A Quantitative Study on the Impact of the Korean Dramas

among youth in Chennai

Dissertation submitted

By

V R Swetha Naidu

126JV123

2012-2015

For partial fulfillment of the requirement for the degree of

Bachelor of Arts in Journalism

Department of Journalism

Madras Christian College (Autonomous)

East Tambaram, Chennai – 600059

April – 2015

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Declaration

I, V R Swetha Naidu, declare that this study titled, “A Quantitative study on the Impact of Korean
Dramas among the youth in Chennai”, is a bonafide work done by me for the partial fulfillment of the
requirement of the award of Bachelor of Arts in Journalism.

To the best of my knowledge, it contains no material previously published or substantially overlapping

with material submitted for the award of any other degree at any institution, except when due knowledge
is make in the texts.

Name of the students: V R Swetha Naidu

Registration Number:126JV123

Place: Chennai

Date:

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SUPERVISOR’S CERTIFICATE

This is to certify that the dissertation entitled “Quantitative study on the Impact of Korean Dramas
among the youth in Chennai” is an original effort of a record of study by V R Swetha Naidu
(126JV123) of the Department of Journalism, Madras Christian College, during the period of study
during academic year 2014-2015.

RACHEL JACOB

Project Guide and Supervisor,

Department of Journalism,

Madras Christian College.

Place: Chennai

Date:

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Contents
ACKNOWLEDGEMENT ................................................................................................................................... 6
CHAPTER 1- INTRODUCTION ......................................................................................................................... 7
1.1AIM....................................................................................................................................................... 7
1.2BACKGROUND OF THE STUDY.............................................................................................................. 7
1.3NEED FOR THE STUDY .......................................................................................................................... 7
1.4SCOPE OF THE STUDY........................................................................................................................... 8
1.5LIMITATIONS OF THE STUDY ................................................................................................................ 8
1.6OBJECTIVES .......................................................................................................................................... 8
1.7HYPOTHESIS ......................................................................................................................................... 8
1.8RESEARCH METHODOLOGY ................................................................................................................. 8
1.9CHAPTERIZATION ................................................................................................................................. 8
CHAPTER 2 - REVIEW OF LITERATURE ......................................................................................................... 10
2.1 INTRODUCTION TO KOREAN DRAMAS ............................................................................................. 10
2.2 EVOLUTION OF KOREAN DRAMAS .................................................................................................... 10
2.2(A) KOREAN DRAMA GENRE VARIETY ................................................................................................ 10
2.2(B) KOREAN DRAMA CHARACTER SETTING........................................................................................ 10
2.2(C) KOREAN DRAMA EPISODE RUNTIME ........................................................................................... 11
2.3 CURRENT KOREAN DRAMA TRENDS ................................................................................................. 11
2.4 STUDIES CONDUCTED ON KOREAN DRAMAS ................................................................................... 11
2.5 CONCLUSION ..................................................................................................................................... 13
CHAPTER 3 - RESEARCH METHODOLOGY ................................................................................................... 14
3.1 THEORITICAL FRAMEWORK .............................................................................................................. 14
3.2 RESEARCH METHODOLOGY .............................................................................................................. 14
3.3 SAMPLING METHOD ......................................................................................................................... 14
3.4 RESEARCH DESIGN ............................................................................................................................ 14
3.5 RESEARCH TOOL ................................................................................................................................ 14
3.7 RESEARCH TECHNIQUE ..................................................................................................................... 14
3.6 RESEARCH APPROACH ...................................................................................................................... 15
3.7 PRIMARY AND SECONDARY DATA .................................................................................................... 15
CHAPTER 4 - ANALYSIS AND INTERPRETATION........................................................................................... 16
CHAPTER 5 – FINDINGS AND CONCLUSION ................................................................................................ 26

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REFERENCES AND BIBLIOGRAPHY ............................................................................................................... 27
APPENDIX .................................................................................................................................................... 28
Survey Questionnaire.............................................................................................................................. 28

LIST OF TABLES PAGE NUMBER

Table 1: The percentage of viewers from
the different age groups are depicted
below.
16
Table 2: The percentage of viewers of the
different sexes.
17
Table 3: The figure below depicts the
number of participants that have watched
K-dramas.
18-19
Table 4: The figure below depicts which is
the most received content in the Korean
Wave.
20
Table 5: Picture depicting the various
habits adapted in day to day life due to
watching K-dramas.
21-22
Table 6: Picture depicting the future of
Korean Wave.
23-24

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ACKNOWLEDGEMENT

I wish to express my sincere gratitude to my guide Prof. Rachel Jacob, HOD of the Department of
Journalism of Madras Christian College for her patient guidance, support and involvement through the
process of bringing out the report and helping me through the research process. I also extended my
thanks to the Department of Journalism, Madras Christian College, for their immense support and
kindness in aiding me do my research work.

