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