided meaningful help for drama exports. Rather, the subordinate relationship of Korean broadcasters to the government and the relatively early marketisation of the Korean broadcasting industry have more efficiently stimulated Korean dramas’ entrance into neighbouring broadcasting markets. Moreover, this thesis examines why the Korean government has shown a reluctant attitude to supporting drama exports, and finds that this ambiguous perspective has been multilaterally related to the government’s nationalistic viewpoint on the operation of cultural policies. Through this analysis, the thesis eventually reveals that there has been a considerable gap between the government’s perception of the cultural industries and the industries’ actual circumstances, and that, even though the government may recognise this gap, it is not easy for government and cultural industries to reach any kind of compromise in order to operate more efficient and helpful support policies for the development of these industries at a global level. 3 Acknowledgement My research would not have been completed without the sincere support of a number of people. First of all, I would like to express my appreciation to my two supervisors, Prof. Philip Schlesinger and Prof. Gillian Doyle. They have provided me with excellent guidance throughout my Ph.D study in the University of Glasgow. Both Prof. Raymond Boyle and Prof. Isolde Standish deserve to get my special thanks. The viva voce with them has been remembered as an enjoyable experience. I am also indebted to the thirty-three informants who generously accepted my requests for having interviews and provided valuable data. Further thanks should go to my colleagues in the University of Glasgow. Andrew McWhirter, my ‘guru’, encouraged me whenever I was struggling in my study over the last four years. I am grateful for the true friendship given from Dr. Jaye Chiu, Dr. Zareena Khalid, Piyumi Ranasingha, Dr. Jo-E Chung and Minha Kim. I also appreciate Dr. Migeun Park, Alison Mclver, Jina Park, Adaeze Gosiemibonye, Hye-young Kim and Ruth Candy, who have helped me and my family. I am greatly proud of my two children, Heechan and Heewon. They came to Scotland with me and studied over three and half years in a local primary school. Although they had not understood English at all when they had been transferred to a Scottish school, they brilliantly improved in both their English and studies. Their humour, imagination, and cheerfulness have inspired me. Most importantly, I would like to express a big thank you to my husband, Dr. Sik Lee, who emotionally and financially supported me. I know very well my aim couldn’t be achieved without his true love and faith in me. 4 Table of Contents Abstract ·························································································· 2 Abbreviations ····················································································· 9 Chapter One: Introduction ······································································ 11 The term ‘Korean Wave’ and its various interpretations ································ 13 Formation of top-down policies during periods of political turmoil ··················· 16 Economic development under repressive rule ········································· 16 Anti-communism as the governing ideology ·········································· 19 Economic turmoil in the late 1990s ····················································· 21 Research and thesis structure ······························································· 23 Chapter Two: Media Marketisation and Broadcasting Policies ···························· 26 Theoretical accounts of the growth of the broadcast programme trade ·············· 27 Marketisation in the broadcasting industry and its effects ······························ 34 The cultural nationalism of East Asian countries ········································· 40 The deregulation and re-regulation process in Asian broadcasting markets········ 42 The specific cultural nationalism of Asia··············································· 47 Conclusion ···················································································· 51 Chapter Three: The Korean Television Industry and Government Policies ·············· 55 The television industry in Korea ··························································· 57 The history of Korean broadcasting stations ··········································· 57 The structure of the Korean broadcasting industry ···································· 63 The drama industry in Korea ······························································· 68 The history of Korean dramas ··························································· 68 The structure of the Korean drama industry ··········································· 73 The audiovisual industry policies of the Korean government in the early 1990s ····· 75 The audiovisual industry policies of the Kim Young-sam regime ················ 76 The limitations of the broadcasting policies of the Kim Young-sam regime ······ 81 Conclusion ···················································································· 82 Chapter Four: Methodology ···································································· 85 Documentary research ······································································· 87 Three sources of documentary research ················································ 87 The strengths and limitations of documentary research ······························ 89 Semi-structured interviews ································································· 90 5 Interview design and categories ························································· 91 Access to respondents and conducting of interviews ································· 97 The strengths and limitations of the interview method ······························· 98 Case studies ··················································································· 99 The purposes and strategies of case studies ············································ 99 Case study: KBS Media ································································ 100 The strengths and limitations of case studies ········································ 102 Conclusion ·················································································· 103 Chapter Five: Korean Government Drama Export Policies ······························ 105 The cultural industries policies of the Kim Dae-jung regime ························· 107 The new cultural industries policy: more support, less intervention ·············· 107 The impact of deregulation and democratisation on drama