View source for Korean Wave

{{Short description|Global rise in popularity of Korean culture}}
{{Use dmy dates|date=August 2021}}
{{Culture of Korea}}
The '''Korean Wave''' or '''Hallyu''' ({{korean|hangul=한류|hanja=韓流|rr=Hallyu|lit=Flow/Wave of Korea}}; {{audio|Ko-한류.oga|listen|help=no}}) is a cultural phenomenon in which the global popularity of [[South Korean popular culture]] has dramatically risen since the 1990s. Worldwide interest in Korean culture has been led primarily by the spread of [[K-pop]], [[Korean drama|K-dramas]] and films, with keystone successes including K-pop group [[BTS]], television series ''[[Squid Game]]'' (2021), and [[Academy Awards|Oscar]]-winning film ''[[Parasite (2019 film)|Parasite]]'' (2019).<ref>{{Cite web |last=Parc |first=Jimmyn |date=2022-08-09 |title=Korea's cultural exports and soft power: Understanding the true scale of this trend |url=https://asialink.unimelb.edu.au/insights/koreas-cultural-exports-and-soft-power-understanding-the-true-scale-of-this-trend |access-date=2023-03-21 |website=Asialink |publisher=[[University of Melbourne]] |language=en |archive-date=4 March 2023 |archive-url=https://web.archive.org/web/20230304014109/https://asialink.unimelb.edu.au/insights/koreas-cultural-exports-and-soft-power-understanding-the-true-scale-of-this-trend |url-status=live }}</ref> The Korean Wave has been recognized as a form of [[soft power]] and as an important economic asset for South Korea, generating revenue through both exports and tourism.{{Sfn|Walsh|2014|p=21}} <!-- First paragraph: Overview of the term/Impact/Key facts -->

Following the [[1997 Asian financial crisis]] and the end of military censorship over the South Korean entertainment industry, South Korea emerged as a major exporter of popular culture. The Korean Wave was first driven by the spread of K-dramas and [[Cinema of South Korea|Korean cinema]] into [[East Asia]] and parts of [[Southeast Asia]], following the rise of satellite media in the late 1990s. Chinese journalists first coined the term "Korean Wave" ({{zh|t=韓流|p=hánliú|l=Korean wave}}) in 1999, referring to the success of Korean popular culture in [[China]]. During the 2000s, Hallyu evolved into a global phenomenon, expanding rapidly into [[South Asia]], the [[Middle East]], and [[Eastern Europe]]. By 2008, the value of cultural exports from South Korea surpassed the value of cultural imports for the first time.{{Sfn|Jin|2016|p=5}} This expansion was fueled by the advent of [[social media]] and the Internet, which played key roles in allowing the Korean entertainment industry reach overseas audiences, as well as the endorsement of the phenomenon by the South Korean government.<!-- Second paragraph: History of the phenomenon -->

== Etymology ==
The term Hallyu ({{Korean|hangul=한류|hanja=韓流|links=no}}) is a [[neologism]] composed of two [[Root (linguistics)|root words]]: ''han'' ({{Korean|hangul=한|hanja=韓|labels=no}}) meaning "Korean" and ''ryu'' ({{Korean|hangul=류|hanja=流|labels=no}}) meaning "flow", "wave", or "trend".{{Sfn|Shin|2014|p=419}} On 19 November 1999, the ''[[Beijing Youth Daily]]'' published the first known use of the term "Korean wave" ({{lang-zh|s=韩流|t=|p=hánliú|l=Korean wave|links=no}}) in an article describing the "zeal of Chinese audiences for Korean TV dramas and pop songs."<ref name=":10">{{Cite news |last=Kim |first=Ji-myung |date=2012-08-03 |title=Serious turn for 'hallyu 3.0' |work=[[The Korea Times]] |url=https://www.koreatimes.co.kr/www/opinion/2012/08/355_116574.html |access-date=2013-03-17 |archive-date=14 February 2022 |archive-url=https://web.archive.org/web/20220214190915/https://www.koreatimes.co.kr/www/opinion/2012/08/355_116574.html |url-status=live }}</ref> Other terms used at the time included "Korean tide", "Korean heat", and "Korean wind".<ref name=":10" /> In China, the term "Han fever" was also used, comparing the phenomenon to the ongoing [[Global spread of H5N1|Avian flu pandemic]] in the country.{{Sfn|Leung|2008|p=59}} The term entered common usage following the airing of the romance K-drama ''[[Winter Sonata]]'', which was particularly successful in Japan.<ref name=":11">{{Cite book |author=<!--Not stated--> |url=https://www.korea.net/Resources/Publications/About-Korea/view?articleId=2226 |title=K-drama: A New TV Genre with Global Appeal |date=2011-12-01 |publisher=[[Korean Culture and Information Service]] |isbn=978-89-7375-167-9 |series=Korean Culture |language=en |access-date=14 February 2022 |archive-date=14 February 2022 |archive-url=https://web.archive.org/web/20220214190914/https://www.korea.net/Resources/Publications/About-Korea/view?articleId=2226 |url-status=live }}</ref>{{Rp|page=13}}

Hallyu refers to the international diffusion of South Korean culture since the 1990s, following [[June Democratic Struggle|the end of military rule]] and the liberalization of the culture industry.{{Sfn|Kim|2013|p=4}} The term primarily refers to the spread of Korean television, pop music, film, and fashion, but can also include animation, video games, technology, literature, cosmetics, and food.{{Sfn|Oh|2014|p=53}}{{Sfn|Kim|2013|p=1}}{{Sfn|Park|2020|p=1}} While the first generation of Hallyu in the late 1990s to early 2000s remained confined to Asia and referred to the popularity of Korean dramas and film on the continent, the second generation, or Hallyu 2.0, was driven primarily by the popularity of K-pop distributed on online platforms like YouTube.{{Sfn|Anderson|2014|p=119}} Both "Hallyu" and "Korean wave", were added to the ''[[Oxford English Dictionary]]'' in 2021.<ref>{{Cite news |last=Sang-Hun |first=Choe |date=2021-11-03 |title=From BTS to 'Squid Game': How South Korea Became a Cultural Juggernaut |language=en-US |work=[[The New York Times]] |url=https://www.nytimes.com/2021/11/03/world/asia/squid-game-korea-bts.html |access-date=2023-03-16 |issn=0362-4331 |archive-date=9 November 2021 |archive-url=https://web.archive.org/web/20211109182859/https://www.nytimes.com/2021/11/03/world/asia/squid-game-korea-bts.html |url-status=live }}</ref>

== Background ==
Under the military dictatorship of [[Park Chung Hee]], South Korean mass media underwent a process of rapid expansion, despite facing increasing control and censorship from the government.{{Sfn|Fuhr|2015|p=45}} As part of Park's development plans, the first commercial radio and television stations opened in the early 1960s and were subject to strict censorship under the Broadcasting Ethics Committee ({{Korean|hangul=방송윤리위원회|links=no}}).{{Sfn|Fuhr|2015|p=45}} This brief expansion ended in 1972, when Park enacted the [[Yushin Constitution]] which broadly expanded his powers and codified his ''[[de facto]]'' dictatorial rule.{{Sfn|Fuhr|2015|p=47}} The enactment of the Yushin Constitution coincided with a broad crackdown on the South Korean culture industry against what Park alleged was the influence of "foreign decadent culture".{{Sfn|Fuhr|2015|p=47–48}} Following Park's death and the 1979 [[coup d'état of December Twelfth]], the military regime of [[Chun Doo-hwan]] enacted additional restrictions over the media.{{Sfn|Fuhr|2015|p=48}} In 1980, Chun forced the merger of all 29 private broadcasters into the state-owned [[Korean Broadcasting System]] (KBS) and [[Munhwa Broadcasting Corporation]] (MBC), creating a state-led media monopoly.{{Sfn|Fuhr|2015|p=48}}{{Sfn|Shim|2008|p=23}}

As a part of the decolonization process in South Korea, imports of all Japanese media were banned in 1945.<ref name="Chua Iwabuchi 2008 p3–4">[[#Chua Iwabuchi introduction|Chua & Iwabuchi 2008]], pp. 3–4.</ref> Despite this ban, Japanese media was still widely distributed and pirated in South Korea, with both state broadcasters and individual bootleggers being found guilty of illegal importation.<ref name="Chua Iwabuchi 2008 p4">[[#Chua Iwabuchi introduction|Chua & Iwabuchi 2008]], p. 4.</ref><ref name=":7">{{Cite thesis |last=Jung |first=Eun-Young |title=Transnational Cultural Traffic in Northeast Asia: The "Presence" of Japan in Korea's Popular Music Culture |date=2007-09-20 |degree=PhD |publisher=[[University of Pittsburgh]] |url=http://d-scholarship.pitt.edu/8615/ |access-date=22 March 2023 |archive-date=22 March 2023 |archive-url=https://web.archive.org/web/20230322222621/http://d-scholarship.pitt.edu/8615/ |url-status=live }}</ref>{{Rp|page=132|pages=}}<!-- This thesis is cited in Fuhr 2015. --> The signing of the [[Japan–South Korea Joint Declaration of 1998]] ended this ban, and it was gradually lifted across four stages between 1998 and 2004.<ref name="Chua Iwabuchi 2008 p3–4" /><ref name=":7" />{{Rp|page=|pages=136–137}} To protect the South Korean culture industry, the South Korean [[Ministry of Culture, Sports and Tourism#Mission and budget|Ministry of Culture]] received a substantial budget increase, allowing for the creation of hundreds of culture industry departments in universities nationwide.<ref>{{Cite news |last=Onishi |first=Norimitsu |date=2005-06-28 |title=Roll Over, Godzilla: Korea Rules |work=[[The New York Times]] |url=https://www.nytimes.com/2005/06/28/world/asia/roll-over-godzilla-korea-rules.html |access-date=2022-01-30 |issn=0362-4331 |quote= |archive-date=12 November 2020 |archive-url=https://web.archive.org/web/20201112141816/https://www.nytimes.com/2005/06/28/world/asia/roll-over-godzilla-korea-rules.html |url-status=live }}</ref> It has justified its financial support for Hallyu, estimated to be worth US$83.2 billion in 2012, by linking it to South Korea's [[Economy of South Korea|export-driven economy]].<ref name=":02">{{Cite journal |last1=Oh |first1=Ingyu |last2=Lee |first2=Hyo-Jung |date=May 2014 |title=K-pop in Korea: How the Pop Music Industry Is Changing a Post-Developmental Society |url=https://muse.jhu.edu/article/548545 |journal=Cross-Currents: East Asian History and Culture Review |publisher=[[University of Hawaiʻi Press]] |volume=3 |issue=1 |pages=72–93 |doi=10.1353/ach.2014.0007 |issn=2158-9674 |quote=the Ministry of Culture, Sports, and Tourism is nonetheless convinced of Hallyu’s monetary contribution to Korea’s “export-led economic development,” a catchphrase that the economic ministries use to justify their budgetary increase. |via=[[Project Muse]]}}</ref>

== First generation ==
The first generation of the Korean Wave, also called Hallyu 1.0, was the initial rise in popularity of Korean popular culture within nearby Asian countries.<ref name=":14">{{Cite web |last=Ju |first=Hyejung |date=2018-07-30 |title=The Korean Wave and Korean Dramas |url=https://oxfordre.com/communication/display/10.1093/acrefore/9780190228613.001.0001/acrefore-9780190228613-e-715 |access-date=2023-03-18 |website=Oxford Research Encyclopedia of Communication |language=en |doi=10.1093/acrefore/9780190228613.013.715 |isbn=978-0-19-022861-3 |archive-date=16 April 2023 |archive-url=https://web.archive.org/web/20230416100547/https://oxfordre.com/communication/display/10.1093/acrefore/9780190228613.001.0001/acrefore-9780190228613-e-715 |url-status=live }}</ref>{{Rp|page=2|pages=}} The first generation began in China during the late 1990s, and consisted primarily of the spread of Korean television programming.<ref name=":14" />{{Rp|page=2|pages=}}

=== Television in the first generation ===
[[File:Korea-Dae Jang Geum Theme Park-41.jpg|thumb|The filming location of ''[[Jewel in the Palace]]'' at [[Dae Jang Geum Theme Park]]]]
In 1990, the National Assembly granted a broadcasting license to the regional [[Seoul Broadcasting System]] (SBS), becoming the first private television station since the forced nationalization of private broadcasters in 1980.{{Sfn|Shim|2008|p=23}} In December 1991, the National Assembly passed the Cable Television Act which directed the [[Ministry of Information and Communication (South Korea)|Ministry of Information]] to provide permits to twenty prospective cable television program providers.{{Sfn|Shim|2008|p=23}} The providers were selected in August 1993, and cable television services began in March, 1995.{{Sfn|Shim|2008|p=23}} With the liberalization of the South Korean television market, a greater number of Korean programs started to be exported abroad.{{Sfn|Shim|2008|p=25}} These media exports were first exported to China, after the two countries formally established diplomatic relations in 1992.{{Sfn|Cicchelli|Octobre|2021|p=}} Although [[Jealousy (1992 TV series)|Jealousy]] (1992) was the first K-drama broadcast on [[China Central Television]] (CCTV),{{Sfn|Leung|2008|p=59}} the 1997 broadcasts of the K-drama ''[[First Love (1996 TV series)|First Love]]'' and ''[[Star in My Heart]]'' in China are generally considered the start of the Korean Wave.{{Sfn|Shim|2008|p=25}}{{Sfn|Lee|2008|p=177}}<ref name=":11" />{{Rp|page=|pages=14–15}}{{Sfn|Jin|2016|p=23}} Compounding the foreign interest in Korean television programs, countries throughout East Asia began opening their television markets to foreign countries in the 1980s and 1990s.{{Sfn|Shim|2008|p=25–26}} In the early 1970s, imported television programs made up less than 1 percent of all airtime on CCTV, while by the late 1990s, that number would rise to 20–30 percent.{{Sfn|Shim|2008|p=26}} In Vietnam, Korean television made up more than half of all imported programming in 1988.{{Sfn|Shim|2008|p=25}}

