An Analysis of Chinese and Korean Television Dramas based on the Framework of Cross-referencing
Abstract
This article explores the dynamics of East Asian popular culture through a comparative analysis of Chinese and Korean television
dramas, utilizing the "cross-referencing" framework proposed by Chua (2015). By moving away from Western-centric comparisons and focusing on intra-Asian differences and commonalities, the study examines how these cultural products foster regional connectivity and identity.
The analysis identifies four primary mechanisms driving this integration: the fulfillment of romantic fantasies through idealized narratives, the
strategic rendering of "exoticism" via national landmarks and ethnic aesthetics, the shared ideological foundation of Confucianism, and the
divergent impact of state media policies. While both nations leverage cultural proximity to bridge the gap between audience aspirations and
social realities, the study highlights a significant disparity in global reach: South Korea's proactive, autonomy-driven "culture-based nation"
approach has yielded greater transnational success compared to China's more conservative, state-aligned propaganda model. Ultimately, the
article argues that while television dramas create a shared virtual space for East Asian audiences, the formation of a unified regional identity
remains influenced by the tension between shared traditional values and evolving modern social structures.
dramas, utilizing the "cross-referencing" framework proposed by Chua (2015). By moving away from Western-centric comparisons and focusing on intra-Asian differences and commonalities, the study examines how these cultural products foster regional connectivity and identity.
The analysis identifies four primary mechanisms driving this integration: the fulfillment of romantic fantasies through idealized narratives, the
strategic rendering of "exoticism" via national landmarks and ethnic aesthetics, the shared ideological foundation of Confucianism, and the
divergent impact of state media policies. While both nations leverage cultural proximity to bridge the gap between audience aspirations and
social realities, the study highlights a significant disparity in global reach: South Korea's proactive, autonomy-driven "culture-based nation"
approach has yielded greater transnational success compared to China's more conservative, state-aligned propaganda model. Ultimately, the
article argues that while television dramas create a shared virtual space for East Asian audiences, the formation of a unified regional identity
remains influenced by the tension between shared traditional values and evolving modern social structures.
Keywords
Television Dramas; Cross-referencing Framework; East Asian Identity; Popular Culture; Confucianism; Cultural Policy; Hallyu
(Korean Wave); Chinese Media Studies
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PDFReferences
[1] Chua Beng Huat. (2015). Inter-Asia referencing and shifting frames of comparison. In The Social Sciences in the Asian Century (p.
67). ANU Press.
[2] Chua, B. H. (2012). Structure, audience and soft power in East Asian pop culture. Hong Kong: Hong Kong University Press.
[3] Chua, B. H., & Iwabuchi, K. (2008). East Asian pop culture analysing the Korean wave. Hong Kong: Hong Kong University Press.
[4] Lin, A., & Tong, A. (2008). Re-Imagining a Cosmopolitan Asian Us: Korean Media Flows and Imaginaries of Asian Modern Femininities. In East Asian Pop Culture: Analysing the Korean Wave.
[5] Miklitsch, R. (2006). Roll Over Adorno: Critical Theory, Popular Culture, Audiovisual Media. Ithaca: State University of New York
Press.
DOI: http://dx.doi.org/10.70711/rcha.v4i1.8888
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