Last but not the least, I wish to avail myself of this opportunity to express a sense of gratitude and love to
my friends and my beloved parents for their manual support strength, help and everything else.

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A Quantitative Study on the Impact of the
Korean Dramas among youth in Chennai

CHAPTER 1- INTRODUCTION

1.1AIM
To find out the impact of Korean dramas among the audience of Chennai.

1.2BACKGROUND OF THE STUDY

Ten years ago, people in Chennai knew nothing about Korea beyond what they read in
books and news. Who was to know Korean culture would eventually have such an impact
in the Southern Indian state? If you told someone then that teens in 2015 would be fawning
over TV serials from Seoul, no one would have believed you. Yet here they are. How did this
happen?

Korean dramas (K-dramas) are no different from our regular TV serials. They all contain
enough drama, comedy and romance, just like TV serials here, but what sets K-dramas
apart is their approach on these dramas. Unlike native TV serials K-dramas have a
maximum run of 16 episodes per series. As compared to native TV serials that run for 300
episodes plus and still don’t conclude. This approach in K-dramas keeps it fresh with the
audience. The resolution of this study might be useful for finding out the reason behind the
popularity of such K-dramas among Chennai audience.

1.3NEED FOR THE STUDY

K-dramas originally originated in the 1960s but the whole trend of mini drama format (12-
24 episodes) started in the 1990s.

In the year 2012, singer PSY, of Gangnam Style fame made his debut. With this debut the
audience in Chennai became aware of the Korean Wave. However, it was only in the year of
2014, during the month of May, a popular youth Tamil channel, “Puthuyugam”, started
airing several popular K-dramas dubbed in Tamil.

Korean Shows Currently Broadcasted by Puthuyugam TV

Drama Name Telecasting Days Time Slot No. of Episodes

Playful Kiss Monday - Friday 6:30PM – 7:30 PM 16
The Heirs Monday - Friday 7:30 PM – 8:30PM 20
Boys Over Flower Monday - Friday 10 PM – 11 PM 25

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1.4SCOPE OF THE STUDY
This research will help in bringing out the people of Chennai’s adaptability and acceptance
to welcome cross cultural exchange in the form of the Korean Wave. With this we also can
help to bring out the nuances of the international entertainment industry and the
vernacular industry to expanding horizons.

1.5LIMITATIONS OF THE STUDY

The previous studies conducted on similar topics explore the reception of K-dramas among
its audiences while, none of the studies disclose the audience relativity to the K-dramas and
how the audience connected with that drama.

1.6OBJECTIVES
The purpose of this study is to find out the impact, reach and awareness of Korean Dramas
among the Chennai audience.

1.7HYPOTHESIS

At the end of this study the following things will be concluded –

H0: There is no relationship between age and K-drama viewership.

H0: There is no relationship between gender and K-drama viewership.

1.8RESEARCH METHODOLOGY
The research will be conducted with a quantitative approach. A simple random sampling
method will be used in this study in order to understand the impact of K-dramas among the
audience in Chennai.

1.9CHAPTERIZATION
1) Introduction – This chapter will cover the aim and background of the study.

2) Review of Literature – This chapter will give and insight as to the origin of Korean
Dramas (K-drama), the evolution and the current trends in K-dramas. Also mentions
other studies to establish variables and to also help conclude the uniqueness of the
study.

3) Research Methodology – social cognitive theory forms the theoretical framework

for the study. A sample size of 100 participants forms the primary data, while the
secondary data comprises of similar studies.
.

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4) Analysis and Interpretation – This chapter comprises of the age, gender,
viewership (of K-dramas), and future reception of Korean Wave content.