The 1997 Asian financial crisis led broadcasters throughout East Asia to seek cheaper programs as an alternative to the expensive, but popular broadcasts from Japan.<ref name="Chua Iwabuchi 2008 p4" /> In 2000, K-dramas were a quarter of the price of Japanese television programs and a tenth of the price of Hong Kong television programs.{{Sfn|Shim|2008|p=25}} K-dramas first entered the Taiwanese market during the early 1990s, but the shift to Korean television programming following the financial crisis and the successful airing of ''[[Fireworks (2000 TV series)|Fireworks]]'' (2000) and ''[[Autumn in My Heart]]'' (2000) marked the start of the Korean Wave in the country.<ref>{{Cite journal |last=Huang |first=Shuling |date=2011 |title=Nation-branding and Transnational Consumption: Japan-mania and the Korean Wave in Taiwan |journal=Media, Culture & Society |volume=33 |issue=1 |pages=3–18 |doi=10.1177/0163443710379670 |s2cid=144408953 |doi-access=free |s2cid-access=free}}</ref>

The 2003 historical K-drama ''[[Jewel in the Palace]]'' has been credited for having the greatest impact on the popularity of Korean television programs in Chinese-speaking countries, including Taiwan, Hong Kong, Singapore, and China.<ref>[[#Chua Iwabuchi introduction|Chua & Iwabuchi 2008]], pp. 5–6.</ref> In May 2005, the show's final episode became the highest-rated television episode in Hong Kong history at more than 40 percent.{{Sfn|Shim|2008|p=26}} In the years following its release, the program was exported to over 80 countries around the world.<ref name=":14" />{{Rp|page=11}} At the same time, the 2003–2004 airing of the romance K-drama ''Winter Sonata'' in Japan marked the entrance of the Korean Wave to Japan.<ref>[[#Chua Iwabuchi introduction|Chua & Iwabuchi 2008]], p. 6.</ref> ''Winter Sonata'' achieved a [[cult following]] in Japan among women in their 30s, particularly around the show's lead actor [[Bae Yong-joon|Bae Young-joon]].{{Sfn|Kuwahara|2014|p=213}} This would lead [[Prime Minister of Japan|Prime Minister]] [[Junichiro Koizumi]] to exclaim in 2004 that "Bae Yong-joon is more popular than I am in Japan."<ref>{{Cite news |last=Lee |first=Claire |date=30 December 2011 |title=Remembering 'Winter Sonata,' the Start of Hallyu |work=[[The Korea Herald]] |url=https://www.koreaherald.com/view.php?ud=20111230000497 |access-date=26 December 2012 |archive-date=6 January 2013 |archive-url=https://web.archive.org/web/20130106234406/http://www.koreaherald.com/view.php?ud=20111230000497 |url-status=live }}</ref> Following the broadcast, stereotypes of Korea in Japan changed dramatically and tourism from Japan to South Korea would spike,{{Sfn|Mōri|2008|p=130–131}}<ref>[[#Chua Iwabuchi introduction|Chua & Iwabuchi 2008]], p. 9.</ref> primarily among Japanese women.<ref name="Anthony Faiola">{{Cite news |last=Faiola |first=Anthony |date=31 August 2006 |title=Japanese Women Catch the 'Korean Wave' |newspaper=[[The Washington Post]] |url=https://www.washingtonpost.com/wp-dyn/content/article/2006/08/30/AR2006083002985.html |access-date=18 March 2013 |quote= |archive-date=21 January 2011 |archive-url=https://web.archive.org/web/20110121123312/http://www.washingtonpost.com/wp-dyn/content/article/2006/08/30/AR2006083002985.html |url-status=live }}</ref>{{Rp|page=1|pages=}}

In the Indian state of [[Manipur]], Hindi-language movies and television channels were banned in 2000 by [[Insurgency in Manipur|insurgents]], leading broadcasters to use Korean programming as substitutes.<ref>{{Cite news |last=Kember |first=Findlay |date=8 May 2011 |title=Remote Indian State Hooked on Korean Pop Culture |work=AFP |url=http://www.google.com/hostednews/afp/article/ALeqM5hWpuw95RkyRy8xw4qHfkhko9GcIA?docId=CNG.18f3ac3daa0d8f95aa693b397f54d476.c1 |archive-url=https://web.archive.org/web/20110515000422/http://www.google.com/hostednews/afp/article/ALeqM5hWpuw95RkyRy8xw4qHfkhko9GcIA?docId=CNG.18f3ac3daa0d8f95aa693b397f54d476.c1 |archive-date=15 May 2011}}</ref> Korean dramas and films were also commonly smuggled into the region in the form of CDs and DVDs.<ref>{{Cite web |last=Banakar |first=Pushkar |date=4 November 2018 |title=Korean, English movies welcome in Manipur, Bollywood is not |url=https://www.newindianexpress.com/thesundaystandard/2018/nov/04/korean-english-movies-welcome-in-manipur-bollywood-is-not-1893901.html |access-date=2022-06-01 |website=The New Indian Express |archive-date=1 June 2022 |archive-url=https://web.archive.org/web/20220601051829/https://www.newindianexpress.com/thesundaystandard/2018/nov/04/korean-english-movies-welcome-in-manipur-bollywood-is-not-1893901.html |url-status=live }}</ref>

By the late 2000s, K-dramas became part of the daily programming of local television channels across East Asia<ref>[[#Chua Iwabuchi introduction|Chua & Iwabuchi 2008]], p. 7.</ref> and in China, Korean programs made up more than all other foreign programming combined.<ref name="Anthony Faiola" />{{Rp|page=2|pages=}} During the period between 1997 and 2007, television exports from South Korea would increase from $8.3 million to $151 million, mostly to other Asian markets.{{Sfn|Jin|2016|p=24}} As the volume of Korean cultural imports rapidly increased, China's [[State Administration of Radio, Film, and Television]] responded with a decision to restrict and limit the number of Korean TV dramas shown to Chinese audiences.<ref name="Roald Maliangkay">{{Cite magazine |last=Maliangkay |first=Roald |date=2006 |title=When the Korean Wave Ripples |url=https://www.iias.asia/sites/default/files/2020-11/IIAS_NL42_15.pdf |magazine=IIAS Newsletter |publisher=International Institute for Asian Studies |volume=42 |page=15 |access-date=14 February 2022 |archive-date=14 February 2022 |archive-url=https://web.archive.org/web/20220214190919/https://www.iias.asia/sites/default/files/2020-11/IIAS_NL42_15.pdf |url-status=live }}</ref> In Taiwan, the [[National Communications Commission]] asked cable channels to reduce the number of [[prime time]] hours allocated to Korean programming.{{Sfn|Jin|2016|p=24}} In addition, in response to the popularity of ''Jewel in the Palace'', director [[Zhang Guoli]] and actor [[Jackie Chan]] both called on domestic audiences to "resist Korean Wave".{{Sfn|Leung|2008|pp=65–67}}

=== Film in the first generation ===
In 1966, military dictator [[Park Chung Hee]] established [[screen quotas]] that restricted the number of foreign films shown in cinemas, intended to protect the Korean film industry from [[Cinema of the United States|Hollywood]] [[Blockbuster (entertainment)|blockbusters]].<ref>{{Cite news|last=Kim|first=Bo-young|date=31 March 2006|title=The Future, After the Korean Screen Quota|url=http://www.knutimes.com/news/article.html?no=564|work=The KNU Times|archive-url=https://web.archive.org/web/20141104140055/http://www.knutimes.com/news/article.html?no=564|archive-date=4 November 2014}}</ref> However, in 1986, the [[Motion Picture Association of America|Motion Pictures Exporters Association of America]] filed a complaint to the [[United States Senate]] regarding the restrictions imposed by the South Korean government.<ref>{{Cite thesis |last=Lee |first=Hyung-Sook |date=August 2006 |title=Between Local and Global: The Hong Kong Film Syndrome in South Korea |type=PhD |publisher=USC Libraries |page=48 |doi=10.25549/usctheses-c16-584419 |doi-access=free}}</ref> Under US pressure and despite fierce opposition from the domestic film industry, in 1988, the Korean government lifted restrictions that required foreign films to be distributed by domestic companies.{{Sfn|Shim|2008|p=16}} In 1988, [[20th Century Fox]] became the first American film studio to set up a distribution office in South Korea, followed by [[Warner Brothers]] in 1989, [[Columbia Pictures|Columbia]] in 1990, and [[Walt Disney Studios Motion Pictures|Disney]] in 1993.{{Sfn|Choi|2010|p=16}} By 1994, domestic films reached a record low market share of just 15.4 percent,<ref>{{Cite news |last=Power |first=John |date=17 September 2012 |title=What Is the Future of Korean Film? |work=[[The Korea Herald]] |url=https://www.koreaherald.com/view.php?ud=20120917000815 |access-date=6 January 2014 |archive-date=5 January 2014 |archive-url=https://web.archive.org/web/20140105142615/http://www.koreaherald.com/view.php?ud=20120917000815 |url-status=live }}</ref> with commentators predicting the demise of the Korean film industry in the near-future.{{Sfn|Shim|2008|p=16}} As well, negotiations for the [[Uruguay Round Agreements Act]] concluded in 1994, requiring South Korea to liberalize its communications and culture markets.{{Sfn|Shim|2008|p=16–17}}

In response to these crises, the [[National Assembly (South Korea)|National Assembly]] instituted the Cultural Industry Bureau within the [[Ministry of Culture and Sports (South Korea)|Ministry of Culture and Sports]]<ref name="Doobo Shim">{{Cite web |last=Shim |first=Doobo |date=June 2011 |title=Waxing the Korean Wave |url=https://ari.nus.edu.sg/wp-content/uploads/2011/06/201106-WSP-158.pdf |access-date=17 March 2013 |website=Asia Research Institute |archive-date=30 January 2022 |archive-url=https://web.archive.org/web/20220130170903/https://ari.nus.edu.sg/wp-content/uploads/2011/06/201106-WSP-158.pdf |url-status=live }}</ref> and passed the Motion Picture Promotion Law in 1995, providing tax incentives for film production.{{Sfn|Shim|2008|p=16}} These incentives were successful in attracting a number of [[chaebol]]s to the film industry, but these ventures were financially unsuccessful, and most disbanded following the [[1997 Asian financial crisis]].{{Sfn|Shim|2008|p=17–19}} In January 1999, the [[Samsung|Samsung Entertainment Group]] announced its dissolution and released its final film ''[[Shiri (film)|Shiri]]'' in February of that year.{{Sfn|Shim|2008|p=19}} But despite the withdrawal of Samsung from the industry, ''Shiri'' set box office records in South Korea and achieved commercial success in Hong Kong and Japan, a rare feat for the time.{{Sfn|Shim|2008|p=19–21}} ''Shiri'' had been funded partly through [[venture capital]], and the success of the film led to a 1999 revision of the Motion Picture Promotion Law to allow individuals to finance film productions.{{Sfn|Shim|2008|p=19–20}} This influx of capital would fund hundreds of Korean films and dramatically increase their budgets, with average costs per production rising from 0.9 billion [[South Korean won|won]] in 1995 to 42 billion won in 2004.{{Sfn|Shim|2008|p=20}} The 2001 film ''[[My Sassy Girl]]'' achieved box office success in Hong Kong and Japan, and was the subject of multiple foreign remakes.{{Sfn|Cicchelli|Octobre|2021|p=13}}<!-- Look through Kuwahara for another source -->

=== Music in the first generation ===
Prior to the mid-1990s, South Korean music was largely devoid of foreign interest.{{Sfn|Cicchelli|Octobre|2021|p=12}} While [[SK Group|SK]], [[Daewoo]], and [[Samsung]] had expanded into the South Korean music industry during the mid-1990s, under similar circumstances to the South Korean film industry, the 1997 Asian financial crisis abruptly ended these ventures.{{Sfn|Kim|2021|p=38–39}} This vacuum was filled by [[SM Entertainment]] (founded by [[Lee Soo-man]] in 1995), [[YG Entertainment]] (founded by [[Yang Hyun-seok]] of [[Seo Taiji and Boys]] in 1996), and [[JYP Entertainment]] (founded by [[R&B]] singer [[Park Jin-young]] in 1997).{{Sfn|Kim|2021|p=39}} K-pop first gained popularity in China after the 1997 radio program ''Seoul Music Room'' began broadcasting in Beijing.{{Sfn|Cicchelli|Octobre|2021|p=13}}

The debuts of [[BoA]] in 2000, [[Rain (entertainer)|Rain]] in 2002, [[TVXQ]] in 2003, [[Super Junior]] in 2005, [[BigBang (South Korean band)|BigBang]] in 2006, and [[Wonder Girls]] and [[Girls' Generation]] in 2007 were major breakthroughs for K-pop in Asia.{{Citation needed|date=February 2024}} BoA became the first South Korean pop star to break into the Japanese market with the release of her album ''[[Listen to My Heart (BoA album)|Listen to My Heart]]'' (2002), following the fall of barriers that had restricted the import and export of entertainment between the countries since the end of World War II.<ref name="JPTIMES">{{cite news |author=Robert Michael Poole |date=March 20, 2009 |title=No constrictions on BoA's ambitions |url=https://www.japantimes.co.jp/culture/2009/03/20/music/no-constrictions-on-boas-ambitions/ |archive-url=https://web.archive.org/web/20211230082341/https://www.japantimes.co.jp/culture/2009/03/20/music/no-constrictions-on-boas-ambitions/ |archive-date=December 30, 2021 |access-date=December 29, 2021 |publisher=[[The Japan Times]]}}</ref><ref name=":32">{{Cite book |last=Freedman |first=Alisa |url=https://books.google.com/books?id=WuC0EAAAQBAJ&dq=BoA+korean+wave&pg=PT175 |title=Introducing Japanese Popular Culture |date=2023-04-18 |publisher=Taylor & Francis |isbn=978-1-000-86417-5 |language=en}}</ref> During the 2008 fiscal year, 68 percent of all K-pop exports from South Korea were exported to Japan.{{Sfn|Kuwahara|2014|p=215}}