exports ··············· 114 Drama export support policies after the Korean Wave ································ 120 Korean government support for broadcasting exports ····························· 120 The Korean government’s reluctance to support drama exports··················· 125 Confusion concerning Korean Wave support policies ······························ 129 Conclusion ·················································································· 135 Chapter Six: Changing Conditions in the Korean Drama Industry ······················ 139 Increasing broadcaster and viewer interest in dramas ································· 140 Intensifying competition among broadcasting stations ····························· 140 Korean viewers: loyal drama followers ·············································· 149 The economic crisis of the late 1990s and its effect on programme exports ········ 155 The restructuring of broadcasting stations in the economic crisis ················· 156 The effect of the economic crisis
Load more

Recommended publications
  • Birth and Evolution of Korean Reality Show Formats
    Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the
    [Show full text]
  • Welcome to Korea Day: from Diasporic to Hallyu Fan-Nationalism
    International Journal of Communication 13(2019), 3764–3780 1932–8036/20190005 Welcome to Korea Day: From Diasporic to Hallyu Fan-Nationalism IRINA LYAN1 University of Oxford, UK With the increasing appeal of Korean popular culture known as the Korean Wave or hallyu, fans in Israel among Korean studies students have joined—and even replaced— ethnic Koreans in performing nationalism beyond South Korea’s borders, creating what I call hallyu fan-nationalism. As an unintended consequence of hallyu, such nationalism enables non-Korean hallyu fans to take on the empowering roles of cultural experts, educators, and even cultural ambassadors to promote Korea abroad. The symbolic shift from diasporic to hallyu nationalism brings to the fore nonnationalist, nonessentialist, and transcultural perspectives in fandom studies. In tracing the history of Korea Day from the 2000s to the 2010s, I found that hallyu fan-students are mobilized both by the macro mission to promote a positive image of Korea in their home societies and by the micro motivation to repair their own, often stigmatized, self-image. Keywords: transcultural fandom studies, hallyu, Korean Wave, Korean studies, Korea Day, diasporic nationalism While talking with Israeli students enrolled in Korean studies (mostly female fans of Korean popular culture) in an effort to understand their motivations behind organizing Korea Day and promoting Korean culture in Israel in general, I was surprised when some of them used the Hebrew word hasbara, which literally translates as “explanation.” As a synonym for propaganda, hasbara refers to the public diplomacy of Israel that aims to promote a positive image of Israel to the world and to counter its delegitimization.
    [Show full text]
  • Cross-National Study on the Perception of the Korean Wave and Cultural Hybridity in Indonesia and Malaysia Using Discourse on Social Media
    sustainability Article Cross-National Study on the Perception of the Korean Wave and Cultural Hybridity in Indonesia and Malaysia Using Discourse on Social Media Yu Lim Lee 1, Minji Jung 1, Robert Jeyakumar Nathan 2 and Jae-Eun Chung 1,* 1 Department of Consumer Science, Sungkyunkwan University, Sungkyunkwan-ro 25-2, Jongno-gu, Seoul 03063, Korea; [email protected] (Y.L.L.); [email protected] (M.J.) 2 Faculty of Business, Multimedia University, Melaka 75450, Malaysia; [email protected] * Correspondence: [email protected]; Tel.: +82-2-760-0508 Received: 25 June 2020; Accepted: 24 July 2020; Published: 28 July 2020 Abstract: In the era of globalization, due to the prevalent cultural exchange between countries, inflows of foreign cultural products can enrich local culture by hybridizing local and global culture together. Although there have been numerous studies on cultural hybridity using qualitative interviews with recipients of foreign cultural products in single countries, cross-national studies that examine the national characteristics that facilitate or impede cultural hybridity remain scarce. The purpose of the present study is to identify the factors that promote or hinder cultural hybridity between the Korean Wave and Muslim culture by probing the similarities and differences in social media data on Korean cultural products between Indonesia and Malaysia using a semantic network analysis. The results of the study uncovered the three factors that promote cultural hybridity (‘Asian identity’, policies emphasizing ‘unity in ethnic diversity’, and ‘local consumers xenocentrism’) and the two hindering elements (‘a conservative nature of religion’ and ‘discrimination between ethnic groups’). Theoretical contributions and practical implications are also provided for promoting cultural hybridity.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • The K-Pop Wave: an Economic Analysis
    The K-pop Wave: An Economic Analysis Patrick A. Messerlin1 Wonkyu Shin2 (new revision October 6, 2013) ABSTRACT This paper first shows the key role of the Korean entertainment firms in the K-pop wave: they have found the right niche in which to operate— the ‘dance-intensive’ segment—and worked out a very innovative mix of old and new technologies for developing the Korean comparative advantages in this segment. Secondly, the paper focuses on the most significant features of the Korean market which have contributed to the K-pop success in the world: the relative smallness of this market, its high level of competition, its lower prices than in any other large developed country, and its innovative ways to cope with intellectual property rights issues. Thirdly, the paper discusses the many ways the K-pop wave could ensure its sustainability, in particular by developing and channeling the huge pool of skills and resources of the current K- pop stars to new entertainment and art activities. Last but not least, the paper addresses the key issue of the ‘Koreanness’ of the K-pop wave: does K-pop send some deep messages from and about Korea to the world? It argues that it does. Keywords: Entertainment; Comparative advantages; Services; Trade in services; Internet; Digital music; Technologies; Intellectual Property Rights; Culture; Koreanness. JEL classification: L82, O33, O34, Z1 Acknowledgements: We thank Dukgeun Ahn, Jinwoo Choi, Keun Lee, Walter G. Park and the participants to the seminars at the Graduate School of International Studies of Seoul National University, Hanyang University and STEPI (Science and Technology Policy Institute).