5) Findings and Conclusion – Will list out the main findings of the research

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CHAPTER 2 - REVIEW OF LITERATURE

2.1 INTRODUCTION TO KOREAN DRAMAS

Korean dramas (K-dramas) are no different from our regular TV serials. They all contain
enough drama, comedy and romance, just like TV serials here, but what sets K-dramas
apart is their approach on these dramas. Unlike native TV serials K-dramas have a
maximum run of 16 episodes per series. As compared to native TV serials that run for 300
episodes plus and still don’t conclude. However, based on the popularity of a K-drama,
extra episodes or even an additional season is added to extend an extremely popular
drama, but this approach is unusual and isn’t seen often.

2.2 EVOLUTION OF KOREAN DRAMAS

Korean Dramas (K-dramas) have come a long way since the 1990s. Since then K-dramas
have been reaching new heights alongside the rise of digital technology and online media,
which has bridged the gap by allowing them to travel to the most remote parts of the
world. K-dramas now not only have a reach to the most remote areas in the world, they
also seem have gained a firm foothold for their popularity in those areas.

The evolution of K-dramas has lead to the wider range of promotion for Korea as a brand in
itself. K-dramas have gained phenomenal popularity, becoming the newest catalyst for
expanding the country's cultural exports and an integral part of Korea's national image.
The enthusiasm has often led to K-drama fans craving other Korean cultural content and
Korean language education. The booming presence and enjoyment of K-drama culture has
also transformed into preference for other Korean products and lifestyles alike, leading to
an increase in Korean product sales overseas. The growing interest in Korean culture has
further triggered a rise in inbound foreign tourists.

2.2(A) KOREAN DRAMA GENRE VARIETY

Korean dramas (K-dramas) offer plenty of genre variety within the various dramas
available. The more number of K-dramas the audience watches the easier they find it to
relate to it. Also regular viewing makes the audience familiar with certain Korean phrases.
The plot, the twists in the plot, all these details become easily recognizable to an avid
viewer. Despite the variety in genre K-dramas are more or less likely to be titled ‘too
repetitive’.

2.2(B) KOREAN DRAMA CHARACTER SETTING

Korean-dramas (K-drama) usually offer a wide variety of characters in one series itself,
each character has his/her own individual element, thereby making that character reach
out to the audience. Even after the end of a series the audience tends to remember the
various characters portrayed in the K-drama series. The characters are usually written by a

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number of writers, thereby, slowly inducing a change to the character every time we see
them on screen. This approach helps the K-drama characters stay fresh and be full of
surprises for the audience eagerly awaiting a new episode release.

2.2(C) KOREAN DRAMA EPISODE RUNTIME

Korean drama (K-drama) episodes are longer when compared with the regular TV serials,
from 40 minutes to an hour. During the airing of the K-drama there is limited number of
commercials giving the audience an uninterrupted K-drama viewing experience.

2.3 CURRENT KOREAN DRAMA TRENDS

The current trend in Korean Dramas (K-dramas) right now is the increase in the number of
Idols-turning-Actors. This isn’t a new fad however, when one compares the previous K-
dramas wherein idols just appear in funny cameos, while most of the idols are now seen in
leading roles as well. This makes the current K-drama season seem like it has exploded
with singing talent crossing over into acting.

2.4 STUDIES CONDUCTED ON KOREAN DRAMAS

A series of studies conducted by various researchers on the topic of Korean Dramas, shall
offer a better understanding of the same. Understanding and gaining an insight into the
other researchers study will give a clearer picture which will also help to form variables in
order for the researcher to create a suitable questionnaire. With the help of these several
studies conducted by researchers it will help to establish what sets my research apart and
how is this study unique.

The study conducted by Noriko Haseagawa’s examines the effect of Korean TV drama
viewing on changing the attitude of Japanese viewers toward Korea and Koreans and clarifies
the factors that caused the attitudinal changes on the part of the drama viewers. The study
conducted was approached using a quantitative analysis method. Wherein, Noriko
collected data from the participants ranging between the teens to the people in their 70s.
From the results obtained, Noriko could conclude that watching Korean dramas had some
effect in precipitating Japanese viewer’s perceptual changes, even stimulating interest in
the longstanding historical problems between Japan and Korea.