== Second generation ==
[[File:Girls' Generation (SNSD) intro at SMTown Live NY.jpg|thumb|[[Girls' Generation]] at [[SM Town Live '10 World Tour|SM Town Live]] [[Koreatown, Manhattan|NY]] in 2011]]
[[File:People viewing K-Pop Zone on television.jpg|thumb|[[K-pop]] songs being played by the South Korean conglomerate [[LG]] at the [[Internationale Funkausstellung Berlin|IFA]] trade exhibition in Germany in 2011]]
Hallyu 2.0 or the New Korean Wave refers to the second generation of the Korean Wave, beginning in 2008. This generation is characterized by the spread of Korean popular culture through social media{{Sfn|Jin|2016|p=3}} and the transition to K-pop as the primary South Korean cultural export.{{Sfn|Jin|2015|p=58–59}} The period marked the rapid expansion of the South Korean music, animation, and online gaming industries{{Sfn|Jin|2015|p=58–59}} and a shift in government policy, from indifference to enthusiastic support, under the [[Lee Myung-bak]] and [[Park Geun-hye]] administrations.{{Sfn|Jin|2016|p=6–7}}<ref>{{Cite news |date=20 December 2012 |title=Park to Put Policy Priority on Culture |work=[[The Korea Times]] |url=https://www.koreatimes.co.kr/www/nation/2012/12/356_127389.html |access-date=24 March 2013 |surname=Do |given=Je-hae |archive-date=2 February 2022 |archive-url=https://web.archive.org/web/20220202193003/https://www.koreatimes.co.kr/www/nation/2012/12/356_127389.html |url-status=live }}</ref> The mid-2000s marked the expansion of the Korean Wave outside of [[East Asia]] into other parts of Asia, while the mid-2010s marked the Korean Wave's expansion outside of Asia into Europe, the Americas, and Africa.<ref>{{Cite book |last=Yoon |first=Kyong |url=https://www.worldcat.org/oclc/1308799017 |title=Diasporic Hallyu : the Korean wave in Korean Canadian youth culture |series=East Asian Popular Culture |date=2022 |isbn=978-3-030-94964-8 |location=Cham, Switzerland |doi=10.1007/978-3-030-94964-8 |s2cid=247648138 |oclc=1308799017 |access-date=10 March 2023 |archive-date=16 April 2023 |archive-url=https://web.archive.org/web/20230416100626/https://www.worldcat.org/title/1308799017 |url-status=live }}</ref>{{Rp|page=4|pages=}}{{Sfn|Jin|2016|p=172}} During this period, social media and platforms like [[YouTube]], [[Netflix]], and [[Webtoon (platform)|Webtoon]] played a key role in the dissemination of South Korean popular culture.{{Sfn|Cicchelli|Octobre|2021|p=16}}<ref name="Sooho Song2">{{Cite journal |last=Song |first=Sooho |date=2020 |title=The Evolution of the Korean Wave: How Is the Third Generation Different from Previous Ones? |url=https://scholar.kyobobook.co.kr/article/detail/4010027618126 |journal=Korea Observer |volume=51 |issue=1 |pages=125–150 |doi=10.29152/KOIKS.2020.51.1.125 |s2cid=216401610 |access-date=7 March 2023 |archive-date=7 March 2023 |archive-url=https://web.archive.org/web/20230307210143/https://scholar.kyobobook.co.kr/article/detail/4010027618126 |url-status=live }}</ref>

Since the mid-2010s, the rising success of K-pop groups abroad have become characteristic of the Korean Wave.{{Sfn|Jin|2020|p=}} These successes were led by the meteoric rise of the [[Gangnam Style (music video)|music video]] for [[Psy]]'s "[[Gangnam Style]]".{{Sfn|Jin|2020|p=}} According to a poll conducted by the Ministry of Culture, Sports and Tourism during the COVID-19 pandemic, ''[[Crash Landing on You]]'', ''[[It's Okay to Not Be Okay]]'', and ''[[The World of the Married]]'' were the three most popular television programs internationally.<ref>{{Cite news |date=30 January 2021 |title=Hallyu Fans Consume More Korean Content amid COVID-19 Pandemic in 2020: Survey |work=[[The Korea Herald]] |url=https://www.koreaherald.com/view.php?ud=20210128000894 |access-date=9 February 2021 |surname=Song |given=Seung-hyun |archive-date=8 February 2021 |archive-url=https://web.archive.org/web/20210208230609/http://www.koreaherald.com/view.php?ud=20210128000894 |url-status=live }}</ref> In the United States, the Korean Wave spread outwards from [[Korean-American]] communities, most notably in [[Koreans in New York City|New York City]] and [[Korean Americans in Greater Los Angeles|Los Angeles]].<ref name="August Brown">{{Cite news |last=Brown |first=August |date=29 April 2012 |title=K-pop Enters American Pop Consciousness |work=[[Los Angeles Times]] |url=https://www.latimes.com/entertainment/la-xpm-2012-apr-29-la-ca-kpop-20120429-story.html |access-date=24 March 2013 |archive-date=30 October 2020 |archive-url=https://web.archive.org/web/20201030051808/https://www.latimes.com/entertainment/la-xpm-2012-apr-29-la-ca-kpop-20120429-story.html |url-status=live }}</ref>

Since September 2022, the [[Victoria and Albert Museum]] has hosted the exhibition "Hallyu! The Korean Wave", showcasing the history of the Korean Wave in fashion, music, dance, and art.<ref>{{Cite news |last=Harris |first=Gareth |date=7 July 2021 |title=South Korea's Rapid Rise to Global Pop Cultural Dominance Will Be Explored in New Victoria & Albert Museum Exhibition |work=The Art Newspaper |url=https://www.theartnewspaper.com/2021/07/07/south-koreas-rapid-rise-to-global-pop-cultural-dominance-will-be-explored-in-new-victoria-and-albert-museum-exhibition |access-date=8 July 2021 |archive-date=7 October 2021 |archive-url=https://web.archive.org/web/20211007133041/https://www.theartnewspaper.com/2021/07/07/south-koreas-rapid-rise-to-global-pop-cultural-dominance-will-be-explored-in-new-victoria-and-albert-museum-exhibition |url-status=live }}</ref><ref>{{Cite web |date=2022-09-24 |title=Inside 'Hallyu!', The V&A's Playful Exhibition Celebrating Korean Fashion & Culture |url=https://www.vogue.co.uk/arts-and-lifestyle/article/hallyu-korean-wave-exhibition-review |access-date=2023-03-07 |website=British Vogue |language=en-GB |archive-date=7 March 2023 |archive-url=https://web.archive.org/web/20230307153647/https://www.vogue.co.uk/arts-and-lifestyle/article/hallyu-korean-wave-exhibition-review |url-status=live }}</ref> [[Min Jin Lee]], the author of the novel ''[[Pachinko (novel)|Pachinko]]'', credited the Korean Wave for her success.<ref>{{Cite web |date=2022-08-08 |title='Pachinko' author Min Jin Lee credits Korean Wave for her success |url=https://www.koreatimes.co.kr/www/culture/2022/08/142_334100.html |access-date=2022-08-17 |website=[[The Korea Times]] |language=en |archive-date=17 August 2022 |archive-url=https://web.archive.org/web/20220817052157/https://www.koreatimes.co.kr/www/culture/2022/08/142_334100.html |url-status=live }}</ref>

=== Government policy ===
{{See also|Korean Culture and Information Service|Korean Cultural Centers|Korea Foundation}}
[[File:Kpop fans in poland.jpg|thumb|[[K-pop fans]] outside the Korean Cultural Center in [[Warsaw]] holding up a South Korean-Polish flag, as well as banners for Korean boybands [[MBLAQ]], [[B1A4]], and [[2PM]] in 2011]]
The success of South Korean cultural products in Asia has led some governments to pass measures to protect their own cultural industries. China made specific efforts to stem the flow of Korean films and dramas into their countries, hurting their sales.{{Sfn|Jin|2016|p=}}{{Page needed|date=March 2023}} This motivated the South Korean cultural industry to break into markets outside of Asia.{{Sfn|Jin|2016|p=}}{{Page needed|date=March 2023}}

Prior to the 1990s, the Korean government prioritized funding traditional forms of Korean culture over contemporary Korean pop culture.{{Sfn|Jin|2016|p=}}{{Page needed|date=March 2023}} However, in 1993 the government shifted to a policy of cultural commercialization, incorporating cultural products as economic exports.{{Sfn|Jin|2016|p=}}{{Page needed|date=March 2023}} In 1999, the National Assembly passed the Basic Law for Promoting Cultural Industries which provided government support for Korean cultural products.{{Sfn|Jin|2016|p=}}{{Page needed|date=March 2023}}

=== The Internet ===
Since the 2000s, the Korean Wave has transformed from a phenomenon driven primarily by satellite broadcasts to one driven by social media and the Internet.{{Sfn|Kim|2013|p=2}} Foreign-language subtitles of K-dramas and real-time translations of K-pop performances on the Internet broadened the scope of Korean pop culture.{{Sfn|Kim|2013|p=2}} YouTube has enabled fans to connect with K-pop through their own content, such as dance covers and reaction videos/channels.<ref>{{Cite journal|last=Oh|first=David C.|date=2017|title=K-pop Fans React: Hybridity and the White Celebrity-fan on YouTube|journal=International Journal of Communication|volume=11|pages=2270–2287|s2cid=59365830|s2cid-access=free}}</ref> The creation of remakes on YouTube acted as [[consumer-generated advertising]] and helped propel the virality of "Gangnam Style".{{Sfn|Lee|Kuwahara|2014|p=}}{{Page needed|date=March 2023}}<ref>{{Cite journal|last1=Lyan|first1=Irina|last2=Zidani|first2=Sulafa|last3=Shifman|first3=Limor|date=2015|title=When Gangnam Hits the Middle East: Re-makes as Identity Practice|url=https://www.academia.edu/20031304|journal=Asian Communication Research|volume=12|issue=2|pages=10–31|doi=10.20879/acr.2015.12.2.10|s2cid=147486091|access-date=12 December 2018|archive-date=9 April 2022|archive-url=https://web.archive.org/web/20220409120009/https://www.academia.edu/20031304|url-status=live}}</ref>

=== Music in the second generation ===
{{See also|K-pop}}
YouTube and other online video platforms have been vital in the increasing international popularity of K-pop.<ref>{{Cite AV media |url=https://www.cnn.com/videos/showbiz/2013/02/05/pkg-lah-kpop-industry-global.cnn |title=K-pop Goes Global |date=5 February 2013 |last=Lah |first=Kyung |type=Video |publisher=CNN |access-date=4 March 2013 |archive-date=2 August 2016 |archive-url=https://web.archive.org/web/20160802052242/http://www.cnn.com/videos/showbiz/2013/02/05/pkg-lah-kpop-industry-global.cnn |url-status=live }}</ref> ''Asia Today'' wrote that Korean music content began to receive attention in the global pop culture world starting with Wonder Girls in the late 2000s, with BigBang, [[2NE1]], [[Blackpink]], and [[BTS]] later setting new records on ''Billboard'' "one after another".<ref>{{Cite web |last=Yoon |first=Hyeon-jeong |date=2024-02-25 |title=[윤현정의 컬처&] 글로벌 K-아트 '고전예술'에 관심을 |trans-title=[Hyeonjeong Yoon’s Culture&] Global interest in K-art and 'classical art' |url=https://www.asiatoday.co.kr/view.php?key=20240225010012626 |access-date=2024-02-26 |website=Asia Today |language=ko |quote=}}</ref> In 2012, Psy's music video for "[[Gangnam Style]]" went viral and became the first YouTube video to reach one billion views in December of that year.<ref>{{Cite news |author=<!--Not stated--> |date=21 December 2012 |title=Gangnam Style Hits One Billion Views on YouTube |url=https://www.bbc.com/news/technology-20812870 |url-status=live |archive-url=https://web.archive.org/web/20191103170124/https://www.bbc.com/news/technology-20812870 |archive-date=3 November 2019 |access-date=21 December 2019 |work=BBC News}}</ref> The release of "Gangnam Style" helped push K-pop into mainstream Indian culture.<ref>{{Cite web |last=Palat |first=Lakshana |date=2022-05-31 |title=K-Pop in India: Sriya Lenka's success has been a long time in the making |url=https://indianexpress.com/article/opinion/columns/k-pop-in-india-sriya-lenkas-success-has-been-a-long-time-in-the-making-7946169/ |access-date=2022-06-01 |website=The Indian Express |language=en |archive-date=1 June 2022 |archive-url=https://web.archive.org/web/20220601022930/https://indianexpress.com/article/opinion/columns/k-pop-in-india-sriya-lenkas-success-has-been-a-long-time-in-the-making-7946169/ |url-status=live }}</ref><ref>{{Cite book |url=https://www.worldcat.org/oclc/1334101884 |title=Korean Wave in South Asia : Transcultural Flow, Fandom and Identity |date=2022 |others=Ratan Kumar Roy, Biswajit Das |editor-first1=Ratan Kumar |editor-first2=Biswajit |editor-last1=Roy |editor-last2=Das |isbn=978-981-16-8710-5 |location=Singapore |language=en |doi=10.1007/978-981-16-8710-5 |s2cid=250134516 |oclc=1334101884 |access-date=2023-03-08}}</ref>

BTS and other groups have sustained success globally, with world tours and appearances at US ''Billboard'' Music Awards and other foreign events.<ref name="Sooho Song2" /> BTS won twelve [[Billboard Music Awards|''Billboard'' Music Awards]] and eleven [[American Music Awards]], and received five nominations at the [[Grammy Awards]]. BTS sold out four concerts at [[SoFi Stadium]] in [[Los Angeles]] in 2021.<ref name="Shim Sun-ah 2021-12">{{Cite news |date=16 December 2021 |title=From 'Squid Game' to BTS, 2021 Is Most Memorable Year for Korean Culture |work=[[Yonhap News Agency]] |url=https://en.yna.co.kr/view/AEN20211214005100315 |access-date=18 December 2021 |surname=Shim |given=Sun-ah |archive-date=19 December 2021 |archive-url=https://web.archive.org/web/20211219092816/https://en.yna.co.kr/view/AEN20211214005100315 |url-status=live }}</ref> Since the 2010s, there have been a greater number of collaborations between K-pop and foreign artists, such as BTS with [[Steve Aoki]] and Psy with [[Snoop Dogg]].<ref name="Jenna Gibson">{{Cite web |last=Gibson |first=Jenna |date=20 April 2018 |title=Hallyu 3.0: The Era of K-pop Collaborations |url=https://keia.org/the-peninsula/hallyu-3-0-the-era-of-k-pop-collaborations/ |access-date=1 February 2022 |website=KEI |archive-date=27 November 2021 |archive-url=https://web.archive.org/web/20211127144923/https://keia.org/the-peninsula/hallyu-3-0-the-era-of-k-pop-collaborations/ |url-status=live }}</ref> For many Korean artists, domestic popularity no longer correlates to overall success abroad as South Korea is no longer the world's largest K-pop consumer.<ref>{{cite news |last1=Jeon |first1=Young-sun |last2=Yang |first2=Haley |date=5 April 2022 |title=As K-pop goes global, Koreans fall behind when it comes to consumption |work=[[Korea JoongAng Daily]] |publisher= |url=https://koreajoongangdaily.joins.com/2022/04/05/entertainment/kpop/kpop-bts-kpop/20220405172102571.html |access-date=12 April 2022 |archive-date=11 April 2022 |archive-url=https://web.archive.org/web/20220411212615/https://koreajoongangdaily.joins.com/2022/04/05/entertainment/kpop/kpop-bts-kpop/20220405172102571.html |url-status=live }}</ref>