    [Show full text]
  • “PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju
    TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan.
    [Show full text]
  • The Korean Wave As a Localizing Process: Nation As a Global Actor in Cultural Production
    THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Ju Oak Kim May 2016 Examining Committee Members: Fabienne Darling-Wolf, Advisory Chair, Department of Journalism Nancy Morris, Professor, Department of Media Studies and Production Patrick Murphy, Associate Professor, Department of Media Studies and Production Dal Yong Jin, Associate Professor, School of Communication, Simon Fraser University © Copyright 2016 by Ju Oak Kim All Rights Reserved ii ABSTRACT This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices.
    [Show full text]
  • Media Content the Next Players of China’S Growth
    Media Content The next players of China’s growth A look into the growth pattern of China’s culture industry Overweight (Maintain) China has become a central player in almost every industry across the world. The media content industry is no exception. In our recent overseas marketing trip, we met many Industry Report foreign investors asking about Korean content stocks, and were left with the impression March 23, 2016 that investors were looking for the next players to benefit from China’s growth. In 2015, the tertiary industry contributed to more than half of China’s GDP for the first Daewoo Securities CCCo.,Co., Ltd. time ever, signaling a change in global stock leadership. China’s box-office market has been growing at an astonishing rate, outpacing forecasters’ predictions. Historically, US [Telecom Service / Media] cultural spending increased significantly when the country’s GDP per capita rose from Jee-hyun Moon US$4,000 to US$20,000. At present, China’s GDP per capita is just US$8,000. +822-768-3615 Furthermore, the Chinese government has pledged to develop the culture industry into [email protected] one of the backbones of its economy. Nu-ri Ha With infrastructure nearly complete, next big investment will be in content +822-768-4130 [email protected] China’s culture industry now has most of the necessary infrastructure in place. The boom in multiplex theater co nstruction has led to a considerable rise in the number of Hong-mei Cui screens, and box-office revenue is surging in third- and fourth-tier cities.
