21

The Impact of Korean TV Dramas Series on the Iranian Market

and Society

Mohammad Hassan Mozafari (IMEA)

Introduction

Film and drama are two important items in the list of cultural and creative goods and
services. 1 Creative industries not only create employment, generating economic
benefits, enhancing economic performance and eliminating poverty, but produce
content with social and cultural meaning and contribute to socio-economic
development. They are a vital source for the cultural identities of individuals and
communities (unesco). According to some scholars, human creativity is the ultimate
economic resource, and the industries of the twenty-first century will depend
increasingly on the generation of knowledge through creativity and innovation
(wikipedia, Creative industries).

The symposium of experts of UNESCO on “Culture, the Market and Globalization”

declared in its final document that cultural goods and services should not be
considered like other forms of merchandise (unesdoc 1999). Cultural and creative
goods are social goods2 and they could have a massive, deep and long-lasting impact
and positive or negative influence on issues like social cohesion and national identity
at individuals and community levels.

For many decades, based on the above mentioned reasons, many developed and
developing countries including Korea prepared especial cultural policy and programs.
In the 1990s, the Korean government through its cultural development policy has
taken significant steps for its creative industry, particularly in the field of music, film

1
Cultural goods and services includes textual, research and development, publishing, the
visual and performing arts like music and film production, advertising, radio and TV
programs, design, fashion, architecture, art and crafts, software, toys and games, sport,
tourism, consultations and education services, heritage conservation including museums,
galleries, libraries, festivals, cultural industries and etc.
2
Cultural and Social products like clean air and security are public goods. Consumption of
someone does not reduce the share of others. Even in the case of cultural goods the case is
opposite: increase in demand and consumption of a product would lead to its reputation and
value. For instance sometimes millions of people download an artistic work just in few hours.
 22

and TV drama series, to grow remarkably. There is good demand for these products
not only at local but at international market also. Korean dramas are very popular in
Asia, Middle East and Latin America. Many have been translated fully in English. The
satellite TV channels, cable TVs, Internet like Facebook and the YouTube, DVD
sellers and rental net have played key roles to make the Korean dramas more popular
all over the world. These dramas have contributed to the general phenomenon of the
Korean wave and “drama fever” in some countries. This term was coined in mid-1999
by Beijing journalists who were surprised to see the fast growing popularity of Korean
entertainment and culture in China (Wikipedia, the free encyclopedia). Iran is not an
exception, either. Its market and society has been strongly affected by this sweet
epidemic fever.

Direct Impact on the Market

The commercialization of art and culture is a reality and relatively large amount of
transaction at the domestic and international levels is related directly to the cultural
goods and services. Iranian economy is the second-largest economy in the Middle
East and North Africa. Iran is an attractive market for many manufacturers, due to its
high level of literacy and education; a large number of consumers for cultural goods
such as films and serials; a number of twenty-four hour running TV channels in a
great need of the program; extensive distribution network and Internet market of
cultural goods, especially music and movies. Iranian cultural and artistic producers
and different western and eastern companies compete each other to sell their films and
television series in the market. Koreans came too late in this market (TV channels and
distribution network) but their recent presence is really powerful.

In fact, the Iranian broadcasting policy and its criteria on foreign TV series and
movies are strictly moral. Based on these terms, the content and images of the family
films and TV series should be moral (non-sex, less nakedness and less violent).
Obviously, the world’s film industries produce their movies and drama series not
according to the Iranian broadcasting policy, but according to the demands of the
global market. So this type of films could not be aired on Iranian TV.

However, this does not mean that the IRIB does not broadcast the famous foreign
movie series of the world. China, Japan and South Korea are among the countries that
provide the moral and ethical films and drama series which not only are compatible
with the criteria of the Iranian broadcasting system but also palatable to Iranian
audience’s tastes. The TV drama named ‘Jumong’ was compatible to the Iranian tastes
to the extent that, for several months the Iranian journals printed Jumong’s photos on
their cover pages. Many of ‘Jumong’ fans with flower rings in hand gathered in front
of IRIB conference hall waiting to see their favorite actor during his visit to Iran.
According to some newspapers, a man has gone to a registration office to ask the
 23

officer to change his name to Jumong, and another man committed suicide because of
Susanoo! (Negahe Motafavet be Serial Haye Koreh ei 1392). These facts indicate that
the Korean cultural products succeeded and ,through their powerful presence, obtained
their direct share in Iranian market.

Indirect Impact and Economic Externalities

Apart from direct participation in the market, sale and profit, which is the most
important goal, the TV dramas created indirect economic, social and cultural
externalities3. The characteristic of cultural products is that they are direct subject of
trade, exchange, income and profit and at the same time generate economic
externalities in the market.