=== Television in the second generation ===
Since the mid-2000s, the three major South Korean broadcast television networks, [[Korean Broadcasting System|KBS]], [[Munhwa Broadcasting Corporation|MBC]], and [[Seoul Broadcasting System|SBS]], have faced increasing competition from comprehensive television networks with integrated production teams.<ref name=":14" />{{Rp|page=|pages=10–11}} The second generation of the Korean Wave produced a number of innovative television programs, including the absurd romantic comedy ''[[My Love from the Star]]'', the reality variety show [[Running Man (South Korean TV series)|''Running Man'']], the live audition programs like ''[[Superstar K]]''.{{Sfn|Kim|2021|p=76}}

The 2006 historical K-drama ''[[Jumong (TV series)|Jumong]]'' was hugely successful in Turkey, Romania, and Iran, where it achieved nationwide ratings of 80 to 90 percent.<ref>{{Cite news |author=<!--Not stated--> |date=20 December 2009 |title=Iranians Hooked on Korean TV Drama |work=GlobalPost |url=https://theworld.org/dispatch/middle-east/091216/iran-korea-tv |access-date=11 November 2014 |archive-date=31 January 2022 |archive-url=https://web.archive.org/web/20220131000444/https://theworld.org/dispatch/middle-east/091216/iran-korea-tv |url-status=live }}</ref><ref>{{Cite news |date=30 August 2011 |title=Int'l Fans Visit Korea for Seoul Drama Awards |work=[[The Korea Times]] |url=https://www.koreatimes.co.kr/www/art/2011/08/688_93772.html |access-date=17 March 2013 |quote=The hit Korean drama 'Jumong' was broadcast in Romania earlier this year, attracting some 800,000 viewers to the small screen. |surname=Kwon |given=Mee-yoo |archive-date=2 February 2022 |archive-url=https://web.archive.org/web/20220202193043/https://www.koreatimes.co.kr/www/art/2011/08/688_93772.html |url-status=live }}</ref><ref name="Song Sang-ho">{{Cite news |date=10 August 2011 |title=Korea's Mark on an Expectation-defying Iran |work=[[The Korea Herald]] |url=https://www.koreaherald.com/view.php?ud=20110810000745 |access-date=17 February 2013 |quote=The Korean wave, or hallyu, has also made significant forays into Iran. Korean period dramas, 'Jumong' in particular, were smash hits. Jumong{{snd}}the founding monarch of Korea's ancient Goguryeo kingdom (37 B.C.–A.D. 668){{snd}}has become the most popular TV drama representing Korea here, with its viewer ratings hovering around 80 to 90 percent. |surname=Song |given=Sang-ho |archive-date=23 August 2014 |archive-url=https://web.archive.org/web/20140823224307/http://www.koreaherald.com/view.php?ud=20110810000745 |url-status=live }}</ref> The 2019 K-drama [[Kingdom (South Korean TV series)|''Kingdom'']] was highly successful in India.<ref>{{Cite magazine |last=Frater |first=Patrick |date=1 October 2020 |title=Led by BTS, 'Parasite,' '#Alive' and More, South Korea's Entertainment Biz Is Taking the World by Storm |url=https://variety.com/2020/biz/asia/bts-parasite-south-korea-entertainment-1234788068/ |magazine=Variety |access-date=25 April 2021 |archive-date=3 March 2021 |archive-url=https://web.archive.org/web/20210303035002/https://variety.com/2020/biz/asia/bts-parasite-south-korea-entertainment-1234788068/ |url-status=live }}</ref> During the [[COVID-19 pandemic in India]], streaming services in India saw a dramatic rise in interest for Korean-language programming.<ref name=":4">{{Cite news |last=Bhatt |first=Shephali |date=17 November 2020 |title=How K-pop and Korean drama had their biggest breakthrough in India amid the pandemic |work=The Economic Times |url=https://economictimes.indiatimes.com/tech/tech-bytes/how-k-pop-and-korean-drama-had-their-breakthrough-moment-in-india-amid-the-pandemic/articleshow/78954150.cms |access-date=2022-05-14 |archive-date=31 October 2020 |archive-url=https://web.archive.org/web/20201031203212/https://economictimes.indiatimes.com/tech/tech-bytes/how-k-pop-and-korean-drama-had-their-breakthrough-moment-in-india-amid-the-pandemic/articleshow/78954150.cms |url-status=live }}</ref>

=== Film in the second generation ===
During the first generation of the Korean Wave, Korean films that were exported abroad were primarily consumed in other Asian countries.<ref name="Sooho Song2"/> Through online streaming services like Netflix, the South Korean entertainment industry has been able to expand outside of East Asia. The 2019 black comedy thriller film [[Parasite (2019 film)|''Parasite'']] won several awards at international film festivals, including four [[92nd Academy Awards|Academy Awards]] for [[Academy Award for Best Picture|Best Picture]], [[Academy Award for Best Director|Best Director]], [[Best Original Screenplay]], and [[Academy Award for Best International Feature Film|Best International Film]].<ref name="Sooho Song2"/> ''Parasite'' also made history as the first non-English language film to win the Academy Award for Best Picture.<ref>{{cite news | url=https://www.economist.com/prospero/2020/02/10/parasite-becomes-the-first-foreign-language-film-to-win-best-picture | title="Parasite" becomes the first foreign-language film to win Best Picture | author=N. B. | date=10 February 2020 | magazine=The Economist | access-date=26 March 2023 | archive-date=26 March 2023 | archive-url=https://web.archive.org/web/20230326181546/https://www.economist.com/prospero/2020/02/10/parasite-becomes-the-first-foreign-language-film-to-win-best-picture | url-status=live }}</ref>

=== Manhwa ===
{{Main article|Manhwa}}
''Manhwa'', the Korean term for comics, first gained popularity outside of Korea during the early 2000s when ''manhwa'' were first became available on the Internet.{{Sfn|Cicchelli|Octobre|2021|p=16}}<ref name=":15">{{Cite web |last=McKinney |first=DW |date=2020-10-24 |title=Riding the Wave: The Steady Rise of Korean Manhwa |url=https://lareviewofbooks.org/article/riding-the-wave-the-steady-rise-of-korean-manhwa/ |access-date=2023-03-18 |website=[[Los Angeles Review of Books]] |language=en-US |archive-date=12 March 2023 |archive-url=https://web.archive.org/web/20230312220301/https://lareviewofbooks.org/article/riding-the-wave-the-steady-rise-of-korean-manhwa/ |url-status=live }}</ref> The term "manhwa" is derived from the Korean words "manhwa" (만화), which can be translated to "comics" or "cartoons.  ''Manhwa'' is directly influenced by Japanese Manga comics. It encompasses a wide range of genres and styles, similar to its Japanese counterpart, manga. During the 2010s, the format would undergo a revitalization as a result of [[webtoons]], which provided the medium a smartphone-optimized layout and room to skirt South Korea's censorship standards.<ref name=":15" />  Modern Manhwa has extended its reach to many other countries. Korean companies like [[Naver]], [[Kakao]], and [[Lezhin]] that host webtoons have expanded globally and have begun to offer their titles in different languages.<ref>{{Cite web|url=https://www.gyeonggido-korea.com/2020/04/what-is-webtoon-korean-culture-of-web-comic.html|title=What Is Webtoon? Rising of New Korean Culture Wave|author=<!--Not stated-->|date=3 April 2020|website=Gyeonggi-do|access-date=24 August 2021|archive-date=17 August 2021|archive-url=https://web.archive.org/web/20210817052238/https://www.gyeonggido-korea.com/2020/04/what-is-webtoon-korean-culture-of-web-comic.html|url-status=live}}</ref>  These comics have branched outside of Korea by access of [[Webtoon]]s and have created an impact that has resulted in some movie and television show adaptations.

The Korean Manhwa industry has undergone significant changes from 1910 to the present, facing various challenges along the way.<ref name=":1">{{Cite journal |last1=Parc |first1=Jimmyn |last2=Park |first2=Hongjin |last3=Kim |first3=Kyuchan |date=2023-07-01 |title=The Lagged Development of the Korean Manhwa Industry From 1910 to the Present:: The Formation of Negative Perceptions |url=https://aror.orient.cas.cz/index.php/ArOr/article/view/472 |journal=Archiv orientální |volume=91 |issue=1 |pages=169–196 |doi=10.47979/aror.j.91.1.169-196 |s2cid=259728143 |issn=0044-8699}}</ref> In the early years, the impact of Japanese colonial rule and the aftermath of the Korean War led to heavy government intervention from the 1950s to the 1970s.<ref name=":1" /> This intervention, driven by concerns for political stability, resulted in censorship and negative societal views, limiting the industry's growth during that period.<ref name=":1" />Fast forward to the 2000s-2010s, a notable shift occurred with the rise of webtoons and educational manhwa. Webtoons, thriving on digitization and online platforms, gained international acclaim.<ref name=":1" /> Educational manhwa also played a positive role in children's education, reducing business risks and reshaping the industry.<ref name=":1" />

Globalization and digitization further boosted success, allowing Korean animation series and webtoons to capture diverse audiences worldwide.<ref name=":1" /> The need for a business-friendly environment with less government intervention, coupled with a shift in societal perceptions to recognize manhwa as a dynamic and creative industry was the key to this change.<ref name=":1" /> Recognizing historical challenges was crucial for crafting effective policies to propel the Korean manhwa industry into a vibrant and globally competitive landscape.<ref name=":1" />

== Popularity and impact ==
[[File:President Joe Biden and BTS in the Oval Office of the White House, May 31, 2022.jpg|thumb|BTS and US [[President Joe Biden]] at the [[White House]] in 2022]]

=== Sociocultural ===
[[File:Psy performing Gangnam Style at the Future Music Festival 2013.jpg|thumb|South Korean K-pop rapper [[Psy]] performing "[[Gangnam Style]]" in [[Sydney]], Australia in 2013]]
Korean pop culture is very popular in Taiwan, and an increasing number of Taiwanese are learning Korean language. In Taiwan, where the drama ''Jewel in the Palace'' was extremely popular, some fans reportedly underwent [[Plastic surgery|cosmetic surgery]] to look like lead actress Lee Young-ae.<ref>{{Cite journal|last=Shim|first=Doobo|date=2006|title=Hybridity and the Rise of Korean Popular Culture in Asia|journal=Media, Culture & Society|volume=28|issue=1|pages=25–44|doi=10.1177/0163443706059278|doi-access=free|s2cid=204327176|s2cid-access=free}}</ref> The United States Modern Language Association reported that the number of university students learning Korean doubled between 2006 and 2016. In 2020, Korean became the fastest growing foreign language in Mexico and United States.<ref>{{Cite journal |last1=Wang |first1=Hye-Sook |last2=Pyun |first2=Danielle O. |date=2020-06-16 |title=Hallyu and Korean Language Learning: Gender and Ethnicity Factors |url=https://scholarlypublishingcollective.org/psup/korean-language/article/24/2/30/286621/Hallyu-and-Korean-Language-Learning-Gender-and |journal=The Korean Language in America |language=en |volume=24 |issue=2 |pages=30–59 |doi=10.5325/korelangamer.24.2.0030 |s2cid=238013426 |issn=2332-0346 |access-date=26 March 2023 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326015825/https://scholarlypublishingcollective.org/psup/korean-language/article/24/2/30/286621/Hallyu-and-Korean-Language-Learning-Gender-and |url-status=live }}</ref> The South Korean [[Ministry of Education (South Korea)|Ministry of Education]] attributed this rise in interest in the Korean language as a product of the Korean Wave.<ref>{{Cite news |last=Choi |first=Ye-na |date=15 March 2021 |title=Nearly 160,000 Students Overseas Learned Korean in 2020 |work=[[The Dong-a Ilbo]] |url=https://www.donga.com/en/article/all/20210315/2501584/1 |access-date=15 March 2021 |archive-date=9 February 2022 |archive-url=https://web.archive.org/web/20220209215543/https://www.donga.com/en/article/all/20210315/2501584/1 |url-status=live }}</ref> The Korean Wave has influenced a large number of British university students to pursue Korean language degrees.<ref>{{Cite news |last1=Hall |first1=Rachel |last2=Otte |first2=Jedidajah |date=30 December 2021 |title=Anime and K-pop Fuel Language-learning Boom |work=Taipei Times |url=https://www.taipeitimes.com/News/feat/archives/2021/12/30/2003770413 |access-date=7 February 2021 |archive-date=7 February 2022 |archive-url=https://web.archive.org/web/20220207195813/https://www.taipeitimes.com/News/feat/archives/2021/12/30/2003770413 |url-status=live }}</ref>

In India, millennials and members of Generation Z are the most interested in the Korean Wave.<ref>{{Cite web |last=Kandula |first=Vasavi |date=2022-03-22 |title=From K-Pop To K-Drama: How Indian Teens Can't Get Enough Of The Korean Wave |url=https://www.indiatimes.com/entertainment/kpop-kdrama-wave-in-india-564526.html |access-date=2022-05-12 |website=IndiaTimes |language=en-IN |archive-date=12 May 2022 |archive-url=https://web.archive.org/web/20220512061248/https://www.indiatimes.com/entertainment/kpop-kdrama-wave-in-india-564526.html |url-status=live }}</ref> On May 31, 2022, [[BTS]] visited US [[President Joe Biden]] at the [[White House]] to discuss the rise in [[Racism in the United States#Asian Americans|anti-Asian hate crimes]].<ref>{{Cite news|last=Blair|first=Elizabeth|date=May 31, 2022|title=K-Pop stars BTS went to the White House to talk about anti-Asian hate crimes|publisher=[[NPR]]|url=https://www.npr.org/2022/05/31/1102244756/k-pop-stars-bts-went-to-the-white-house-to-talk-about-anti-asian-hate-crimes|access-date=June 25, 2022|archive-url=https://web.archive.org/web/20220604195447/https://www.npr.org/2022/05/31/1102244756/k-pop-stars-bts-went-to-the-white-house-to-talk-about-anti-asian-hate-crimes|archive-date=June 4, 2022}}</ref>

