Divya Hulvane’s love affair with Korean dramas began six years ago when, one evening, she became tired enough to start watching a show recommended by a friend: Boys Over Flowers (2009). Based on a Japanese manjo shojo (comics aimed at young women) of the same name, this romantic series is usually an amuse-bouche that moves modern audiences ’desire for Korean drama. It tells the story of a high school girl whose life becomes complicated when she crosses paths with four rich boys. “I started watching it, maybe on YouTube, and within two or three events, I was hooked,” says Hulvane, 29. The Mumbai-based doctor finished the 16-episode series in the three days, completely dependent on English subtitles.
Over the past few years, Indians have embraced Korean dramas. These shows feel new to an audience accustomed to Indian, American and British content as they give us a glimpse into another culture. However, as this culture is set in a modern western context that has recognizable characteristics, the displays also feel familiar. Usually only about 16 long episodes – unlike most American-made series that can go on for years – Korean dramas are also appealing for their tight plots, the cast attractive and the revolving character arcs.
“When you look at Korean dramas and films, the values shown are universal and reciprocal,” says sociologist Otojit Kshetrimayum, who has studied the extent of Korean pop culture. in the Northeast. Hulvane agrees. “I started learning Korean using subtitles and I also learned about their culture. It was very new and I enjoyed the way they spoke to their grandparents with so much respect, ”she says.
Back in 2015, however, not many people in Hulvane’s social circle had heard of Korean dramas, much less was watching a man, and it was hard for her to enjoy her happiness and interest. explain to them. Many early fans of Korean drama, especially those who have been watching these series for more than a decade in the country, have followed a similar path of discovery and experience.
When Hallyu – the “Korean wave” that favored South Korean cultural products such as pop music, television series and movies – was first swept through east and southeast Asia in the 1990s , the northeastern states of India were also feeling the impact. In Imphal, Vahcee Kipgen’s family has religiously gathered before their television every day for the past 20 years to watch the latest program no matter what their current favorite K-drama is. Currently, the family of the 20-year-old student is connected to the ambiguous dose of True Beauty (2020-21).
Kshetrimayum says there are clear socio-cultural reasons why Manipur was one of the first places in India to discover the world of K-dramas. According to him, the ban of Bollywood films and music in 2000 by the Liberation Army of Manipur, was considered a separatist group by the government, and the subsequent closure of cinema halls had created a void. This was filled with Korean pop culture that had already moved into the state in the last decade. The popularity spread rapidly across the region and into other parts of India by word of mouth.
The current Indian interest in Korean dramas is aided, in part, by the curated collection available on Netflix. Before it was available on the streaming platform, this content was usually accessible to Indian viewers as pirated copies with subtitles on websites. Kim Young-won, CEO of Forever Content and Management, has been involved in the international export of Korean dramas, especially while working in senior positions at Seoul Broadcasting System, one of the three major broadcast networks in South Korea. In 2007, he decided to focus on the Indian market, which already had a well-known television and film production industry. “I have personally visited major broadcasters like Star TV, Zee TV, Sony TV in Mumbai to discuss the entry of Korean drama in the Indian market. But I learned that foreign plays have rarely been shown on major broadcasters. Even though Fox was Star TV’s parent company, its content rarely appeared on Star TV. At that time, foreign dramas were broadcast (mostly) in India as remixes, ”says Kim.
However, this was not the case in certain parts of the North East. When 51-year-old Heneng Kipgen started watching Korean dramas in 1994 — begging with Feelings (1994) – one of the only ways she could see them sitting in the Manipur home was on a television channel. Arirang in South Korea, which would broadcast one new program twice a week. “They would be broadcast on special days and I would be so happy those days. I would finish my work quickly so that I could see him at night, ”she said, with a smile. To ensure she could see her favorite shows without interruption, Kipgen performed the family ceremony so that her husband and daughters would watch with her. “We were unable to connect with Bollywood with what we could associate with Korean dramas. It’s the same even today, ”said Kipgen.
It’s hard to say whether Indian broadcast channels are finding Korean dramas as an operational venture today, but Netflix’s investment in the genre provides some interesting data. “Netflix brought Korean plays to an audience that had never been exposed to the genre before. And for existing Korean drama fans, it has introduced more diverse genres, including non-scripted Korean content, ”explains Song Byeong-joon, chairman of the Association Producers of Korean Drama, performed by the Group 8 Boys Over Flowers.
Viewership for Korean dramas on Netflix in India increased by more than 370 percent in 2020 from the previous year, with The King: Eternal Monarch (2020), Kingdom (2019-), It’s OK not to ok (2020) and start. (2020) to be the most popular plays in the country, according to the company. A Netflix spokesperson says, “We have invested heavily in Korean content and are delighted that the diversity and versatility in the Korean slate available on Netflix is appealing to it. Indians who love great stories. We are pleased with the progress but we know we have a long way to go. Netflix is already doubling investment in Korean content and we hope to surprise our members with amazing Korean stories across genres and formats. ”
While there is no recipe for how to make a Korean drama that will become a hit at home and internationally, there are some hints. After an export of Korean dramas for nearly three decades, Kim discusses three decision-making factors: the playwright and the story, the cast, and the genre. It marks Secret Garden (2010), starring Hyun Bin and Ha Ji-won, two of South Korea’s biggest stars, who ticked all the boxes – a great story by a skilled, good writer picture and a strong dose of romance – and it has left an Indian fan favorite.
In terms of creativity, production teams, including drama directors, writers and the actors themselves, are more aware of the packages they produce, not just for a visually appealing international audience, but also the domestic audience. Inspired by a web toon of the same name, My ID is Gangnam Beauty (2018) tells the story of a young woman who feels forced to undergo plastic surgery to be socially accepted before enrolling in college, co. trauma-rooted closure grows up in a society that has high levels of physical appearance and normalizes cosmic surgery methods to achieve those standards. This concept, based on tensions that exist not only in South Korean society, but around the world, greatly influenced the show.
“There is no doubt that the popularity of Korean dramas is influencing the production process. Today, people are wondering if this will be a successful play abroad, so we ask ourselves if it will work abroad at the foundation level itself. The production is also influenced by foreign audiences, ”explained Choi Soo-young, screenwriter for My ID Gangnam Beauty and Cunning Single Lady (2014).
While some productions are created specifically with an international audience in mind, business owners are taking evidence that the audience is the focus for the majority of domestic Korean audiences. As the popularity of these shows continues to rise around the world, both domestic and international viewers have become more vocal in their criticism of harsh images of issues such as violence against women, racism. , discrimination, bullying and the representation of LGBTQ + characters in Korean dramas.
While there are lapses, Choi says scriptwriters are becoming more aware. “In those days, the industry is more cautious about these issues, because (otherwise, the drama will be delivered) with harsh criticism on social media in South Korea. Especially on the issues of gender and the stereotyping of women in stories, ”says Song.
Researchers who have studied the phenomenon say the last decade marked the third – and continuing – phase of Hallyu, with the rise of more recent online content, pop groups like BTS and Korean drama and film formats . And there’s no sign that it’s going to spawn anytime soon.
“If Japan is the foundation of animation production, South Korea is developing as the basis for drama production,” Kim said. With Disney Plus slated to enter the South Korean market this year, and Amazon Prime Video and Apple TV Plus actively working to produce and secure Korean dramas, it looks like the genre as the focus of the biggest names in the global entertainment industry for their next major investment, he explains.