As pointed out, cultural goods and services are not like other forms of merchandise.
Cultural productions generate significant socioeconomic externalities, costs and
benefits that could not be captured by a market-determined price (Johnson 2000).
Cultural goods and services provide a positive image of a nation and indirectly serve
the trade and encourage the masses to use their products. So, for many countries and
companies, culture is often just an instrument for expanding their markets or a tool to
conquer a new bazar. Similarly, customers who have good memories of, or experience
a country prefer to purchase its products.

One of the commentators has written,

No doubt that city advertising and extensive television publicity which

are always in front of the people’s eyes will influence them, but the
cultural impacts of such advertising are much deeper. Large multinational
companies that have significant capital in circulation are well aware of
the impacts of artistic and cultural works, so they use them as an
instrument to advertise their brands and products. “The Legendary
Jumong” is not the work of cultural managers of Korea; it is result of a
research of a large industrial enterprise such as LG. It is a project to
influence the mind and soul of the audience. This claim is easily
verifiable; because in the last part of the series “Jumong” the main actress
of the series appears on the screen to have publicity for LG, and later on,
he comes to Iran to have a better influence on his supporters. (Negahe
Motafavet be Serial Haye Koreh ei 1392)

3
Externality here is an effect of dramas on other sectors and business which were probably
not taken to account.
 24

The cultural and creative products through their powerful influence create new
demands upon which the manufacturers produce other products and send to the
markets. Sometimes manufacturers try to exploit opportunities and make use of the
atmosphere made by creative products. For example, according to the Raja News, the
impact of the Eastern TV series was so high that some Iranian producers (particularly
cloth and stationery producers) use actors’ images of the series on their products to
sell more or Iranian children decorate their school books and notebooks with the
stickers of the actors of these series (Negahe Motafavet be Serial Haye Koreh ei 1392).

The series also could have a great effect on the tourism industry. Many people
became interested in the past and present Korean culture and civilization and want to
travel to Korea. Detailed information was not available on the Internet regarding this
issue. However, visa problems and issues such as devaluation of Iranian rial greatly
reduced the exploitation of this opportunity.

Indirect Impact and Social and Cultural Externalities

The cultural products sometimes have vast, deep and long-lasting social and cultural
impact. They could have positive or negative effects on economic activity, social
cohesion, individual and national identity. That is why many researchers are sensitive
toward imported cultural products. They believe that these kind of imported goods
have destructive influence on society and especially on families. However, whether
the Korean dramas have positive or negative effects on Iranian society, there are
different opinions about the subject.

Some have written that when we discuss about common Asian culture, it does not
mean that there is no dissimilarities. Some are not comfortable with those cultural
dissimilarities in the series. From the philosophy, religious and value point of views,
some are worried if the Korean dramas have indirect influence on their belief system
(Zahra 1390). For example, on some topics like reincarnation, some of the films
influenced by Buddhist ideas are completely in conflict with the Islamic beliefs
(Qahramani 1391), or they promote materialism: in one scene, it says, “Only rich are
human and others are not important,” while in another, parents advise their daughters,
“Hold on to your young lord tightly and do not let him leave you!” (bagheri 1391)”.

Heroes of these films have a profound effect on young generations, especially

teenagers who are searching for a model. When they are attracted by the characters in
the popular series like Jumong, Susanoo and others, they immediately change their
hairs, faces and makeups to look exactly like the actors in the dramas!

From the cultural and political angles, a number of questions were raised about the
Korean cultural and artistic products: What is the main objective behind the macro
cultural policies of Korea? Do they aim to introduce cultural and historical identity of
 25

Korea? Or do they want to link between the Korean traditions and the modern
Western culture to introduce a type of mixed culture? Or is their aim merely
commercial? Do Korean cultural works like a back window of Western and American
culture? To these questions, an answer was given that the cultural and artistic goods of
Korea seem to be of both kinds, and people have right to have doubt about their
products (Tabnak 1392).

Regarding the above criticism, one should not exaggerate it. Even Iranian films are
facing these types of criticisms. Film criticism is a common issue everywhere. Each
and every cultural and artistic work could face criticism from various angles by
different experts. For instance, feminists criticized the Korean movies from their point
of view.

Interestingly many analysts have commented that Korean TV dramas are good for
family and social cohesion. Even some of them believe that from the value and moral
points of view, the quality of Korean dramas are not only better than many European
and American series (Bidari Andishe 1390), but also much more valuable than
domestic products. These dramas are very emotional, dramatic and having many
similarities to our culture (Bidari Andishe 1390). According to them, such products
have moral value and it is not fare to evaluate them just by the import and export
figures and market’s criteria (Jenny O Kwon 2011).