=== Economic ===

In 2004, KBS sold its K-drama ''[[Spring Waltz]]'' to eight Asian countries during its pre-production stage two years before its release.<ref name="Jeongmee Kim">{{Cite book |title=Reading Asian Television Drama: Crossing Borders and Breaking Boundaries |date=2014 |publisher=I.B. Tauris |isbn=978-0-7556-9727-4 |editor-last=Kim |editor-first=Jeongmee |doi=10.5040/9780755697274}}</ref>

The Korean Wave popularized Korean snacks in Kazakhstan, Pakistan, China, Vietnam, Russia, India, and the United States.<ref>{{Cite news |date=2 October 2021 |title=Korean Snacks Boom Around the World Thanks to K-pop Craze |work=[[The Chosun Ilbo]] |url=https://english.chosun.com/site/data/html_dir/2021/10/02/2021100200337.html |access-date=27 December 2021 |surname=Song |given=Hye-jin |archive-date=25 December 2021 |archive-url=https://web.archive.org/web/20211225001014/http://english.chosun.com/site/data/html_dir/2021/10/02/2021100200337.html |url-status=live }}</ref><ref>{{Cite news |date=25 December 2021 |title=Korean Food Makers Target More Populous Markets |work=[[The Chosun Ilbo]] |url=https://english.chosun.com/site/data/html_dir/2021/12/25/2021122500337.html |access-date=27 December 2021 |surname=Song |given=Hye-jin |archive-date=25 December 2021 |archive-url=https://web.archive.org/web/20211225000859/http://english.chosun.com/site/data/html_dir/2021/12/25/2021122500337.html |url-status=live }}</ref> The Korean Wave has resulted in the rise in popularity of [[Instant noodles|Korean ramyeon]] overseas, with the noodles being prominently featured in K-dramas and films.<ref>{{Cite news|last=Choon|first=Chang May|date=27 February 2021|title=Latest Chart Topper in the Korean Wave: Ramyeon or Instant Noodles|url=https://www.straitstimes.com/asia/east-asia/latest-poster-boy-for-the-korean-wave-ramyeon-or-instant-noodles|work=The Straits Times|access-date=3 March 2021|archive-date=1 March 2021|archive-url=https://web.archive.org/web/20210301090109/https://www.straitstimes.com/asia/east-asia/latest-poster-boy-for-the-korean-wave-ramyeon-or-instant-noodles|url-status=live}}</ref> [[Product placement]], a common feature of K-dramas, has fueled interest in India into a variety of brands featured on these shows.<ref>{{Cite news |author=<!--Not stated--> |date=18 January 2022 |title=K-dramas and Now K-products: Indian Viewers Get 'K' Brand Conscious |work=The Indian Express |agency=Press Trust of India |url=https://indianexpress.com/article/lifestyle/life-style/k-dramas-and-now-k-products-indian-viewers-get-k-brand-conscious-7726125/ |access-date=21 January 2022 |archive-date=21 January 2022 |archive-url=https://web.archive.org/web/20220121100924/https://indianexpress.com/article/lifestyle/life-style/k-dramas-and-now-k-products-indian-viewers-get-k-brand-conscious-7726125/ |url-status=live }}</ref> Korean fashion, music, and television have been adopted by teenagers in [[Kashmir]], despite concerns by older generations over the erasure of [[Culture of Kashmir|traditional Kashmiri culture]].<ref>{{Cite web |last1=Khan |first1=Waqas |last2=Basit |first2=Parray |date=2022-09-08 |title=Parents in Kashmir Worry That K-pop's Influence Will Lead to Cultural Erasure. Teens Are Fully Embracing the Hallyu Wave |url=https://muslimgirl.com/parents-in-kashmir-worry-that-k-pops-influence-will-lead-to-cultural-erasure-teens-are-fully-embracing-the-hallyu-wave/ |access-date=2022-09-11 |website=Muslim Girl |language=en-US |archive-date=11 September 2022 |archive-url=https://web.archive.org/web/20220911134009/https://muslimgirl.com/parents-in-kashmir-worry-that-k-pops-influence-will-lead-to-cultural-erasure-teens-are-fully-embracing-the-hallyu-wave/ |url-status=live }}</ref>

=== Relations with North Korea ===
In North Korea, the Korean Wave is called the ''nam-Joseon baram'' ({{Korean|hangul=남조선 바람|lit=South Joseon wind}}).<ref>{{Cite news |last=김 |first=주환 |date=25 December 2021 |title=北 장마당 증가...한류 콘텐츠 은밀하게 확산 |language=ko |trans-title=North Korean Markets Grow...and Hallyu Content Spreads in Secret |work=[[YTN]] |url=https://www.ytn.co.kr/_ln/0101_201612240521399196 |access-date=21 February 2020 |archive-date=10 February 2022 |archive-url=https://web.archive.org/web/20220210220925/https://www.ytn.co.kr/_ln/0101_201612240521399196 |url-status=live }}</ref> In June 2007, the film ''[[Hwang Jin Yi (film)|Hwang Jin Yi]]'', adapted from a novel by a North Korean author, became the first South Korean production to be made available for public viewing in North Korea.<ref>{{Cite news |last1=Lee |first1=Chang-Kyun |last2=Bonny |first2=Jinhee |last3=Choi |first3=Young Yoon |date=17 July 2007 |title=North Korea Cracks Down on 'Korean Wave' of Illicit TV |work=[[Radio Free Asia]] |url=https://www.rfa.org/english/news/in_depth/korea_wave-20070717.html |access-date=23 March 2013 |quote= |translator-last=Mudie |translator-first=Luisetta |archive-date=25 October 2014 |archive-url=https://web.archive.org/web/20141025151354/http://www.rfa.org/english/news/in_depth/korea_wave-20070717.html |url-status=live }}</ref>

A 2010 survey of 33 [[North Korean defectors]] by the [[Korea Institute for National Unification]] found that shows like ''Winter Sonata'' played a significant role in shaping the decision of the defectors to flee to the South. The institute also stated that some North Koreans near the [[Korean Demilitarized Zone]] reportedly tampered with their televisions to receive signals from South Korean stations, while on [[China–North Korea border|the northern border]], CDs and DVDs were commonly smuggled in from China.<ref name="Seongbin Kang">{{Cite news |last=Kang |first=Seongbin |date=29 April 2011 |title='Korean Wave' Set to Swamp North Korea, Academics Say |work=Reuters |url=https://www.reuters.com/article/us-media-northkorea-idUSTRE73S5J420110429 |access-date=18 March 2013 |archive-date=22 December 2015 |archive-url=https://web.archive.org/web/20151222190350/http://www.reuters.com/article/us-media-northkorea-idUSTRE73S5J420110429 |url-status=live }}</ref> A 2012 survey by the institute of 100 North Korean defectors reported that South Korean media was prevalent among the North Korean elite. It also re-affirmed that North Koreans living near the northern border had the highest degree of access to South Korean entertainment.<ref>{{Cite news|author=<!--Not stated-->|date=28 June 2012|title=Winds of Unification Still Blowing&nbsp;...|url=https://www.dailynk.com/english/winds-of-unification-still-blowing/|work=[[Daily NK]]|access-date=22 March 2013|archive-date=29 May 2019|archive-url=https://web.archive.org/web/20190529131642/https://www.dailynk.com/english/winds-of-unification-still-blowing/|url-status=live}}</ref> [[Notel]]s, a type of Chinese portable media player introduced to North Korea in 2005, have been credited for proliferating Korean media in the North.<ref>{{Cite news|author=<!--Not stated-->|date=22 October 2013|title=Cheap Chinese EVD Player Spreads S. Korean Culture in N. Korea|url=https://en.yna.co.kr/view/PYH20131022119600315|work=[[Yonhap News Agency]]|access-date=2 April 2015|archive-date=10 February 2022|archive-url=https://web.archive.org/web/20220210223633/https://en.yna.co.kr/view/PYH20131022119600315|url-status=live}}</ref><ref>{{Cite news|surname=Lee|given=Joon-seung|date=22 October 2013|title=Spread of Portable EVD Players Fueling 'Korean Wave' in N. Korea: Expert|url=https://en.yna.co.kr/view/AEN20131022011400315|work=[[Yonhap News Agency]]|access-date=2 April 2015|archive-date=10 February 2022|archive-url=https://web.archive.org/web/20220210224514/https://en.yna.co.kr/view/AEN20131022011400315|url-status=live}}</ref>

In October 2012, [[Supreme Leader (North Korean title)|Supreme Leader]] [[Kim Jong Un]] gave a speech to the [[Korean People's Army]] in which he vowed to "extend the fight against the enemy's ideological and cultural infiltration."<ref name="Tim Sullivan">{{Cite news |last=Sullivan |first=Tim |date=31 December 2012 |title=North Korea Cracks Down on Knowledge Smugglers |work=Salon |agency=AP |url=https://www.salon.com/2012/12/31/north_korea_cracks_down_on_knowledge_smugglers/ |access-date=23 March 2013 |quote= |archive-date=22 March 2013 |archive-url=https://web.archive.org/web/20130322184404/http://www.salon.com/2012/12/31/north_korea_cracks_down_on_knowledge_smugglers/ |url-status=live }}</ref> A [[US State Department]]-commissioned study earlier that year concluded that North Korea was "increasingly anxious" to restrict the flow of information, but were struggling to contain the "substantial demand" for South Korean movies and television programs and the "intensely entrepreneurial" smugglers on the Chinese side of the border.<ref name="Tim Sullivan" />{{quote box |width=25em |align=right |qalign=right |quote=<div style="text-align:left;">...My happiest moments when I was in North Korea were watching South Korean TV shows. I felt like I was living in that same world as those actors on the show.<br />—A [[North Korean defector]] interviewed by [[Human Rights Watch]]<ref name="Human Rights Watch">{{Cite web|url=https://www.hrw.org/news/2013/05/15/north-korea-stop-crackdown-economic-crimes|title=North Korea: Stop Crackdown on Economic 'Crimes'|author=<!--Not stated-->|date=15 May 2013|website=Human Rights Watch|access-date=16 May 2013|archive-date=8 June 2013|archive-url=https://web.archive.org/web/20130608222953/http://www.hrw.org/news/2013/05/15/north-korea-stop-crackdown-economic-crimes|url-status=live}}</ref></div>|}}

On 15 May 2013, the NGO [[Human Rights Watch]] found that "entertainment shows from South Korea are particularly popular and have served to undermine the North Korean government's negative portrayals of South Korea".<ref>{{Cite news|last=Schiff|first=Randy|date=8 June 2020|title=Streaming: From Unstable Worlds Come a Love Story, Civil War with Zombies and Government Thriller|url=https://buffalonews.com/entertainment/streaming-from-unstable-worlds-come-a-love-story-civil-war-with-zombies-and-government-thriller/article_c6155453-97ef-5529-a4ae-979983a75a7b.html|work=The Buffalo News|access-date=7 December 2020|archive-date=3 February 2021|archive-url=https://web.archive.org/web/20210203182704/https://buffalonews.com/entertainment/streaming-from-unstable-worlds-come-a-love-story-civil-war-with-zombies-and-government-thriller/article_c6155453-97ef-5529-a4ae-979983a75a7b.html|url-status=live}}</ref>{{Failed verification|date=March 2023}}

In 2021, Kim Jong Un called K-pop a vicious cancer that serves to undermine the North Korean government. Kim further warned that South Korean entertainment was having a grave influence on young North Koreans and emphasized the necessity of stamping out "capitalist tendencies". In December 2020 the North Korean government extended the punishment for possessing illegal entertainment from five to fifteen years of hard labor. In a leaked document obtained by Asia Press, Kim Jong Un deemed North Korean women who call their date [[wikt:oppa|''oppa'']] or "''[[wikt:yobo|yobo]]''" instead of comrade "perverted". The documents warned that those who were caught using the language would be expelled from their city.<ref>{{Cite news|surname=Choe|given=Sang-Hun|date=11 June 2021|title=Kim Jong-un Calls K-pop a 'Vicious Cancer' in the New Culture War|url=https://www.nytimes.com/2021/06/11/world/asia/kim-jong-un-k-pop.html|work=[[The New York Times]]|access-date=17 June 2021|archive-date=17 June 2021|archive-url=https://web.archive.org/web/20210617002900/https://www.nytimes.com/2021/06/11/world/asia/kim-jong-un-k-pop.html|url-status=live}}</ref>

== Tourism ==
The airing of ''Winter Sonata'' in Japan led to a rise in tourism to South Korea and dramatically shifted the demographics of Japanese tourism to South Korea, from primarily Japanese men on [[Kisaeng|kisaeng tours]] to young Japanese women.{{Sfn|Hirata|2008|p=143–148}} South Korea's tourism industry has been greatly influenced by the increasing popularity of its media. According to Korean Culture and Information Service (Kocis), yearly tourism figures have increased from 5.32 million visitors in 2000 to 11.03 million visitors in 2023.{{citation needed|date=February 2022}}

