For Your Reading Pleasure: A Hallyu Bibliography, Part 8: KOREAN DRAMA VIEWERSHIP and HABITS

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 8 of my ongoing series of bibliographic entries about Hallyu.   These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL + F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titled For Your Reading Pleasure: Introducing A Hallyu Bibliography.”  Click for Part 1 , Part 2, Part 3, Part 4,  Part 5 , Part 6, and Part 7 of the bibliography.

Photo credit: Glenn Carstens-Peters, Pixabay.

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at

NOTE:  In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.

Lee Minu and Chong Heup Cho. (1990/2003). Women watching together: An ethnographic study of Korean soap opera fans in the United States. In Gail Dines and Jean M. Humez (eds.) Gender, race  and class in media. Thousand Oaks: Sage Publications. 

Kim, Youna. (2002). Women, television and everyday life: Korean women’s reflexive experience of television mediated by generation and class. Thesis, University of London.

Park, Jung-sun. (2004). Korean American Youths’ Consumption of Korean and Japanese TV Dramas and Its Implications. In Koichi Iwabuchi (Ed.) Feeling Asian Modernities: Transnational Consumption of Japanese TV Dramas.  Pp. 275-300. Hong Kong: Hong Kong University Press.

Park, Sora. (2004). China’s Consumption of Korean Television Dramas: An Empirical Test of the “Cultural Discount” Concept’, Korea Journal 44: 265–90.

Han, Kyung-Koo. (2006). From housewives to butterflies: Hallyu and the fantastic journey to Korea. Korea Journal, 46(2): 269-274.

Kwon, Dong Hwan. (2006). Is it too early to talk about “Hallyu” in the Phillipines? Koreanovela and its reception among Filipino audience. Cultural Space and Public Sphere in Asia

Shim D. (2006). Korean women television viewers in Singapore. Cultural Space and Public Sphere in Asia. 

Kim, Dae Do and Su Na Mi. (2007). Consuming Korean TV Dramas in China: Analysis of a new cultural flow, “Hanryu”, in the Asian context. pp. 233-261.  

Lin, Angel and Avin Tong.  (2007). Crossing boundaries: male consumption of Korean TV dramas and negotiation of gender relations in modern day Hong Kong. Journal of Gender Studies, 16(3): 217-232.

Shim, D. (2007). Korean wave and Korean women television viewers in Singapore. Asian Journal of Women’s Studies, 13(2): 63-82.

Hirata, Yukie. (2008). Touring ‘Dramatic Korea’: Japanese women as viewers of Hanryu dramas and tourists on Hanyru tours. In C.B. Huat and K. Iwabuchi (Eds.) East Asian Pop Culture: Analyzing the Korean Wave. pp. 143 – 156.. Aberdeen: Hong Kong University Press. (see also, Tourism)

La Torre, Nichole S. (2008). Hallyu: Discourses of Korean drama viewership in China. Thesis. Accessed 7 December 2016 from

Kim, Do Hyun et al. (2009). Television drama, narrative engagement and audience buying behavior: The Effects of Winter Sonata in Japan.The International Communication Gazette, 71(7): 1-17. Accessed 7 December 2016 from 

Lee, Soobum and Hyejung Ju. (2010). Korean television dramas in Japan: Imagining “East Asianness” and consuming “nostalgia.” Asian Women, 26(2): 77-105. 

Chan, Brenda. (2011). Of prince charming and male chauvinist pigs: Singaporean female viewers and the dream-world of Korean television dramas. International Journal of Cultural Studies, 14(3): 291-305.doi: 10.1177/1367877910391868

Hung Jen Su, Yu-An Huang, Glen Brodowsky & Hyun Jeong Kim. (2011.) The impact of product placement on TV-induced tourism: Korean TV dramas and Taiwanese viewers. Tourism Management, 32(4): 805-814.

Hien, Phan Thi Thu. (2012). Feminitive attraction of Hallyu (Korean Wave) in Southeast Asia. University of Social Sciences. Accessed 7 December 2016 from

Lee, Sangjoon. (2012). From diaspora to Drama Fever: Consuming Korean dramas in North America. Presented at the Nam Center for Korean Studies’ Hallyu 2.0: The Korean Wave in the Age of Social Media Symposium. (Watch video of this presentation)

Chuang, Lisa M. & Hye Eun Lee. (2013). Korean wave: enjoyment factors of Korean dramas in the U.S. International Journal of Intercultural Relations, 37(5): 594-604.

Kuotsu, Neikolie. (2013). Architectures of pirate film cultures: encounters with the Korean wave in “Northeast” India. Inter-Asia Cultural Studies, 14(4): 579-599.

Yoo, Jae-woong, Samsup Jo, and Jaemin Jung. (2014). The effects of television viewing, cultural proximity, and ethnocentrism on country image. Social Behavior & Personality: an international journal, 42(1):89 – 96. 

Ade Muana Husniati, Maryam. (2016). Adolescents, Korean dramas, and local wisdom. Proceeding of the 3rd Conference on Communication, Culture, and Media Studies. Accessed 7 April 2020 from

Ruslan, Norbaiduri & Latif, Siti Sakinah Abdul. (2016). Malay women readings of Korean drama. Journal of Education and Social Sciences, 4(June): 343-365.

Hartzell, Kathryn Grace. (2019). Melodramatic and formulaic: The global appeal of Korean television dramas. Thesis, Georgetown University. Accessed 7 April 2020 from

Vinco, Alessandra & Mazur, Daniela. (n.d.). Fans, hallyu, and broadcast TV: The case of the K-drama “Happy Ending” pioneering in Brazil. Accessed 7 April 2020 from

Happy Reading!