The Elements and Factors of the Impacts

Based on the reports, interviews and comments that are accessible on Internet sites
and personal webpages, it seems that the dramas had social, cultural and artistic
impacts on Iranian society. Both content and form factors of dramas have contributed
to economic and sociocultural impacts.

A. The Content Factors:

Themes and subjects like belief, values, philosophical teachings and cultural aspects
of dramas are the content factors. These matters, be Korean characteristics or, even in
case of cross-common cultural issues like family values and Korean dress codes, are
very effective and attractive for their viewers.

1. The Common Eastern Culture

We should not rely solely on internal elements of the film. The role and influence of
external factors that happens in the socio-cultural context of the audience also should
be taken into consideration. The cultural congruities among the eastern people have
made their living look alike and bring them closer to each other. For instance, the
common historical components created a good environment for their interactions. In
the last two decades, we witness Iranians welcome Eastern films and dramas from
 26

China, Japan and Korea. The Eastern mysterious legends and experiences have
historical connections with its historical identity, their inner world and their life
experiences. Discovering these secrets and illustrating them always attracted the
attention of Eastern audiences like Iranians, Indians and Koreans. This is why the
Eastern works probably have less effect on the Western audiences ( Saemi 1388).

2. The Hero's Progress

The progress of hero in the script and series is another reason of the popularity of
Korean dramas. The story aimed to show the progress of a person and his attempt to
obtain a vital objective. According to the classic rules of writing a script, a hero is
someone who is successful in the lower levels of society (such as slave and extreme
poverty) and does his best to achieve the perfect society. In this way, he will always
endure overwhelming hardships. As everyone greatly is in need of progress, the
audience follow step by step the imaginary hero. With tears on their faces, they follow
him in misfortune and would be excited when he achieves his ultimate goal. Therefore,
the length of the serial would not bother them (Negahe Motafavet be Serial Haye
Koreh ei, 1391/8/8).

B. Formal Factors

Formal factors are locations, dress, colors, sounds, performance and any feature
which shape the physical aspects and the instrumental dimensions of the films and
dramas. These issues have also important impacts on audiences.

1. The Dress and Special Effects

Designs of the dress and special effects of Korean films are extraordinary and every
audience will be fascinated by them. If someone watches the series, just for a while,
soon will be interested in them and likes to know what is going on and finds out the
nature of the story. The special effects make every moment of the battlefields
extremely natural and attractive.

2. The Location’s Designs

The locations of the films are good to the extent that attract the mind of the audiences
and help them to understand the story better. In the Jumung series, the colors are
combined together skillfully and all are able to communicate the historical stories and
give life to them. Most of the people become interested in history and like to be
present in that atmosphere. Watching these dramas transfers a kind of feeling that
probably there is no other way to have such an experience.

3. Grim and Makeup

 27

The characters of the heroes and heroines in this series (Jumung) as well as their
makeup helped them to enjoy the best beauty: bright faces made them very attractive
for the general audiences.

4. Dubbing

Dubbing director of the television series of ‘the Legend of Jumong’ believes that this
collection made with love and dubbed with love, so this is the reason why it was
attractive. At least part of the achievement and the popularity of the drama is due to
dubbing.

However, combination of these factors and many other elements such as Korean
customs and traditions (wolvesinwinter 2011), soundtracks (Jenny O Kwon 2011) and
melodramatic (Nita-lim 2011) influenced the people in different parts of the world
including Iranians society. The Korean dramas presented Korea as a land of culture,
civilization, modern industry and created a better understanding of Korean history and
Korean nation.

Conclusions

Iran with a GDP of $ 484 billion in 2012 (after Saudi Arabia) and a population of 78
million (after Egypt) has the second-largest economy in the Middle East and North
Africa (MENA). Having large number of population and high level of education, this
country is one of the most important markets for the cultural products. Iranian
welcomes Eastern films and dramas from China, Japan and Korea. In the last few
decades, mostly Western countries, India and some Asian countries such as China and
Japan were very active in the Iranian cultural market, but in recent years, Korea has
strongly and rapidly entered the market. Due to the acceptance and popularity of
Korean dramas, movies and other cultural products, undoubtedly these goods, like any
other popular cultural products, have an effective economic, political and cultural
impact.

In fact, the expansion of bilateral relations between the two countries in various
fields including cultural fields in recent decades is due to cultural similarities, positive
public opinion towards Korea and good relations. Korea is the fourth largest trading
partner for Iran. But the news that Korea is among the countries participating in
sanctions against Iran could adversely affect the Iranian public opinion and bilateral
relations between Iran and Korea. For example, Samsung has newly sent a message to
all its Iranian customers that it will stop its mobile services in this country, while the
American company Apple has not announced anything yet. In response to this
announcement, a customer has written that “Samsung does not respect its Iranian
customers. Does this company know how much it will lose if all Iranians customers
boycott its products?”
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