The Korean Tourism Organization has recognized the Korean Wave as a significant pull factor for tourists, and launched a tourism campaign in 2014 entitled "Imagine your Korea" that highlighted Korean entertainment.<ref name="Hee-Joo Han, Jae-Sub Lee">{{Cite journal |last1=Han |first1=Hee-Joo |last2=Lee |first2=Jae-Sub |date=2008 |title=A Study on the KBS TV Drama ''Winter Sonata'' and Its Impact on Korea's ''Hallyu'' Tourism Development |journal=Journal of Travel & Tourism Marketing |volume=24 |issue=2–3 |pages=115–126 |doi=10.1080/10548400802092593 |s2cid=154926778}}</ref> Many fans of Korean television dramas are also motivated to travel to Korea,<ref>{{Cite journal|last1=Kim|first1=Seongseop (Sam)|last2=Kim|first2=Sangkyun (Sean)|last3=Heo|first3=Cindy (Yoonjoung)|date=2015|title=Assessment of TV Drama/Film Production Towns as a Rural Tourism Growth Engine|journal=Asia Pacific Journal of Tourism Research|volume=20|issue=7|pages=730–760|doi=10.1080/10941665.2014.927378|doi-access=free|s2cid=153548291|s2cid-access=free}}</ref> frequently visiting filming locations like [[Nami Island]], featured in ''Winter Sonata'', and [[Dae Jang Geum Theme Park]].<ref name="Hee-Joo Han, Jae-Sub Lee" /> The majority of these tourists were women.{{Sfn|Mōri|2008|p=130–131}} According to the KTO, more than 100,000 Indians traveled to South Korea in 2018, with the number of Indian tourists rising steadily each year.<ref>{{Cite news|last=Wadhwa|first=Sulakshna|date=15 April 2019|title=Korea Festival in Mumbai is Offering a Window into Korean Culture|url=https://www.financialexpress.com/lifestyle/korea-festival-in-mumbai-is-offering-a-window-into-korean-culture/1548530/|work=The Financial Express|access-date=14 February 2021|archive-date=8 October 2021|archive-url=https://web.archive.org/web/20211008130922/https://www.financialexpress.com/lifestyle/korea-festival-in-mumbai-is-offering-a-window-into-korean-culture/1548530/|url-status=live}}</ref><ref>{{Cite web|url=https://keia.org/the-peninsula/an-emerging-market-for-hallyu-the-growing-indian-fan-base/|title=An Emerging Market for Hallyu: The Growing Indian Fan Base|last=Cariappa|first=Neha|date=10 July 2020|website=KEI|access-date=28 September 2020|archive-date=15 November 2020|archive-url=https://web.archive.org/web/20201115163038/https://keia.org/the-peninsula/an-emerging-market-for-hallyu-the-growing-indian-fan-base/|url-status=live}}</ref>

=== Impact of Hallyu on South Korean Tourism ===
The Korean Wave, or Hallyu, has significantly influenced the global popularity of South Korean culture, particularly through K-dramas and K-pop, driving increased tourism to South Korea. The strategic initiatives implemented by the South Korean government and tourism industry have capitalized on this trend to enhance South Korea's economic landscape and cultural diplomacy on the global stage.

Hallyu-related sectors such as cosmetics, fashion, tourism, and education have seen substantial economic contributions, with cultural exports contributing to a 0.2% increase in South Korea's GDP in 2004, escalating remarkably to $12.3 billion by 2019. These figures underscore the profound impact of the Korean Wave on the economy, largely driven by tourism. This growth is supported by a study showing a robust correlation coefficient of 0.89 for Hallyu products, significantly higher than 0.44 for non-Hallyu products, indicating the strong economic influence of cultural exports.<ref>{{Cite journal |last=Fahrisa |first=T. R. |date=2022 |title=Exports Driven by Hallyu Increasing South Korea's Economic Growth - Cultural Diplomacy Approach |url= |journal=Jurnal Hubungan Internasional |volume=15 |issue=1 |pages=20–36}}</ref> 

Recognizing the global appeal of Hallyu, the South Korean government launched the "Visit Korea Year 2023-2024". This initiative features a series of events and promotions to attract tourists, including K-pop concerts, cultural festivals, and significant discounts on travel and accommodations. The Korea Tourism Organization (KTO) also hosts international roadshows and eco-friendly activities to promote cultural and environmental awareness. More details are available on the VISITKOREA website, which provides updates on upcoming events and offers.<ref>{{Cite web |last=KTO |first=Korea Tourism Organization |title=[KTO] Visit Korea Year 2023-2024 Begins : VISITKOREA |url=https://english.visitkorea.or.kr/svc/contents/infoHtmlView.do?vcontsId=136376 |access-date=2024-04-24 |website=[KTO] Visit Korea Year 2023-2024 Begins |language=en}}</ref>

Digital technologies also play a crucial role in tourism strategies. Live streaming, for example, has emerged as a strategic tool, significantly influencing viewer engagement through parasocial interactions, where viewers feel a sense of friendship and trust with streamers. This enhances viewer loyalty and encourages more visits, illustrating the shift towards digital engagement in tourism marketing.<ref>{{Cite journal |last=Kim |first=M. |date=2023 |title=Parasocial Interactions in Digital Tourism: Attributes of Live Streamers and Viewer Engagement Dynamics in South Korea |url= |journal=Behavioral Sciences |volume=13 |issue=11 |pages=953}}</ref>

== Foreign relations ==
[[File:Obama mentions Korean Wave and Gangnam Style.ogv|thumb|During a press conference with South Korean President [[Park Geun-hye]] in May 2013, US President [[Barack Obama]] remarked that the Korean Wave was another result of the [[Miracle on the Han River]].<ref name=":0" />]]The Korean Wave has been acknowledged by various heads of state and government, including Chinese [[paramount leader]] [[Hu Jintao]]<ref>{{Cite book |last=Wong |first=Tze Chin |url=http://uskoreainstitute.org/wp-content/uploads/2010/05/2009_Yearbook_Wong.pdf |title=SAIS U.S.–Korea 2009 Yearbook |date=2010 |publisher=U.S.–Korea Institute at SAIS |editor-last=Straub |editor-first=David |pages=11–27 |chapter=South Korea–China Mutual Perceptions: The Good, the Bad, and the Ugly |archive-url=https://web.archive.org/web/20150426103135/http://uskoreainstitute.org/wp-content/uploads/2010/05/2009_Yearbook_Wong.pdf |archive-date=26 April 2015}}</ref><ref>{{Cite news |last=Tsai |first=Ting-I |date=22 November 2005 |title=Korea Swallows Its Pride in Chinese Kimchi War |work=Asia Times Online |url=http://www.atimes.com/atimes/China_Business/GK22Cb05.html |archive-url=https://web.archive.org/web/20051124233457/http://www.atimes.com/atimes/China_Business/GK22Cb05.html |archive-date=24 November 2005 |quote=}}</ref> and [[Premier of the People's Republic of China|Premier]] [[Wen Jiabao]],<ref>{{Cite news |author=<!--Not stated--> |date=5 April 2007 |script-title=zh:温家宝总理接受韩国新闻媒体联合采访 |language=zh |trans-title=Premier Wen Jiabao Accepts a Joint Interview with South Korean News Media |url=http://news.xinhuanet.com/world/2007-04/05/content_5940122.htm |archive-url=https://web.archive.org/web/20070408181809/http://news.xinhuanet.com/world/2007-04/05/content_5940122.htm |archive-date=8 April 2007 |quote=对于‘韩流’这种文化现象，中国人民特别是年轻人都很喜欢，中国政府会继续鼓励包括‘韩流’在内的两国文化交流活动。 |script-work=zh:新华网 |trans-work=Xinhuanet}}</ref> [[US President]] [[Barack Obama]],<ref name=":0">{{Cite web |last=Obama |first=Barack |date=7 May 2013 |title=Remarks by President Obama and President Park of South Korea in a Joint Press Conference |url=https://obamawhitehouse.archives.gov/the-press-office/2013/05/07/remarks-president-obama-and-president-park-south-korea-joint-press-confe |access-date=7 May 2013 |website=The White House |publisher=National Archives |quote= |surname2=Park |given2=Geun-hye |archive-date=23 January 2017 |archive-url=https://web.archive.org/web/20170123103019/https://obamawhitehouse.archives.gov/the-press-office/2013/05/07/remarks-president-obama-and-president-park-south-korea-joint-press-confe |url-status=live }}</ref> [[Indian President]] [[Ram Nath Kovind]],<ref>{{Cite web |date=10 July 2018 |title=Speech by the president of India, Shri Ram Nath Kovind at the Banquet hosted in Honour of his excellency Mr Moon Jae-In, the President of the Republic of Korea |url=https://pib.gov.in/Pressreleaseshare.aspx?PRID=1538295 |access-date=2022-05-14 |website=Press Information Bureau, Government of India |archive-date=19 May 2022 |archive-url=https://web.archive.org/web/20220519165354/https://pib.gov.in/Pressreleaseshare.aspx?PRID=1538295 |url-status=live }}</ref> and [[Australian Prime Minister]] [[Julia Gillard]].<ref>{{Cite web |last=Gillard |first=Julia |date=26 March 2012 |title='Australia and Korea: Partners and Friends', Speech to Yonsei University, Seoul |url=https://pmtranscripts.pmc.gov.au/release/transcript-18466 |access-date=10 February 2017 |website=PM Transcripts |publisher=Department of the Prime Minister and Cabinet |quote= |archive-date=11 February 2017 |archive-url=https://web.archive.org/web/20170211155704/http://pmtranscripts.pmc.gov.au/release/transcript-18466 |url-status=live }}</ref> The phenomenon has also been acknowledged by [[UN Secretary-General]] [[Ban Ki-moon]],<ref>{{Cite web |surname=Ban |given=Ki-moon |date=30 October 2012 |title=The United Nations and Korea: Together, Building the Future We Want |url=http://www.un.org/sg/statements/index.asp?nid=6398 |archive-url=https://web.archive.org/web/20131025050159/http://www.un.org/sg/statements/index.asp?nid=6398 |archive-date=2013-10-25 |website=United Nations Secretary-General Ban Ki-moon |publisher=United Nations |quote=}}</ref> the Japanese [[Ministry of Foreign Affairs (Japan)|Ministry of Foreign Affairs]],<ref>{{Cite book |author=<!--Not stated--> |url=https://www.mofa.go.jp/policy/other/bluebook/2005/ch2-a.pdf |title=Diplomatic Bluebook 2005 |date=2005 |publisher=Ministry of Foreign Affairs, Japan |pages=18–61 |chapter=Asia and the Pacific |quote= |quote-page=29 |access-date=14 February 2022 |archive-date=14 February 2022 |archive-url=https://web.archive.org/web/20220214190916/https://www.mofa.go.jp/policy/other/bluebook/2005/ch2-a.pdf |url-status=live }}</ref> [[US Secretary of State]] [[John Kerry]],<ref>{{Cite web |last=Kerry |first=John |date=13 August 2013 |title=Video Recording for the Republic of Korea's Independence Day |url=https://2009-2017.state.gov/secretary/remarks/2013/08/213081.htm |access-date=21 January 2017 |website=U.S. Department of State |publisher=Office of Website Management |quote= |archive-date=21 January 2017 |archive-url=https://web.archive.org/web/20170121035924/https://2009-2017.state.gov/secretary/remarks/2013/08/213081.htm |url-status=live }}</ref> Afghan [[Ministry of Foreign Affairs (Afghanistan)|Deputy Foreign Minister]] Meerwais Nab,<ref>{{Cite news |last=Kwon |first=Mee-yoo |date=2021-04-12 |title=Korea's Effort in Afghan Reconstruction Recognized |work=[[The Korea Times]] |url=https://www.koreatimes.co.kr/www/nation/2021/04/176_306950.html |access-date=10 May 2021 |archive-date=8 May 2021 |archive-url=https://web.archive.org/web/20210508230439/https://www.koreatimes.co.kr/www/nation/2021/04/176_306950.html |url-status=live }}</ref> New Zealand [[Ministry of Foreign Affairs and Trade (New Zealand)|Deputy Secretary of Foreign Affairs and Trade]] [[Andrea Smith (diplomat)|Andrea Smith]],<ref>{{Cite web |last=Smith |first=Andrea |date=2012-11-21 |title=Korea "Year of Friendship" Keynote Address |url=http://www.mfat.govt.nz/Foreign-Relations/Asia/News-items/0-NZ-Asia-Institute-Smith-speech.php |url-status=dead |archive-url=https://web.archive.org/web/20130210151146/http://www.mfat.govt.nz/Foreign-Relations/Asia/News-items/0-NZ-Asia-Institute-Smith-speech.php |archive-date=2013-02-10 |website=New Zealand Ministry of Foreign Affairs and Trade |quote=}}</ref> the French [[Ministry for Europe and Foreign Affairs (France)|Ministry for Europe and Foreign Affairs]],<ref>{{Cite web |author=<!--Not stated--> |date=n.d. |title=La France et la République de Corée |trans-title=France and the Republic of Korea |url=http://www.diplomatie.gouv.fr/fr/dossiers-pays/coree-du-sud/la-france-et-la-republique-de/ |archive-url=https://web.archive.org/web/20151222091545/http://www.diplomatie.gouv.fr/fr/dossiers-pays/coree-du-sud/la-france-et-la-republique-de/ |archive-date=22 December 2015 |website=France Diplomatie |publisher=Ministère des Affaires étrangères et du Développement international |language=fr |quote=La culture populaire coréenne connaît un succès grandissant à travers le monde. Ce phénomène porte le nom de «&nbsp;Hallyu&nbsp;», ou «&nbsp;vague coréenne&nbsp;».}}</ref> the German [[Federal Foreign Office]],<ref>{{Cite web |date=2014-03-03 |title=Kultur- und Bildungspolitik |url=http://www.auswaertiges-amt.de/DE/Aussenpolitik/Laender/Laenderinfos/KoreaRepublik/Kultur-UndBildungspolitik_node.html |url-status=dead |archive-url=https://web.archive.org/web/20141023130730/http://www.auswaertiges-amt.de/DE/Aussenpolitik/Laender/Laenderinfos/KoreaRepublik/Kultur-UndBildungspolitik_node.html |archive-date=2014-10-23 |access-date=2014-10-23 |website=[[Auswärtiges Amt]]}}</ref> and UK [[Foreign Office]] Minister [[Hugo Swire]].<ref>{{Cite web |last=Swire |first=Hugo |date=2012-11-23 |title=Anglo-Korean Society Dinner |url=https://www.gov.uk/government/speeches/anglo-korean-society-dinner |access-date=2012-12-19 |website= |publisher=[[Government Digital Service]] |quote= |archive-date=9 July 2017 |archive-url=https://web.archive.org/web/20170709075009/https://www.gov.uk/government/speeches/anglo-korean-society-dinner |url-status=live }}</ref> A 2018–2019 survey conducted by the [[Korean Culture and Information Service]] found that the Korean Wave was a key factor in global perceptions of South Korea.<ref>{{Cite news |date=4 February 2020 |title=Around the World, Hallyu Boosts the Image of Korea |work=[[Korea JoongAng Daily]] |url=https://koreajoongangdaily.joins.com/2020/02/04/etc/Around-the-world-Hallyu-boosts-the-image-of-Korea/3073366.html |access-date=28 September 2020 |surname=Yoon |given=So-yeon |archive-date=14 May 2021 |archive-url=https://web.archive.org/web/20210514130206/https://koreajoongangdaily.joins.com/2020/02/04/etc/Around-the-world-Hallyu-boosts-the-image-of-Korea/3073366.html |url-status=live }}</ref> 