Whereas the study conducted by Jonghoe’s study on the Koren Wave in East Asia was to
find out what factors are responsible for Hallyu (aka Korean Wave), the flow and popularity

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of Korean Dramas (K-dramas) among the East Asian (Japanese, Chinese and Taiwanese)
audience. This study also aimed to establish why females are more attracted to K-dramas as
compared to males. Upon analyses Jongjoe concluded that there are some common factors
as well as differences among the East Asian countries. According to his findings it was
revealed that only social proximity turns out to be important for the rise of Hallyu in all
three countries. The other two variables, globalism-nationalism and modernity-tradition,
had no significant effect on Hallyu. As well, demographic variables (that is, gender and age)
are closely related to viewership of Korean dramas in all of these East Asian countries.
[Jonghoe, 2012]

With regard to the topic of Korean Dramas the study conducted by Ben Huat and
Iwabuchi’s aimed to establish how Korean Dramas (K-dramas) became a major part of daily
viewing by the audience in East Asia. This study also tries to find why K-dramas are strongly
appreciated by the female audience. Also among the various themes in K-drama which is
the most widely watched and appreciated drama among the audience.The researchers of
this study used K-dramas as an analytical tool itself. The researchers were able to identify
that most viewers for K-dramas were housewives who spent a lot of time watching these K-
dramas, what started out as a chance encounter became a routine thus making K-dramas a
major part of daily viewing. The study also concluded that among the various themes of K-
dramas, romance was one of the most popular theme, that tugs at the hearts of majority
and it had the highest number of viewers.

While the major aim of Do-Goan’s study was to find out the reception of Korean Drama (K-
drama) among the audience in Korea. Do-Goan believed that each nations broadcasting
system has a unique quality. Do-Goan also believed that a country's broadcasting system
mirrors national character, expressing a particular political philosophy and cultural
identity. In conclusion to the study the researcher finds that audience responses on the
Internet give insights into not only the meaning of the dramatic presentation, but also the
larger cultural tensions generated by the clash of tradition and change in modern Korean
society. His study also pointed out that with complete artistic freedom, anything in a
culture can be used as a K-drama subject. [Do-Goan, 1998]

On the contrary the study conducted by Soobum and Hyejung aimed to establish how to
inscribe Korean dramas (K-dramas) into the Japanese audience’s minds as well as what
elements in reading Korean dramas particularly empowered the Japanese fans to re-imagine
their belonging within the East Asian community and how the Japanese audience perceived
the K-dramas.Soobum and Hyejung study described properly the people’s psychological
distance between Korea and Japan. It embraced a relationship that is physically close, but
mentally rather far. The study pointed out that K-drama wasn’t the only mainstream

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foreign culture transmission in Japan, but despite that the Japanese people closely
identified themselves to it. The K-drama reached the audience at a cultural level thereby
bringing the Japanese audience closer to the Korean culture and also helped in providing a
sense of belonging among the Japanese audience.

All the studies conducted by various researchers analyze the Korean Wave while the
Korean Dramas just serve as a sub text in the following studies.

2.5 CONCLUSION

After going through the several studies the researcher is able to identify that, each of the
study either deals with the cultural impact, economical impact or the change in attitude of
audience after watching Korean Dramas (K-drama). However none of the studies actually
talk about the K-drama as a whole.

The aim of this study is to establish the impact the K-dramas have on the audience. The
study’s main focus will remain the K-dramas and the impact it has on the Chennai
audiences, as to how the audience perceives a drama for its original intended purpose of
Entertainment.

Since the concept of K-dramas is a relatively new topic among the Chennai audience and no
in-depth research specific to the impact of K-dramas on the Chennai audience has been
conducted previously. This study will help to not only build further awareness about K-
dramas but also establish its widespread reach among its audiences.

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CHAPTER 3 - RESEARCH METHODOLOGY

3.1 THEORITICAL FRAMEWORK

This research aims to find out the impact of Korean dramas (K-dramas) among the
audience of Chennai. Through a quantitative analysis which will involve a collection of data
and samples of audiences who follow K-dramas on an everyday basis. Thus, it reflects upon
the social cognitive theory (Edwin B. Holt and Harold Chapman Brown, 1931).
According to them; “the process of knowledge acquisition or learning directly correlated to
the observation made; the observations will include attention, which is when the viewers
selectively give attention to specific social behavior, and retention, which is being able to
observe a behavior and then converting that observation into a symbol that can be
accessed for future reenactments.”

This is because, due to watching several K-dramas the audience often times pick up habits
enacted in the show. They slowly adapt to it and unconsciously start reenacting it in their
daily lives making it a habit.

3.2 RESEARCH METHODOLOGY

This study will be approached with a quantitative method. The purpose of this study is to
analyze and present the popularity of the Korean Drama culture and to find out the reasons
behind its success with the audience in Chennai.

