Korean dramas

In this 21th century, the Korean Wave has swept the world with its culture that just seems like there is no end to it; meanwhile sponsorship marketing has continue to grow and become one of the fastest growing form of marketing around the world. Both are global phenomenon that have the potential to produce income for business. Hence, this paper aims to understand whether sponsorship marketing can bring in lucrative business or vice versa by using k-drama as a medium through the fame of Korean Wave. In the end, it could identify that sponsorship marketing is a good marketing tool because it has a lot of benefits and characteristic to offer which indirectly bring in good revenue for business by using the Korean drama as a medium; besides, k-drama is an effective medium in getting business as well due to the rising popularity of Korea Wave. 

Keywords: sponsorship, marketing, Korean dramas (k-drama), Korean wave (Hallyu)

This edited collection ambitions to highlight the varieties of reception of Hallyu products (K-pop music and K-drama, webtoons and manhwa, video games ) by global youth audiences in historically situated contexts (both local and national). Considering Hallyu as a transnational phenomenon, being localized in various social, economic, and cultural settings, being disseminated through global media and networks, this edited collection aims at gathering original theoretical and field research to understand better the dynamic of glocalization of the reception of Hallyu among its many youth audiences around the world.

Authors Guidelines
The edited collection aims at being interdisciplinary (it will welcome chapters from social sciences, marketing, media studies, cultural studies, popular studies, Hallyu studies, etc.). Theoretical discussion, as well as fieldworks, are welcome. We also encourage comparative chapters.

The chapters should be between 6000 and 8000 words (including references and footnotes). For editorial guidelines, please see: https://brill.com/fileasset/downloads_products/Author_Instructions/YOGO.pdf


Timeline
• Submission of proposals (500 words maximum): December 2022
• Answer to the authors: February 2023
• First versions of the chapters (6000/8000 words maximum): July 2023
• Remarks to the authors: September 2023
• Second versions of the chapters: December 2023
• Submission of the manuscript to Brill: March 2024
• Date of publication: Fall 2024

The submissions should jointly be sent to
Vincenzo CICCHELLI: vincenzo.cicchelli@ceped.org
Siyeun MOON: sissi65@sookmyung.ac.kr
Sylvie OCTOBRE: sylvie.octobre@culture.gouv.fr

Korea has recently emerged as one of the top tourism destinations in the world, and a catalyst of its rapidly developing tourism industry is Korean drama. Studies on Korean tourism, which focus on sociocultural and gender-related issues, as well as audience behaviors, have been conducted in the Asian region. However, these studies have been geographically limited to monoethnic countries only. As one of the countries contributing to Korea's inbound tourism, Malaysia experienced a significant increase of tourists visiting Korea. Hence, this study aims to identify the motivation segmentation and overall satisfaction level among Malaysian tourists visiting Korea. Specifically, the study aims to identify the influence of Korean drama in their overall experience. A questionnaire-based survey of these tourists was conducted in Seoul City, and cluster analysis was applied to derive motivation segmentation from the collected data. Afterwards, a characteristic comparison was accomplished between drama-and non-drama-watching tourists. Finally, the overall satisfaction of tourists was determined. Results showed three types of motivation segmentation and revealed characteristic differences between the drama-and non-drama-watching tourists. Furthermore, these segmented motivations manifested significant differences in terms of overall satisfaction. In general, Malaysian tourists perceived Korea as a place for family and social bonding, as well as for relaxation and cultural exploration. Interestingly, Korean drama did not influence the overall tourist satisfaction, although it serves as a cultural platform through which tourists gained familiarity with the destination prior to the trip.

SE QUALCUNO CERCA DI COLTIVARE LE TUE SPERANZE, DIFFIDA,
MA SE QUALCUNO CERCA DI DISTRUGGERTELE, COMBATTI: È
QUESTA  LA LEZIONE DI VITA ULTIMA CHE , P R I M A
DELL’ESECUZIONE CAPITALE (1.18), IL PADRE LASCIA AL FIGLIO
MIN CHI HO NELLA SERIE TELEVISIVA COREANA BASKETBALL,
DOVE UNA PARTE DEL COMBATTERE AVVIENE SUL CAMPO
SPORTIVO E DOVE L’INQUADRATURA FINALE È QUELLA DEL
GIOVANE KANG SAN SOSPESO PER ARIA NELL’ATTO DI TIRARE UN
PALLONE DA BASKET IN CUI È NASCOSTA UNA BOMBA SUL PUNTO
DI ESPLODERE VERSO IL PALCO D’ONORE DA CUI ASSISTERE ALLA
PARTITA SU CUI SIEDE L’OPPRESSORE GIAPPONESE, COSA CHE
SIGNIFICA LA MORTE CERTA DI QUASI TUTTI I PERSONAGGI. LA
LOTTA E IL RISCATTO - ECONOMICO, PERSONALE, SOCIALE,
NAZIONALE – PASSANO ATTRAVERSO LO SPORT IN QUESTA SERIE.

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In lieu of an abstract, here is a preview of this Sino-NK Research Room piece.

The mere mention of K-pop evokes images of screaming 20-year-old fangirls, but while these young female fans of South Korean (henceforth: Korean) pop music are arguably the most visible, fans of the Korean Wave, or Hallyu1) do not always conform to this stereotype. Case in point, Jeff is a 42-year-old white man who lives in the Southern United States. He was introduced to Korean culture through the Korean television drama, Princess Hours (궁), which Netflix, a US entertainment streaming service, suggested after he watched other international programming. He was so enthralled by this K-drama that he canceled his cable television subscription because he was no longer interested in non-Korean content, and he branched out into other Korean cultural products such as K-pop, traveling all over the United States and Korea to attend concerts featuring his favorite idols. What is perhaps a bit more surprising, however, is that Jeff’s new entertainment diet led him to replace the forks in his home with chopsticks, prepare colorful and often plant-based Korean meals, and over the course of a decade, lose 80-to-90 pounds (36-to-41 kilograms) as a result.

Korean drama fans understand that the experience of watching one is not enough. Chip Tsao lists the top reason for their popularity: “Firstly, [the dramas contain] beautiful packaging; the leads are pretty, the plot is romantic and the contents are straightforward and appealing.” Besides being enthralled with characters and storylines, fans listen to soundtracks and follow favorite actors. However, it rarely ends there. With the very recent drama, “Descendants of the Sun” (2016), foreign investment expert Ji Hyun Rhim reveals, “Even with the sluggish rate of Korean exports, overseas sales of Korean cosmetics rose 22 percent this year through March from 2015, coinciding with the run of the popular drama.” Asian fans of Korean dramas capitalize by selling beauty and fashion products to get the look of certain actresses or characters, particularly in China. Asian marketing expert, Ann
Bierbower explains in her China Skinny blog that “Of China’s huge population, 640 million are women consumers. Not only are they shopping, but also creating change and driving China’s economy.” Chinese female power-bloggers, with thousands of fans or more, contribute to what business experts call the “She-Economy”; they are very influential in the beauty and fashion industry, invited to be spokespeople for popular companies or as guests for exclusive events.
Taking political economy and fan studies approaches, I will discuss the ways these power-bloggers are profiting from Korean drama fandom and suggest ways these profits might be returned to Korea.