[HanCinema's Live Report] The 12th Asian TV Drama Conference - Korean drama and the world

From all over Asia directors, producers, writers, and industry professionals have gathered to talk about Asian drama and its place in the world market and its globalization potential. The presenters in the morning conference see great things for the expansion of drama internataionally as well as a few major obstacles. Moments ago the presentation on Korean drama and its popularity ended. Here are some highlights:

Professor Baek Seongi

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1) Professor Baek Seongi of the Journalism and Mass Communication Department is the panel moderator and an expert in Korean drama and its presence in the international market, focusing mostly on Asia. Professor Baek has been studying Korean drama for over twenty years.

Kim Younsung

2) Kim Younsung, the business managing director of Starcollabo Media, gave a presentation on the globalization of Korean drama, centering on the American adaptation of "Good Doctor" and citing the importance of creating Korea drama content that is easily palatable for the international market as well as focusing more on developing other characters outside the main romantic pairing in order to have a broader national and international reach, especially in the American market that is saturated with character-rich television. His talk was particularly interesting to me as the managing editor of HanCinema, a member of the international drama audience, and someone interested in the academic aspect of drama.

Mr. Kim explained that entertainment and variety programs are easier to export than dramas because dramas come in collections of sixteen or twenty episodes whereas variety program episodes can be created one at a time. But if the content is easily translatable in terms of content and formatting, then Korea can export more drama as more than just a finalized product: ie. remakes. As of now, the focus is on the U.S. market, but creation of drama is going in a new direction. Creators have to think of global appeal when concepting, and that is an exciting prospect!

Adapting Korean drama succesfully has proved diffcult in the past with the prime example being "Nine: Time Travelling Nine Times" that was brought to the U.S. and killed in the pilot stage. "Good Doctor" is the first truly successful remake that earned 4.5% ratings at its highest. (Compare this to the norm of 1.5% to 2% ratings). Because the U.S. market is so saturated with remake offers from other countries, the most important action that Korean dramas can take is to continually make efforts to break into the U.S. market. A sheer flood of effort willhelp make Korean drama better known in that market and in others.

Ma Jung-eun

3) Profit sharing was a topic touched on. We know as consumers of Korean drama how powerful broadcasting companies are and that they control most of what happens in drama production. Mr. Kim and Professor Baek commented on how important it is for the writers and producers to also tap into the profit sharing, and I have to agree. Without writers, there is no story. Without producers and broacasters, the story cannot be realized. These people deserve to have a part in profit sharing. Not only is profit sharing something that directly impacts the creators, but it also informs how its consumed by the international market. All of this iinformation has real and present implications for the dramas we all know and love.

It's wonderful to be part of a conference that talks about how to improve the global reach of the content, the drama, we know and love. There will be more presentations from drama writers, producers, and directors throughout the day. Stay tuned for more!

What questions do you have for drama creators?

Written by: Lisa Espinosa AKA Raine from 'Raine's Dichotomy'