3.3 SAMPLING METHOD

Probability simple random sampling was the type of sampling method that was used in this
study. The sample size was a 100 people in Chennai.

3.4 RESEARCH DESIGN

The research follows an exploratory design, as the concept of the impact of Korean Dramas
among the Chennai audience is a relatively new topic wherein no studies specific to the
same have been conducted previously.

3.5 RESEARCH TOOL

Questionnaire that was created and circulated serves as the researches main tool for
primary data collection. Statistical Package for the Social Studies (SPSS) is another tool that
the researcher uses which will help establish the statistical mean of the recorded data.

3.7 RESEARCH TECHNIQUE

The research will use a quantitative technique. A survey of 100 participants living in
Chennai will help provide the data for the study.

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3.6 RESEARCH APPROACH
The researcher uses a quantitative approach in this study. A number of hypothesizes will
be made in the beginning of the study and the researcher will seek to prove or disprove
them at the end of the study.

HYPOTHESIS -

H0: There is no relationship between age and K-drama viewership.

H0: There is no relationship between gender and K-drama viewership.

3.7 PRIMARY AND SECONDARY DATA

The primary source of data is gathered from the 100 participants for the analysis. The
secondary data on the other hand will be derived from similar works and review of
literature.

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CHAPTER 4 - ANALYSIS AND INTERPRETATION

A survey was created using the pervious chapter’s information. Data was collected from a
sample size of 100.

Table 1: The percentage of viewers from the different age groups are depicted below.

Age wise representation of statistical data

Frequency Percent
10-20 26 26.0 N Valid 100
21-30 50 50.0 Missing 0
Valid 31-40 14 14.0 Mean 2.08
41-50 10 10.0 Median 2.00
Total 100 100.0 Std. Deviation .895

INTERPRETATION

The collected data was based on the sampling method of simple random sampling. The
variable that is being analyzed here is the age factor of K-drama viewers. The ages were
divided in the following category: 10-20, 21-30, 31-40 and 41-50.

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A total of 100 participants answered the survey and the following results were derived
from it:

 26% viewers between the ages of 10-20.

 50% viewers between the ages of 21-30.
 14% viewers between the ages of 31-40.
 10% viewers between the ages of 41-50.
 A mean of 2.08 was noted.
 A median of 2.00 was noted.
 A standard deviation of 0.895 was noted.

The above data shows a solid 50% of the audience between the ages 21-30 watched K-
dramas, thereby proving its reach and popularity among the Chennai audiences.

Table 2: The percentage of viewers of the different sexes.

Gender wise representation of statistical data

Frequency Percent
Female 66 66.0 N Valid 100
Valid
Male 28 28.0 Missing 0

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 Other 6 6.0 Mean 1.40
Median 1.00
Total 100 100.0
Std. Deviation .603

INTERPRETATION

The collected data was based on the sampling method of simple random sampling. The
variable that is being analyzed here is the gender factor of K-drama viewers. The gender
was divided in the following category: Male, Female and the other gender.

A total of 100 participants answered the survey and the following results were derived
from it:

 The Female audience constituted of 66% viewers.

 The Male audience constituted of 28% viewers.
 The other gender constituted of 6% viewers.
 A mean of 1.40 was noted.
 A median of 1.00 was noted.
 A standard deviation of 0.603 was noted.

The above mentioned data show that amongst the sexes, it was shown that the K-drama
had more female audiences. The reception of K-dramas was more popular among the
female as compared to the other sexes.

Table 3: The figure below depicts the number of participants that have watched K-
dramas.

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General Widespread of K-dramas

Frequency Percent

Yes 81 81.0 N Valid 100

No 19 19.0 Missing 0
Valid 1.19
Mean
Total 100 100.0 Median
1.00
Std. Deviation
.394

INTERPRETATION

The collected data was based on the sampling method of simple random sampling. The
variable that is being analyzed here is the actual number of K-drama viewers. The
viewership was divided in the following category: Yes and No.

A total of 100 participants answered the survey and the following results were derived
from it:

 81% of the audience watched K-dramas.

 19% the audience did not watch K-dramas.

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  A mean of 1.19 was noted.
 A median of 1.00 was noted.
 A standard deviation of 0.394 was noted.

The above mentioned data show that amongst audiences a solid 81% watched K-dramas,
despite the remaining 19% of the audience not watching K-dramas. Thereby proving that
K-dramas were still widely popular among the audience.