    [Show full text]
  • Korean Broadcasting System
    Not ogged in Ta k Contributions Create account Log in Artic e Ta k Read Edit Hiew history Search Wikipedia Korean Broadcasting System From Wikipedia, the free encyclopedia Coordinates : 3,.52538GN 12A.91A3A1GE This article may be expanded with text translated [show ] from the corresponding article in Korean . (September 2014) Click [show] for important translation instructions. Korean Broadcasting System ( KBS ) Korean Broadcasting System (KBS) Main page Contents (Hangul : 한국방송공사 ; Hanja : 韓 7eatured content Current e2ents 國放送公社 ; RR : Han-guk Bangsong Random artic e Ionate to Gongsa ; MR : Han'guk Pangsong Kongsa ) is 6ikipedia 6ikipedia store the national public broadcaster of South Korea . It was founded in 1927, and operates Logo used since 2 October 1984 1nteraction radio , television , and online services, being He p one of the biggest South Korean television About 6ikipedia Community porta networks . Recent changes Contact page Contents [ hide ] Too s 1 History 1.1 Beginnings in radio 6hat inks here Re ated changes 1.2 1950s–1960s - Move into Up oad K e television Specia pages Permanent ink 1.3 1970s - Expansion Page information 1.4 1980s - Advertising started after Main building of Korean Broadcasting System 6ikidata item controversial merger Native name 한국방송공사 Cite this page 1.5 1990s - SpinoE of EBS Hanja 韓國放送公社 Print/eCport 2 Structure Revised Han-guk Bangsong Gongsa Create a book 3 CEOs Romanization Iown oad as PI7 Printab e 2ersion 4 Channe s McCune– Han'guk Pangsong Kongsa 4.1 Terrestria te evision Reischauer 1n other projects
    [Show full text]
  • Behind the Korean Broadcasting Boom PDF SHIM Sungeun
    Behind the Korean Broadcasting Boom SHIM Sungeun The dramatic overseas expansion of the South Korean audiovisual industry, including television and motion pictures, is noteworthy throughout the East Asian region. This impression is supported by the increase in exports of Korean motion pictures and television broadcasting programs. It is evident in Japan, too. Shiri, released in Japan in 2000, was one of the first Korean motion pictures to achieve box office popularity. It drew an audience of more than one million—an extraordinary figure for a Korean film in Japan—and made box-office proceeds of ¥1.8 billion. The most successful export com- modity not just to Japan but other countries from the Korean audiovisual industry, however, has been television dramas. Winter Sonata is the prime example. TV drama export has been growing rapidly, an average of over 40 percent per year since the latter half of the 1990s. In 2005, South Korea recorded its largest-ever surplus in the trade of TV programs, while its motion picture exports turned sluggish (Figure 1). This paper focuses, in an attempt to seek causes of this remarkable export success, on changes in South Korean government policy in the 1990s. The general understanding is that these policy changes began in 1998 when then president Kim Dae-jung declared himself a “culture president” and said he would devote himself to the development of media and other cultural indus- tries as the nation’s leading industries of the twenty-first century. The govern- ment’s policy to boost the competitiveness of the Korean broadcasting industry, however, had been introduced gradually since the early 1990s.
    [Show full text]
  • Analyse De Contenus Télévisuels De La Vague Coréenne En Tant Qu'expression Du Soft Power Asiatique
    UNIVERSITÉ DU QUÉBEC À MONTRÉAL ANALYSE DE CONTENUS TÉLÉVISUELS DE LA VAGUE CORÉENNE EN TANT QU'EXPRESSION DU SOFT POWER ASIATIQUE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN COMMUNICATION PAR ELSA BRAIS-DUSSAULT JANVIER 2016 -------------- ------ ------ ---- UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006) . Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l 'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. , -------- ---- ------------- ------ ------ 1 REMERCIEMENTS La rédaction d'un mémoire est un projet à long terme. Un investissement massif dans un long processus de découverte, de construction et de créativité. C'est une étape de vie où l' on apprend à se connaître à travers un processus de création élaboré, où l'on aborde des sujets complexes, affronte des obstacles courants et met à épreuve notre capacité de structurer nos idées et notre imagination.
    [Show full text]
  • The Development of South Korean Cable Television and Issues of Localism, Competition, and Diversity
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 5-2011 The evelopmeD nt of South Korean Cable Television and Issues of Localism, Competition, and Diversity Daeyoung Kim [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Kim, Daeyoung, "The eD velopment of South Korean Cable Television and Issues of Localism, Competition, and Diversity" (2011). Research Papers. Paper 78. http://opensiuc.lib.siu.edu/gs_rp/78 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE DEVELOPMENT OF SOUTH KOREAN CABLE TELEVISION AND ISSUES OF LOCALISM, COMPETITION, AND DIVERSITY by Daeyoung Kim B.A., Mass Communication and Journalism, Korea University, 1995 M.A., Mass Communication and Journalism, Korea University, 2001 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Graduate School Professional Media & Media Management Studies College of Mass Communication and Media Arts Southern Illinois University at Carbondale May, 2011 RESEARCH PAPER APPROVAL THE DEVELOPMENT OF SOUTH KOREAN CABLE TELEVISION AND ISSUES OF LOCALISM, COMPETITION, AND DIVERSITY By Daeyoung Kim A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Professional Media & Media Management Studies Approved by: Dr. Paul Torre, Chair Graduate School Southern Illinois University Carbondale July 2, 2010 AN ABSTRACT OF THE RESEARCH PAPER OF DAEYOUNG KIM, for the Master of Science degree in Professional Media & Media Management Studies, presented on July 2, 2010 at Southern Illinois University Carbondale.
    [Show full text]