“Are you still watching?” Netflix asks.
With my eyes half asleep, I stare at the awfully bright screen ready to click continue. It’s been hours since I started my binge marathon, but K-dramas can do that to you. They control your sense of reality and time, blurring the lines between real life and fantasy. Though it brings serotonin to me, I often question in what ways does this genre of television drama affect my being and perspectives on life as a Malaysian consumer.
On one hand, K-dramas have become a cultural phenomenon in Malaysia with its popularity redefining the concepts of media imperialism. Traditionally, according to Chadha and Kavoori (2000), media imperialism refers to Western powers and how they use their media dominance to influence values and perceptions in non-Western countries. So when we think of this concept, we instantly refer to Hollywood films and how they shape global lifestyles and culture. But today, we see a shift in how South Korea has emerged as a cultural powerhouse by using K-dramas to assert certain narratives, values, and identity towards a global audience including Malaysians.
But the success of South Korea through K-dramas in Malaysia isn’t a coincidence—it’s part of a deliberate strategy of cultural soft power. As Joseph Nye (1990) explains, soft power involves influencing global opinion through cultural and moral appeal, rather than visibly taking over or coercion. Through the concept of soft power, K-dramas are used as a tool for not only cultural diplomacy but also for showcasing the country’s values and identity, all while boosting its economic and cultural status. Apart from Korea’s strategy by promoting Korean media through international festivals and streaming platforms like Netflix, K-dramas are also used to intentionally showcase positive cultural narratives towards a global audience, which in this case is us Malaysians.
Take the 2019 K-drama series Crash Landing On You as a well-known example (I know a CLOY fan when I see one) and how they portray the North-South korea divide intertwined with elements of romance. It appeals to audiences through its topics of forbidden love and reconciliation between the main characters. However, the portrayal of Korea’s cultural and political tensions has also become a palatable version of Korea’s identity when watched through our lens. This emphasizes the way dominant media industries shape global narratives (as mentioned by Chadha and Kavoori).
But what makes K-dramas so relatable to us as Malaysians? Why does seeing Hong Ban-jang (Yes, I live for Hometown Cha Cha Cha) spend time with his grandma feel so nostalgic? What is in the air in the small seaside village of Gongjin that makes it feel so familiar?
Despite Korea being a relatively distant country from Malaysia, the appeal can actually be explained through the concept of cultural proximity. According to Straubhaar (2003), audiences tend to prefer media content from cultures that can resonate similar values, language or social contexts . For us Malaysians, K-dramas can feel relatable because they often highlight themes such as family, romance, and community which are all values that align with Malaysia’s multicultural society. If you have ever binged watched Hometown Cha-Cha-Cha like me, you can see how it mirrors the close-knit relationships found in Malaysia’s communities such as respect for elders and close family bonds. This connection explains why K-dramas resonate so deeply here, despite Korea being geographically distant.
So the next time you plan to do a K-drama marathon paired with a hearty bowl of Samyang carbonara, take some time to reflect on the broader topics that underlie it. Perhaps we can reflect on the concept of media imperialism and how analysing the K-drama phenomenon in Malaysia gives us a new perspective in contrast to the traditional definition that highlights western media power and its overall influence. While Korea and Malaysia are traditionally seen as less dominant players in global media, South Korea’s success shows how soft power can shift these known dynamics. By reflecting on K-dramas’ rise in Malaysia, we can see how media imperialism is currently being redefined in the 21st century, overall reconsidering Chadha & Kavoori’s (2000) original framework. Overall, the K-drama wave in Malaysia offers both opportunities and challenges, demonstrating the power of cultural proximity and soft power. The key question we must ask is: will this Korean wave result in a more diverse global media space within Malaysia or will it instead overshadow the uniqueness of our local stories?
Bibliography
Chadha, K. and Kavoori, A. (2000) ‘Media imperialism revisited: some findings from the Asian case’, Media, culture & society, 22(4), pp. 415–432. Available at: https://doi.org/10.1177/016344300022004003.
Longenecker, L.M. and Lee, J., (2018). The Korean Wave in America: Assessing the Status of K-pop and K-drama between Global and Local. Situations, 11(2), pp.105-127.
Nye, J.S. (2004) Soft Power: The Means to Success in World Politics. New York: Public Affairs.
Straubhaar, J. (2021) ‘Cultural Proximity’, in Routledge. 1st edn. New York. Available at: https://doi.org/10.4324/9780367816742
