Study Of Korean Women Images In Chinese And Korean TV Series

Recently, there have been many instances where different examples of Korean-Chinese women are portrayed in both Korean and Chinese drama. This is a good example of how presence of Korean-Chinese are regarded as something of an importance in both cultures. Of all available media, television contributed to the fast changes in our lives. Of all television programs, drama brings different viewers around the country together. Drama also has most viewers out of all programs.Drama's fundamental base is a script. Director bases his flow of the drama on screenwriter's script. Of course, to liven the unique characteristics of his drama, the director will try to construct each character and mold them into his style. Construction of main character starts with screenwriter's script. Viewers see main character and through him/her, builds images of how person should act. Viewers construct a form of some sort unconsciously according to screenwriter's script style.Because people build images of how other members of the society would act, it is important to construct an accurate image of a character. For portraying, Korean-Chinese image, it is necessary to look at it objectively.Recently, there have been lots of instances where Korean-Chinese examples appeared in drama. Among them, Chinese drama "Azalea" and Korean Drama "Pure Nineteen" are good examples of such. Both tried to incorporate objective view of Korean-Chinese, however, inevitably we see subjective bias in both. This study focuses on Chinese drama "Azalea" and Korean drama "Pure Nineteen" as example of such phenomena.Reviewing what we have so far, there is almost no study done to compare between Chinese and Korean drama script. There is no analysis available for characterizing Korean-Chinese woman in those dramas. In the light of today's cultural exchange, the role current Korean-Chinese model serves is seen with great weight. As our culture changes slightly with time, Korean-Chinese model in drama serves as a window and a bridge where Both Korean and Chinese can indirectly experience this unique and diasporic culture.I have considered and included feminism perspective, phenomenological perspective, and diasporic perspective in current Korean and Chinese drama. Also, I have tried to pinpoint the lack of objectivity in this study to further the research in future studies that are to come on this subject. This is my purpose and motivation behind this thesis.In topic 1, I discussed the significance and purpose of the study. In topic 2, I analyzed different types of Korean-Chinese woman shown in both Korean and Chinese drama. I also tried to identify what stereotypical image of Korean-Chinese woman is in both continent. In topic 3, I discussed the critical relationship between drama script and drama itself In topic 4 and 5, I incorporated feminism perspective and phenomenological perspective on analysis of Korean-Chinese model. Both Korean and Chinese script shows Korean-Chinese woman as someone with gentle in appearance, but sturdy in spirit. Also, they seem to be optimistic. It's important to note that scripts omit minority view of Korean-Chinese. This is an extension of the movement to accept Korean-Chinese as part of Chinese culture.It might also be that the Chinese script bases its creation on planned system rather than going with their market flow. In Chinese script, Korean-chinese tend to wear things that are not norm, however, in Pure 19, Korean-chinese are somewhat unfashionable, which is also not the reality. This can be explained through lack of objectivity. Instead of looking at an object from different angle, top-down view can always be biased.