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

Winter Sonata (2002)

Click to jump to a section:





 Title Winter Sonata [겨울연가], Winter Ballad, Winter Love Song, Endless Love 2
 Genre  Drama, Romance
 Episodes  20
Network  KBS2
 Main Cast
  • Bae Yong Jun as Kang Joon Sang/ Lee Min Hyung
  • Choi Ji Woo as Jung Yu Jin
  • Park Yong Ha as Kim Sang Hyuk
  • Park Sol Mi as Oh Che Lin
  • Lee Hye Eun as Long Jin Suk (Yu Jin’s best friend)
  • Ryu Seung Soo as Kwon Yong Kuk (classmate who reads palms)
  • Song Ok Sook as Pianist Kang Mi Hee (Joon Sang’s mother)
  • Ha Jae Young as Jung Hyun Soo (Yu Jin’s father)
  • Kim Hae Sook as Yu Jin’s mother
  • Jung Dong Hwan as Professor Kim Jin Woo (Sang Hyuk’s father)
  • Lee Hyo Choon as Sang Hyuk’s mother
  • Jung Won Jong as Park Jong Ho (teacher)
  • Jang Hang Sun as Supervisor Min
  • Kwon Hae Hyo as Lee Min Hyung’s subordinate
 Director  Yun Seok Ho, Lee Hyung Min
 Screenwriter  Kim Eun Hee, Yoon Eun Kyung, Oh Soo Yun
 Official Website(s)
 Fan Website(s)
 Description An introverted high schooler opens up and falls in love with the girl next door, but disappears suddenly. Ten years later, they have a high school reunion – and maybe another chance at love!

Continue reading “Winter Sonata (2002)”

Cinderella’s Sister (2010)

Click to jump to a section:





 Title Cinderella’s Sister/ Cinderella’s Stepsister/ A Modern Story of Revenge
 Genre  Romance, Melodrama
 Episodes  20
Network  KBS2
 Main Cast
  •  Moon Geun Yong as Song Eun Jo
  • Seo Woo as Goo Hyo Sun
  • Chun Jung Myung as Hong Ki Hoon
  • Taecyeon as Han Jung Woo
  • Lee Mi Sook as Song Kang Sook
  • Kim Gab Soo as Goo Dae Sung
  • Kim Dong Hyun as Goo Joon Su
  • Kang Sung Jin as Yang Hae Jin
  • Choi Il Hwa as Chairman Hong
  • Yun Woo Jin as Dong Soo
  • Go Se Won as Jong Ki Jung
  • Seo Hyun Chul as Mr. Jang (Kang Sook’s true love)
  • Kim Chung as Ki Hoon’s mother
  • Seo Ji Eun as Nam Yi
 Director  Kim Young Jo, Kim Won Suk
 Screenwriter  Kim Kyu Wan
 Official Website(s)
 Fan Website(s)
 Description  A new take on the Cinderella story – everyone loves Cinderella (Hyo Sun) while the stepsister (Eun Jo) struggles.

Continue reading “Cinderella’s Sister (2010)”

Vampire Prosecutor (2011)

Click to jump to a section:





 Title Vampire Prosecutor [뱀파이어 검사]
 Genre  Crime/Mystery, Action/Thriller, Horror
 Episodes  12
Network OCN
 Main Cast
  • Yun Jung Hoon as Min Tae Yeon
  • Lee Young Ah as Yoo Jung In
  • Lee Won Jong as Hwang Soon Bum
  • Jang Hyun Sung as Jang Chul Oh
 Director  Kim Byung Soo
 Screenwriter  Yang Jin Ah, Han Jung Hoon, Park Hyung Jin
 Official Website(s)
 Fan Website(s)
 Description He’s secretly a vampire, who uses his powers to solve crimes while planning to get revenge on his enemies!

Continue reading “Vampire Prosecutor (2011)”

CONFERENCE ABSTRACT: Challenging Gender Roles in Korean Dramas @ Hawaii International Conference on Arts and Humanities

She Is Straight Gangster: Challenging Gender Roles in Korean Dramas

Dr. Crystal S. Anderson

Hawaii International Conference on Arts and Humanities

January 8-13, 2012


Korean television dramas (Kdramas), particularly those that are historically based, represent sprawling stories that blend history with culture.  Often consisting of high production values and unfolding over 50+ episodes, these Kdramas reconstruct historical narratives and legendary stories.  They also infuse a contemporary sensibility by drawing on nontraditional notions of gender, heroism, cunning and valor.  While such Kdramas are broadcast to Korean audiences, non-Korean, English-speaking audiences from around the world also view these dramas via Internet sites such as Drama Fever and  These global audiences construct alternative femininities related to the female characters that challenge traditional notions of gender.  Using qualitative methods and discourse analysis, I argue that global audiences construct female characters in ways that challenge traditional notions of gender. In the 2009 critically-acclaimed and popular Kdrama, Queen Seondeok, Korean women are represented as aggressive major power brokers in national politics, rather than passive bystanders, even as they occupy more traditional historical roles for women.  They also exert power over men who are characterized as more powerful both politically and martially, using cunning rather than their feminine wiles. Finally, women also engage each other in ways that showcase their intellectual talents. Such constructions by global audiences allow for more diverse notions of gender in popular culture.