Table 4: The figure below depicts which is the most received content in the Korean
Wave.

Statistical data representation of the types of Korean Wave content

Frequency Percent
K-drama 33 33.0 N Valid 100
K-pop 33 33.0 Missing 0
Movies 17 17.0 Mean 2.24
Valid
Games 11 11.0 Median 2.00
Other 6 6.0 Std. Deviation 1.778
Total 100 100.0

INTERPRETATION

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The collected data was based on the sampling method of simple random sampling. The
variable that is being analyzed here are the different types of Korean Wave content
received by the audience. The following types include: K-drama, K-pop, Movies, Games and
Other.

A total of 100 participants answered the survey and the following results were derived
from it:

 33% of the audience preferred K-dramas.

 33% of the audience preferred K-pop.
 17% of the audience preferred Movies.
 11% of the audience preferred Games.
 6% of the audience preferred the other types of Korean Wave content.
 A mean of 2.24 was noted.
 A median of 2.00 was noted.
 A standard deviation of 1.778 was noted.

The above mentioned data shows that of the various Korean Wave content, both Korean
Dramas (K-dramas) and Korean Pop music (K-pop) was equally received by the audiences.
While the other Korean Wave content despite being received weren’t as popular among the
audiences.

Table 5: Picture depicting the various habits adapted in day to day life due to watching
K-dramas.

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What’s the one thing you pick up from K-drama that you use in your daily lives as well?
Frequency Percent
Posing 5 5.0 N Valid 100
Facial Expressions 16 16.0 Missing 0
Language (specific words:
Anneyong, Gomawo, Aiish 27 27.0 Mean 4.14
etc)
Style 8 8.0 Median 4.00
Valid
Food (trying out new
Korean dishes you see in 7 7.0 Std. Deviation 1.809
K-dramas)
All of the above 30 30.0
None of the above 7 7.0
Total 100 100.0

INTERPRETATION

The collected data was based on the sampling method of simple random sampling. The
variable that is being analyzed here is the different types of habits adapted in day to day life
due to watching K-dramas. The following habits include: Posing, Facial Expressions,

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Language (specific words: Gomawo, Anneyong etc), Style, Food (trying out new Korean
dishes you see in the K-drama), All of the above and none of the above

A total of 100 participants answered the survey and the following results were derived
from it:

 5% of the audience adapted to posing in their daily lives.

 16% of the audience adapted to different facial expressions in their daily lives.
 27% of the audience adapted to specific Korean words in their daily lives.
 8% of the audience adapted to newer style trends in their daily lives.
 7% of the audience adapted to trying out different types of food in their daily lives.
 30% of the audience adapted to all of the above mentioned habitual changes in their
daily lives.
 7% of the audience did not adapt to any of the above mentioned habitual changes in
their daily lives.
 A mean of 4.14was noted.
 A median of 4.00 was noted.
 A standard deviation of 1.809 was noted.

The above mentioned data shows that of the audience was easily able to adapt to most of
the habits depicted in K-dramas, in their day to day lives. This also shows the changing
mindset and flexibility to newer trends.

Table 6: Picture depicting the future of Korean Wave.

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Statistical representation of the future of Korean Wave

Frequency Percent

Yes 61 61.0 N Valid 100

No 25 25.0 Missing 0
1.53
Valid Maybe 14 14.0 Mean

1.00
Median
Total 100 100.0
Std. Deviation
.731

INTERPRETATION

The collected data was based on the sampling method of simple random sampling. The
variable that is being analyzed here is the future reception of Korean Wave content among
the audience. The following include: Yes, No and Maybe

A total of 100 participants answered the survey and the following results were derived
from it:

 61% of the audience intend on future reception of the Korean Wave.

 25% of the audience did not intend of future reception of the Korean Wave.

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  14% of the audiences were skeptical about future reception of the Korean Wave.
 A mean of 1.53was noted.
 A media of 1.00 was noted.
 A standard deviation of 0.703 was noted.

The above mentioned data shows that the survey participants replied with a solid 61% yes,
on future reception of Korean Wave content. Thereby, proving that the Korean Wave was
widely received by the audience and that its popularity would not die down, in fact it would
further grow in the future.