=== Taiwan ===
The Korean Wave positively impacted perceptions of South Korea in Taiwan.<ref>{{Cite journal |last=Sung |first=Sang-Yeon |date=2010 |title=Constructing a New Image. Hallyu in Taiwan |journal=European Journal of East Asian Studies |volume=9 |issue=1 |pages=25–45 |doi=10.1163/156805810X517652 |s2cid=144408953 |s2cid-access=free}}</ref><ref>{{Cite book|author1-link=Ming-Yeh Rawnsley |last=Rawnsley |first=Ming-Yeh T. |title=Reading Asian Television Drama: Crossing Borders and Breaking Boundaries |date=2014 |publisher=I.B. Tauris |isbn=978-0-7556-9727-4 |editor-last=Kim |editor-first=Jeongmee |pages=215–238 |chapter='Korean Wave' in Taiwan: The Cultural Representation of Identities and Food in Korean TV Drama, ''Dae Jang Geum'' |doi=10.5040/9780755697274.ch-009 |s2cid=231013529}}</ref> Taiwanese people's favorable impression of South Korea continues to increase significantly, which also makes the relationship between South Korea and Taiwan very close.<ref>{{Cite journal |last=Hahm |first=Sung Deuk |date=2021 |title=The Impact of the Korean Wave on South Korea–Taiwan Relations |journal=Asian Survey|volume=61 |issue=2 |pages=217–240 |doi=10.1525/as.2021.61.2.217 |s2cid= 234871319 |s2cid-access=free}}</ref><ref>[[#Chua Iwabuchi introduction|Chua & Iwabuchi 2008]], p. 10.</ref>

=== India ===
Korean culture has become increasingly popular in India,<ref>{{Cite web |last=www.ETBrandEquity.com |title=How the Korean culture wave is submerging Indian audiences - ET BrandEquity |url=https://brandequity.economictimes.indiatimes.com/news/marketing/how-the-korean-culture-wave-is-submerging-indian-audiences/108829278 |access-date=2024-05-02 |website=ETBrandEquity.com |language=en}}</ref><ref>{{Cite news |date=2023-08-29 |title=Korean dramas and culture are taking India by storm |url=https://timesofindia.indiatimes.com/web-series/news/korean/korean-dramas-and-culture-are-taking-india-by-storm/articleshow/103172030.cms |access-date=2024-05-02 |work=The Times of India |issn=0971-8257}}</ref> [[East Asian influence on Northeast India|particularly in the northeast]], where people feel somewhat alienated from the rest of India and have some similarities to Koreans.<ref>{{Cite web |last=Das |first=Bijoyeta |title=Manipur: A part of India where Korea rules |url=https://www.aljazeera.com/features/2014/2/17/manipur-a-part-of-india-where-korea-rules |access-date=2024-05-02 |website=Al Jazeera |language=en}}</ref> India and Korea have hosted cultural events at each other's embassies, with their leaders looking to increase cultural ties.<ref>{{Cite web |last=Kumar |first=Sanjay |date=2023-10-10 |title=Indian Embassy holds Sarang festival to promote cultural exchange |url=https://www.koreaherald.com/view.php?ud=20231010000474 |access-date=2024-05-02 |website=The Korea Herald |language=en}}</ref>

=== Japan ===
The Korean Wave, began to gain traction in Japan around the late 1990s and early 2000s. This initial surge was largely due to efforts by Japanese [[Prime Minister]] [[Obuchi Keizo]] and Korean President [[Kim Dae-jung]], who aimed to foster a "future-oriented relationship" between the two countries. As part of this initiative, South Korea lifted its unilateral restrictions on the import of Japanese cultural products in 1998, leading to increased cultural exchanges between the two nations. A relevant policies, which was the Open Door Policy implemented by South Korea from 1998 to 2004 played a significant role in facilitating the spread of hallyu in Japan. This policy aimed to liberalize South Korea's cultural industry and promote cultural exports.<ref>{{Cite web |last=Wang |first=Linbin |date=January 6, 2023 |title=How Has the 'Korean Wave' Impacted Japan-South Korea Relations? |url=https://thediplomat.com/2023/01/how-has-the-korean-wave-impacted-japan-south-korea-relations/ |access-date=April 8, 2024 |website=thediplomat.com |language=en-US}}</ref> On November 2, 2021, data released by [[KOCCA]], underscores a remarkable surge in the export of Korean video content to Japan. In 2021, the export value soared to $1.81 billion (approximately 2.46 trillion won), representing a substantial 50 percent increase from the previous year's figure of $1.21 billion (approximately 1.64 trillion won). This significant growth reflects the escalating popularity and demand for Korean video content within the Japanese market.<ref>{{Cite web |last=Pyo |first=Kyung-min |date=November 14, 2023 |title=[INTERVIEW] Korean culture becomes part of daily life in Japan as hallyu marks 20th anniversary |url=https://www.koreatimes.co.kr/www/culture/2024/04/262_362972.html |access-date=April 8, 2024 |website=[[The Korea Times]] |language=en}}</ref>

=== China ===

Throughout 2016 and 2017, China implemented various restrictions on Korean cultural and economic imports as retaliation for the installation of the [[THAAD]] missile defense system, which it considers a risk to its national security.<ref>{{Cite news |last=Smith |first=Nicola |date=4 December 2016 |title=South Korea's 'K-pop' Stars Caught in the Crossfire of Diplomatic Spat with China |work=The Telegraph |url=https://www.telegraph.co.uk/news/2016/12/04/south-koreas-k-pop-stars-caught-crossfire-diplomatic-spat-china/ |access-date=30 October 2018 |archive-date=8 November 2018 |archive-url=https://web.archive.org/web/20181108030009/https://www.telegraph.co.uk/news/2016/12/04/south-koreas-k-pop-stars-caught-crossfire-diplomatic-spat-china/ |url-status=live }}</ref><ref>{{Cite news |last1=Jozuka |first1=Emiko |last2=Han |first2=Sol |date=23 February 2017 |title=Why South Korean Companies, Entertainers Are Getting Cold Shoulder in China |work=CNN |url=https://www.cnn.com/2017/02/23/asia/south-korea-china-thaad-retaliation/index.html |access-date=18 October 2018 |archive-date=19 January 2019 |archive-url=https://web.archive.org/web/20190119143431/https://www.cnn.com/2017/02/23/asia/south-korea-china-thaad-retaliation/index.html |url-status=live }}</ref> During this time, many Chinese-Korean television productions were paused<ref name=":12">{{Cite news |last=Qin |first=Amy |date=6 August 2016 |title=South Korean Missile Defense Deal Appears to Sour China's Taste for K-pop |work=[[The New York Times]] |url=https://www.nytimes.com/2016/08/08/world/asia/china-korea-thaad.html |access-date=7 November 2018 |surname2=Choe |given2=Sang-Hun |archive-date=18 September 2017 |archive-url=https://web.archive.org/web/20170918064357/https://www.nytimes.com/2016/08/08/world/asia/china-korea-thaad.html |url-status=live }}</ref> and Korean television programs, the streaming of K-pop videos, and imports of various Korean cosmetics were restricted by the government.<ref>{{Cite news |last=Maizland |first=Lindsay |date=7 March 2017 |title=The Surprising Reason Why China Is Blocking South Korean Music Videos and TV |work=Vox |url=https://www.vox.com/latest-news/2017/3/3/14795636/china-south-korea-pop-culture-kpop-attacks-thaad |access-date=6 November 2018 |archive-date=7 July 2018 |archive-url=https://web.archive.org/web/20180707005736/https://www.vox.com/latest-news/2017/3/3/14795636/china-south-korea-pop-culture-kpop-attacks-thaad |url-status=live }}</ref> A number of Korean artists had their visas denied and appearances canceled, although the Chinese government officially stated that their visa policy had not changed.<ref name=":12" /><ref>{{Cite news |last=Sanchez |first=Daniel |date=6 March 2017 |title=Lee Kwang Soo, BTS, EXO in Trouble After China–Korean Conflict |work=Digital Music News |url=https://www.digitalmusicnews.com/2017/03/06/china-korea-thaad-conflict-kpop/ |access-date=30 October 2018 |archive-date=6 March 2017 |archive-url=https://web.archive.org/web/20170306220441/http://www.digitalmusicnews.com/2017/03/06/china-korea-thaad-conflict-kpop/ |url-status=live }}</ref> In March 2017, the [[China National Tourism Administration]] issued a ban on group tours to South Korea by Chinese travel agencies.<ref>{{Cite news|last=Zhou|first=Laura|date=20 December 2017|title=Promises, Promises&nbsp;... but Still No End to China's Ban on Group Tours to South Korea|url=https://www.scmp.com/news/china/diplomacy-defence/article/2125018/china-bans-group-tours-south-korea-once-again-says|work=South China Morning Post|access-date=29 October 2021|archive-date=8 November 2018|archive-url=https://web.archive.org/web/20181108030001/https://www.scmp.com/news/china/diplomacy-defence/article/2125018/china-bans-group-tours-south-korea-once-again-says|url-status=live}}</ref> These bans resulted in significant financial losses for the South Korean entertainment industry with share prices of SM Entertainment falling 18&nbsp;percent, a loss of $150&nbsp;million, and share prices of YG Entertainment falling 32 percent, a loss of $230&nbsp;million.<ref name="Sonia Kil">{{Cite magazine |last=Kil |first=Sonia |date=24 August 2017 |title=China's Blockade of Cultural Korea Marks Troublesome Anniversary |url=https://variety.com/2017/film/asia/china-ban-on-korea-culture-anniversary-1202537823/ |magazine=Variety |access-date=16 October 2018 |archive-date=28 August 2018 |archive-url=https://web.archive.org/web/20180828034957/https://variety.com/2017/film/asia/china-ban-on-korea-culture-anniversary-1202537823/ |url-status=live }}</ref> On 31 October 2017, the two governments announced a settlement regarding the THAAD dispute. Following the agreement, many large Chinese online video platforms began importing Korean dramas again, Chinese travel agencies restarted group tours to South Korea, and Korean bands made appearances in Chinese TV shows.<ref name="Hong Soon-do">{{Cite news |date=2 November 2017 |title=China Virtually Ends Hallyu Ban |work=[[HuffPost]] |url=https://www.huffpost.com/entry/china-virtually-ends-hallyu-ban_b_59fb14cae4b09afdf01c40a1 |access-date=18 October 2018 |surname=Hong |given=Soon-do |archive-date=12 April 2019 |archive-url=https://web.archive.org/web/20190412221822/https://www.huffpost.com/entry/china-virtually-ends-hallyu-ban_b_59fb14cae4b09afdf01c40a1 |url-status=live }}</ref>

=== Middle East and North Africa ===

Since the mid-2000s, [[Iran]], [[Morocco]] and [[Egypt]] and [[Algeria]] have emerged as major consumers of Korean culture.<ref>{{Cite news|last=Xha|first=Farhaa|date=25 July 2010|title=The 'Asian Wave' Hits Saudi Arabia|url=http://www.saudigazette.com.sa/index.cfm?method=home.regcon&contentID=2010072579067|work=Saudi Gazette|archive-url=https://web.archive.org/web/20140106181245/http://www.saudigazette.com.sa/index.cfm?method=home.regcon&contentID=2010072579067|archive-date=6 January 2014|quote=Egypt and Iran has been the center of the 'hallyu' phenomena in the Middle East for a few years now. While Egypt went crazy after the dramas 'Autumn in my Heart' and 'Winter Sonata,' Iran went gaga when its state television aired 'Emperor of the Sea' and 'Jewel in the Palace'.}}</ref> Following the success of Korean dramas in the Middle East & North Africa, the [[Korean Overseas Information Service]] made ''Winter Sonata'' available with Arabic subtitles and the program was broadcast on several state-run Egyptian television networks. The Korean government's support for the Korean cultural exports in the Middle East are part of greater efforts to improve the country's image in the region.{{Sfn|Nye|Kim|2013|p=34}}

The [[Middle East Broadcasting Channel]] ([[MBC4]]) played a major role in increasing the Korean Wave's popularity in the Middle East and North Africa. Beginning in 2012, MBC4 hosted a series of Korean dramas, including ''[[Boys Over Flowers (2009 TV series)|Boys Over Flowers]]'', ''[[You're Beautiful (TV series)|You're Beautiful]]'', ''[[Dream High]]'' and ''[[Coffee Prince (2012 TV series)|Coffee Prince]]''. The imports of these programs were sometimes criticized out of the fear they would lead to Islamic youth to abandon traditional values.<ref>{{Cite book|last=Kraidy|first=Marwan M.|date=2010|title=Reality Television and Arab Politics: Contention in Public Life|publisher=Cambridge University Press|doi=10.1017/CBO9780511814259|isbn=978-0-511-67529-4|s2cid=128785183|quote=Critics of ''Star Academy'' fear that the learning rituals embedded in the show would lead Kuwaiti youth to abandon their traditions wholesale in order to adopt Western morality wholesale.|quote-page=138}}</ref>

==== Egypt ====
''Autumn in My Heart'', one of the earliest Korean dramas brought over to the Middle East, was broadcast after five months of "persistent negotiations" between the South Korean embassy and an Egyptian state-run broadcasting company. Perceptions of South Korea in Egypt, which were undermined by the country's involvement in the [[Iraq War]], were positively impacted following the screening of ''Autumn in My Heart'' in the country.<ref>{{Cite web |author=<!--Not stated--> |date=3 November 2004 |title='Autumn in My Heart' Syndrome in Egypt |url=http://english.kbs.co.kr/hallyu/entertainment_news_view.html?No=1382 |archive-url=https://web.archive.org/web/20140106174531/http://english.kbs.co.kr/hallyu/entertainment_news_view.html?No=1382 |archive-date=6 January 2014 |website=KBS |ref={{harvid|KBS|2004}}}}</ref>

