The paper 'The Impact of Korean Wave in Japan" is a perfect example of a business case study. Over the years, scholars through communication research have concluded that media can influence values, culture, and way of life of societies. A nation's culture and identity are not only shaped by national news headlines but also by international news coverage, to which the particular nation accesses. The context under which the highly published Korean pop culture gained popularity in Japan can only be transmitted through news frames such as Television broadcasts (Eunkyoung, 2008). Frame in this context would refer to the deliberate action of selecting particular aspects of news with perceived reality and transforming them to a more salient communication text and thus filtering and transmitting them in a subjective angle.
Korean wave was a phenomenon that was commercially driven and through which the nation used to achieve a nationalistic branding approach (Kim, 2006). In the past decade, Korean culture pop has been enjoying broad recognition in Japan. Throughout the 80s and 90s alternative genres of music such as J-pop, rap, and hard rock from either local market in Japan or European and American commercial cultures, had captured the youth in Japan with enthusiasm.
As a result of cable network television, the Korean wave has been dynamically distributed since the early 2000s with thousands of films being broadcast in various channels throughout Japan. This drama has attracted a sizeable number of youths in Japan. According to (Erni, 2005), the major reason for the attraction is due to “ the good physique appearance of the male characters” , beautiful sceneries, sensational lifestyles, and the characters flourishing engagement with the modern living style of big cities.
The main driving force of this Korean pop fandom in Japan is the undoubted superb digital knowledge in Japan. (Lewis, (1992) concludes that there has been rapid user growth in social media which has facilitated the simultaneous, instant, and multidirectional flow of K-pop. In recent times, trans-border electronic communication, for instance, television and radio, has evolved at a very fast rate. Also, an associated industry in media programming has been developed in an appealing format in TV drama, broadcast of mass entertainment over innovative electronic media (Ravina, 2000).
According to (Entman, 2003), this has been boosted by the lifting of restrictions imposed by Korea on the exchange of popular cultural material with the Japanese. This ban was, however, lifted in 1998 (Kim, 2006). By default, Japan is home to technologically sophisticated and dynamic media. This has made the government of South Korea be careful in exposing their media industry to open competition from Japan so the “ Korean Wave” commonly known as “ Kanryuu” was a great shocker to the Korean media (Kihei. , 2004). “ Korean Wave” (“ Hallyu” in the Korean Language) was created by the Chinese press about a decade ago to refer to the popularity of the pope culture from Korea in China (Lewis, (1992).
This cultural boom began with the export of drama series from Korean television in the late 1990s. Since then Korea has become the new hub in the production of international pop culture, which is consequently being exported not only to Japan and other neighboring nations but also to international markets in Europe, Africa, the Americas, and the Middle East (Shin, 2004).
Japan probably started being attracted by this “ Korean Wave” somewhere in the mid-1990s, probably in 1995. Media presenters started to talk of “ Look at Korea” . (Doobo, 2006) deduces that, this was translated as let us get interested in what is going on in Korea for instance, the World Cup which the two nations hosted together in the year 2002.