Unilateral exports not answer to bringing 'hallyu' back to life

By Choi Sung-joon

Choi Sung-joon, chairman of the Korea Communications Commission

“Seduction is always more effective than coercion,” said Joseph S. Nye, predicting that soft power, the ability to shape the preferences of others through appeal and attraction, would be more important than the military or economic power in a new international order.

The main source of Korea’s soft power is definitely “the Korean wave” content represented by K-drama and K-pop. Content consumed and distributed in the overseas market builds the country’s national image, and this leads to the export of consumer goods, and tourism as well. According to the Korea Foundation for International Culture Exchange, the Korean wave content has created an economic impact of 12.5 trillion won and employment for 102,000 people.

Broadcasting has played a key role in the rise of the Korean wave. The drama “What Is Love” opened the era of content export and “Winter Sonata” and “Dae Jang Geum” started the Korean wave fever beyond China and Japan to reach Southeast Asia and the Middle East. Last year, “My Love From the Star” recorded 4 billion views on Chinese video web-sites, taking first place in the drama category, and brought about the “Chicken & Beer” fever among Chinese citizens.

The broadcasting of the Korean wave has recently expanded in its diversity. Programs produced by PPs and entertainment programs are progressing rapidly, and selling online transmission rights is more common than directly transmitting to TVs. A “Format export,” producing a program with local cast and Korean staff based on the synopsis of Korean programs, is getting popular. “Hidden Singer” and “Grandpas over Flowers” were successfully “format-exported” to American terrestrial broadcasters.

However, the future isn’t all that rosy. Broadcasting content’s seduction can also create hostility. If we focus solely on the economic value and treat other countries only as buyers, they might respond with strict regulations and anti-Korean sentiment to protect their own identity. This has already been witnessed in some countries.

Another problem is that the foundations of the domestic broadcasting industry are weakening. The main source of revenue for broadcasting, advertisement sales, has decreased due to intensified competition and slowing economic development; and human resources have fled to other sectors or overseas. If this trend continues, it will be difficult for the broadcasting sector to maintain competitive in the global market as it is today.

Therefore, the government and the industry as a whole have to carry out measures to continue its role as a key manufacturer and messenger of Korean wave content.

The Korea Communications Commission (KCC) has taken actions to strengthen the foundation of the domestic broadcasting industry. The KCC improved strict regulations on advertisements and programming set in a time when TV held a monopolistic position to protect the creativity and autonomy of the private sector. The KCC also tried to increase TV license fee which has remained static for the past 30 years so that the public broadcasting can stand up as the defender of public interest.

Externally, there is a need for a change in awareness. A partnership for positive cultural exchange based on mutual respect instead of unilateral exports is needed for the Korean wave to avoid becoming culturally imperialistic, and to continue to develop.

In this respect, the government is currently expanding the co-production agreement, imposing an eased regulation when there is a convergence between two countries from the production phase. Korea signed agreements with the EU, Australia, India, New Zealand, Singapore, Cambodia and agreed to form a consultative body for the co-production agreement with China as a follow-up measure to the Korea-China FTA. In addition, Korean government divisions are discussing various plans for enhancing the Korean Wave including protecting copy rights, assisting program production, developing technology and finding overseas distribution channels.

The Korean broadcasting content reflects the abundant story sources of Korea and the know-how of harmonizing popularity, entertainment and artistry. According to Chinese experts from the online broadcasting industry, Korean Entertainments programs are remarkably fit for the “snack culture” trend, being enjoyed for a short period of time through the Internet or mobile devices. Our future lies in our hands. When the efforts of the broadcasting sector and institutional assistance from the government are combined, the Korean broadcasting industry will serve as a firm root for the Korean wave to grow bigger and broader.