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CHAPTER 5 – FINDINGS AND CONCLUSION

5.1 FINDINGS
 From the collected data the researcher is able to establish that audience between
the age groups of 21-30 formed the highest number of K-drama viewers.
 The female audience seemed to take up to more number of K-drama viewing as
compared to the other sexes.
 Of the 100 participants who took the survey, 81% of them had watched K-dramas,
thereby proving K-dramas reach and popularity among its audience.
 The above mentioned data shows that of the various Korean Wave content, both
Korean Dramas (K-dramas) and Korean Pop music (K-pop) was equally received by
the audiences.
 Due to higher number of K-drama viewing the audience was able to adapt to various
habits depicted on the show, most people have now easily inculcated these changes
in their daily lives. Thereby, showing the flexibility the audience has towards newer
trends.
 The future of Korean Wave has many more years to look forward to as the audience
were more than accepting towards this phenomenon and even answered with a
strong 61% affirmative for future reception of the same.

5.2 CONCLUSION
The hypothesis for the research is the null hypothesis as there is no relationship between
the age and gender for K-drama viewership. Reason being there is no age barrier for people
to or not to watch K-dramas and K-dramas being an open to view platform for people the
gender of the viewer does not apply to the likes and dislikes to the drama.

However from the collected data the researcher is able to establish that K-dramas have a
wide reach and awareness among the Chennai audience. It started out as a small
phenomenon but soon its impact was felt at a large rate. Thereby, proving that the Korean
Wave was widely received by the Chennai audience and that its popularity would not die
down, in fact it would further grow in the future. The Korean Wave in one phenomenon
that initially took the city of Chennai by storm, but it is one phenomenon that is here to
stay.

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REFERENCES AND BIBLIOGRAPHY

1) A study on the Korean Wave by Noriko Hasegawa

2) Globalization-of-Popular-Culture- Framework by Shibata

3) The ‘Korean Wave’ and Television Drama Exports by Won Kyung Jeon

4) Conceptualizing the Korean Wave by Mark Ravina

5) Effects of Korean Wave by Ha Boonjoong

6) A study of the Korean wave by Pavinee Potipan and Nantaphorn Worrawutteerakul

7) The Korean Wave (Hallyu ) in East Asia by Jonghoe Yang

8) TV, Culture and Audience in Korea: A Reception Study of Korean Drama by Do-Goan
Kim

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APPENDIX

Survey Questionnaire

1) What age group do you come under?

 10-20
 21-30
 31-40
 41-50

2) Gender
 Male
 Female
 Other

3) Have you ever watched a Korean Drama (K-drama)?

 Yes
 No

4) Have you ever heard about K-dramas? If so, from where?

 Internet
 Anime
 Manga, Manhwa
 SNS
 Youtube
 Television
 Newspaper

5) What was the first Korean Wave content you came across?
 K-drama
 K-pop
 Movies
 Games
 Other:

6) Do you see more Korean Wave content compared to those of other countries?
 Strongly Disagree
 Disagree
 Neutral

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  Agree
 Strongly Agree

7) How many times do you watch K-drama in a month?

 1-2 times
 5-10 times
 15 times
 Everyday
 Never

8) If, you had a favorite genre in K-dramas what would it be?

 Comedy
 Romance
 Horror
 Action
 Sports
 Historical

9) What about the Korean culture do you like?

 Korean culture is funny
 Korean culture is beneficial
 Korean culture is intimate
 Korean culture is fresh
 Korean culture is disgusting
 Korean culture is dynamic
 Korean culture is traditional
 Korean culture is impressive

10)When you hear about South Korea what’s the first thing that comes to your mind?
 Food
 Culture
 Korean Wave; K-drama, K-pop etc
 Idols
 Products
 All of the above
 None of the above

11)Do you think you would continue to be a fan of the Korean Wave in the future if so
what will be the reason behind it?
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  Korean culture has something new to offer always
 More new idols will enter the Korean entertainment industry
 Once a fan, always a fan
 Other:

12)If you do lose interest in the future in the Korean Wave, what would be the reason
behind it?
 Too repetitive
 It is a onetime wonder
 Been a fan, it’s not for me
 Other:

13)What’s the one thing you pick up from K-drama that you use in your daily lives as
well?
 Posing
 Facial Expressions
 Language (specific words: Gomawo, Anneyong etc)
 Style
 Food (trying out new Korean dishes you see in the K-drama)
 All of the above
 None of the above

14)Do you wish for future reception of Korean Wave content?

 Yes
 No
 Maybe

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