==== Iran ====
[[File:Song Il Gook.jpg|thumb|South Korean actor [[Song Il-gook]] at a press conference in [[Tehran]] on 18 August 2009]]

A number of K-dramas have been aired by Iran's state broadcaster, [[Islamic Republic of Iran Broadcasting]] (IRIB) in prime-time slots. Unlike Western productions, South Korean programs tend to satisfy the conservative criteria set by the Iranian [[Ministry of Culture and Islamic Guidance]].<ref>{{Cite news |date=29 July 2011 |title=Book Probes Transnational Identity of 'Hallyu' |work=[[The Korea Times]] |url=https://www.koreatimes.co.kr/www/culture/2011/07/142_91849.html |access-date=22 April 2013 |quote=Korean television dramas reinforce traditional values of Confucianism that Iranians find more closely aligned to Islamic culture, implying that cultural proximity contributes to the Islamic Korean wave. 'Reflecting traditional family values, Korean culture is deemed "a filter for Western values" in Iran,' the article says. |surname=Chung |given=Ah-young |archive-date=5 February 2022 |archive-url=https://web.archive.org/web/20220205222146/https://www.koreatimes.co.kr/www/culture/2011/07/142_91849.html |url-status=live }}</ref><ref>{{Cite news|last=Amiri|first=Mitra|date=19 January 2011|title=Foreign Broadcasts, DVDs Challenge Iran Grip on TV|url=https://www.reuters.com/article/industry-us-iran-idUSTRE70I54420110119|work=Reuters|access-date=22 April 2013|archive-date=12 January 2016|archive-url=https://web.archive.org/web/20160112035924/http://www.reuters.com/article/industry-us-iran-idUSTRE70I54420110119|url-status=live}}</ref> In October 2012, representatives for the IRIB visited South Korea to visit filming locations in an effort to strengthen "cultural affinities" between the two countries and to seek avenues for further cooperation between KBS and IRIB.<ref name="Tehran Times">{{Cite news|author=<!--Not stated-->|date=19 October 2012|title=IRIB Director Visits Location of South Korean TV Series Popular in Iran|url=http://www.tehrantimes.com/arts-and-culture/102496-irib-director-visits-location-of-south-korean-tv-series-popular-in-iran-|work=Tehran Times|archive-url=https://web.archive.org/web/20121028100535/http://www.tehrantimes.com/arts-and-culture/102496-irib-director-visits-location-of-south-korean-tv-series-popular-in-iran-|archive-date=28 October 2012}}</ref><ref>{{Cite web|url=http://english.irib.ir/radioculture/iran/society/media/item/82398-irib-director-meets-south-korean-media-officials|title=IRIB Director Meets South Korean Media Officials|author=<!--Not stated-->|date=17 October 2012|website=IRIB World Service|archive-url=https://web.archive.org/web/20121027235816/http://english.irib.ir/radioculture/iran/society/media/item/82398-irib-director-meets-south-korean-media-officials|archive-date=27 October 2012}}</ref>

==== Israel and Palestine ====
Some commentators{{Who|date=March 2023}} have hoped that the popularity of Korean culture across Israel and Palestine<ref name="Nissim Otmazgin, Irina Lyan">{{Cite journal|last1=Otmazgin|first1=Nissim|last2=Lyan|first2=Irina|date=2014|title=Hallyu Across the Desert: K-pop Fandom in Israel and Palestine|journal=Cross-Currents: East Asian History and Culture Review|volume=3|issue=1|pages=32–55|doi=10.1353/ach.2014.0008|doi-access=free|s2cid=143698495|s2cid-access=free}}</ref> may serve as a bridge over the [[Israeli–Palestinian conflict]].<ref name="BBC News 2013">{{Cite news |author=<!--Not stated--> |date=7 August 2013 |title=Middle East: Korean Pop 'Brings Hope for Peace' |work=[[BBC News]] |url=https://www.bbc.com/news/blogs-news-from-elsewhere-23606319 |access-date=7 August 2013 |archive-date=21 January 2015 |archive-url=https://web.archive.org/web/20150121083629/http://www.bbc.com/news/blogs-news-from-elsewhere-23606319 |url-status=live }}</ref> The Hebrew University of Jerusalem reported that some Israeli and Palestinian K-pop fans see themselves as "cultural missionaries" and actively introduce K-pop to their friends and relatives, further spreading the Korean Wave within their communities.<ref name="Nissim Otmazgin, Irina Lyan" /><ref>{{Cite journal|last1=Otmazgin|first1=Nissim|last2=Lyan|first2=Irina|date=2019|title=Fan Entrepreneurship: Fandom, Agency, and the Marketing of ''Hallyu'' in Israel|journal=Kritika Kultura|volume=32|issue=32|pages=288–307|doi=10.13185/KK2019.03214|doi-access=free|s2cid=216896076|s2cid-access=free}}</ref><ref>{{Cite journal|last1=Lyan|first1=Irina|last2=Levkowitz|first2=Alon|date=2015|title=From Holy Land to 'Hallyu Land': The Symbolic Journey Following the Korean Wave in Israel|url=https://www.academia.edu/11614011|journal=Journal of Fandom Studies|volume=3|issue=1|pages=7–21|doi=10.1386/jfs.3.1.7_1|s2cid=131694946|access-date=12 December 2018|archive-date=9 April 2022|archive-url=https://web.archive.org/web/20220409121913/https://www.academia.edu/11614011|url-status=live}}</ref>

== Criticism ==
In parts of China and Japan, the Korean Wave has been met with backlash and comparisons to [[cultural imperialism]].<ref name=":3">{{Cite magazine |date=2012-10-01 |title=Cultural technology and the making of K-pop |url=https://www.newyorker.com/magazine/2012/10/08/factory-girls-2 |access-date=2023-03-16 |magazine=[[The New Yorker]] |language=en-US |archive-date=24 July 2019 |archive-url=https://web.archive.org/web/20190724200424/https://www.newyorker.com/magazine/2012/10/08/factory-girls-2 |url-status=live }}</ref>{{Sfn|Shin|2014|p=422}} In China and Japan, the Korean Wave has frequently been described as a "cultural invasion" and restrictions have limited the number of Korean TV dramas shown to Chinese audiences.<ref name="Roald Maliangkay" /><ref name=":3" />{{Sfn|Yang|2008|p=191}} At the [[Tai Ke#2000s|Tai Ke Rock Concert]] in August 2005, a musician performed the racist and misogynistic rap "The Invasion of the Korean Wave" attacking actor Bae Yong-joon, female Taiwanese musicians, and the Korean Wave.<ref>{{harvnb|Yang|2008|pp=202–203}}: "Fuck your mother's cunt, fuck your mother's cunt, fuck Bae Yong-joon, Fuck Bae Yong-joon. Yuki, A-mei, Coco Lee, suck suck suck suck my dick."</ref> In addition, backlash to K-pop is common on the [[internet]], where it is criticized for superficiality, [[heteronomy]], or vulgarity.{{Sfn|Lie|2014|pp=144–145}}

Backlash against the Korean Wave can be rooted in nationalism or historical conflicts.<ref name="Cho Hae-Joang">{{Cite journal |date=2005 |title=Reading the 'Korean Wave' as a Sign of Global Shift |journal=Korea Journal |volume=45 |issue=4 |pages=147–182 |s2cid=14568377 |surname=Cho |given=Hae-Joang |s2cid-access=free}}</ref><ref>{{Cite news|surname1=Nam|given1=Soo-hyoun|surname2=Lee|given2=Soo-jeong|date=16 February 2011|title=Anti-Korean Wave Backlash Has Political, Historical Causes|url=https://koreajoongangdaily.joins.com/2020/02/04/etc/Around-the-world-Hallyu-boosts-the-image-of-Korea/3073366.html|work=[[Korea JoongAng Daily]]|access-date=16 March 2011|archive-date=14 May 2021|archive-url=https://web.archive.org/web/20210514130206/https://koreajoongangdaily.joins.com/2020/02/04/etc/Around-the-world-Hallyu-boosts-the-image-of-Korea/3073366.html|url-status=live}}</ref> The K-pop industry has been criticized for its promotion of sexualized Asian stereotypes.{{Sfn|Shin|2014|p=422}}

===Mistreatment of artists===
The [[South Korea]]n entertainment industry has faced repeated claims of mistreatment towards its musical artists.<ref name="Lucy Williamson">{{Cite news |last=Williamson |first=Lucy |date=15 June 2011 |title=The Dark Side of South Korean Pop Music |work=[[BBC News]] |url=https://www.bbc.com/news/world-asia-pacific-13760064 |access-date=27 November 2016 |archive-date=30 May 2018 |archive-url=https://web.archive.org/web/20180530090649/http://www.bbc.com/news/world-asia-pacific-13760064 |url-status=live }}</ref><ref>{{Cite news |last=Cha |first=Sangmi |date=4 December 2019 |title=Factbox: South Korea's K-pop Industry Hit by Tragedies, Scandal in 2019 |work=Reuters |url=https://www.reuters.com/article/us-southkorea-kpop-factbox-idUSKBN1Y80JH |access-date=10 March 2020 |archive-date=13 February 2020 |archive-url=https://web.archive.org/web/20200213075608/https://www.reuters.com/article/us-southkorea-kpop-factbox-idUSKBN1Y80JH |url-status=live }}</ref><ref>{{Cite news |last=Park |first=Juwon |date=27 November 2019 |title=Singer Goo Hara's Death Shines Light on Dark Side of K-pop |work=AP News |url=https://apnews.com/article/music-ap-top-news-asia-seoul-south-korea-4245f772bc8f43b8bb948f84378c6658 |access-date=5 December 2019 |archive-date=14 February 2022 |archive-url=https://web.archive.org/web/20220214031045/https://apnews.com/article/music-ap-top-news-asia-seoul-south-korea-4245f772bc8f43b8bb948f84378c6658 |url-status=live }}</ref><ref>{{cite web |last=Williamson |first=Lucy |date=2011-06-15 |title=The dark side of South Korean pop music |url=https://www.bbc.com/news/world-asia-pacific-13760064 |access-date=2023-03-21 |website=[[BBC News]] |archive-date=30 May 2018 |archive-url=https://web.archive.org/web/20180530090649/http://www.bbc.com/news/world-asia-pacific-13760064 |url-status=live }}</ref><ref>{{cite web |last=Stiles |first=Matt |date=2017-12-19 |title=Death of K-pop star shines a spotlight on South Korea's suicide problem |url=https://www.latimes.com/world/asia/la-fg-south-korea-suicide-20171219-story.html |access-date=2023-03-21 |website=[[Los Angeles Times]] |archive-date=19 March 2022 |archive-url=https://web.archive.org/web/20220319023421/https://www.latimes.com/world/asia/la-fg-south-korea-suicide-20171219-story.html |url-status=live }}</ref><ref>{{cite web |last=Tai |first=Crystal |date=2020-03-29 |title=Exploding the myths behind K-pop |url=https://www.theguardian.com/global/2020/mar/29/behind-k-pops-perfect-smiles-and-dance-routines-are-tales-of-sexism-and-abuse |access-date=2023-03-21 |website=[[The Guardian]] |language=en-gb |archive-date=19 March 2022 |archive-url=https://web.archive.org/web/20220319023421/https://www.theguardian.com/global/2020/mar/29/behind-k-pops-perfect-smiles-and-dance-routines-are-tales-of-sexism-and-abuse |url-status=live }}</ref><ref>{{cite web |last=Brown |first=August |date=April 5, 2019 |title=K-pop's innocent image is shattered by the 'Burning Sun' scandal |url=https://www.latimes.com/entertainment/music/la-et-ms-burning-sun-20190319-story.html |access-date=March 19, 2022 |website=[[Los Angeles Times]] |archive-date=19 March 2022 |archive-url=https://web.archive.org/web/20220319023115/https://www.latimes.com/entertainment/music/la-et-ms-burning-sun-20190319-story.html |url-status=live }}</ref> A series of high-profile suicides by Korean actors and idols highlighted the industry's harsh working conditions.<ref>{{cite web |last=Kim |first=Dae-o |date=4 January 2020 |title=I have reported on 30 Korean celebrity suicides. The blame game never changes |url=https://www.theguardian.com/music/2020/jan/04/i-have-reported-on-30-korean-celebrity-suicides-the-blame-game-never-changes |access-date=19 March 2022 |website=the Guardian |language=en |archive-date=29 June 2021 |archive-url=https://web.archive.org/web/20210629032942/https://www.theguardian.com/music/2020/jan/04/i-have-reported-on-30-korean-celebrity-suicides-the-blame-game-never-changes |url-status=live }}</ref><ref>{{cite web |last1=Campbell |first1=Matthew |last2=Kim |first2=Sohee |date=6 November 2019 |title=The Dark Side of K-Pop: Assault, Prostitution, Suicide, and Spycams |url=https://www.bloomberg.com/news/features/2019-11-06/k-pop-s-dark-side-assault-prostitution-suicide-and-spycams |access-date=19 March 2022 |website=www.bloomberg.com |archive-date=6 November 2019 |archive-url=https://web.archive.org/web/20191106100110/https://www.bloomberg.com/news/features/2019-11-06/k-pop-s-dark-side-assault-prostitution-suicide-and-spycams |url-status=live }}</ref> 

===Historical accuracy===
Korean historical dramas have been increasingly scrutinized by Korean viewers for [[historical negationism]] and otherwise inaccurate portrayals of Korean history, leading to boycotts and the cancellation of shows such as ''[[Snowdrop (South Korean TV series)|Snowdrop]]'' and ''[[Joseon Exorcist]]''.<ref>{{cite web |last=Smail |first=Gretchen |title=This K-Drama Is One Of The Most Controversial Shows On Disney+ |url=https://www.bustle.com/entertainment/snowdrop-controversy-explained-disney |website=Bustle |publisher=BDG Media |date=10 February 2022 |access-date=19 March 2022 |archive-date=12 March 2022 |archive-url=https://web.archive.org/web/20220312140128/https://www.bustle.com/entertainment/snowdrop-controversy-explained-disney |url-status=live }}</ref>

===Cultural and moral opposition===
K-pop boy bands and their fans have been the targets of a variety of racist, misogynistic, and homophobic attacks purporting that the bands promote homosexuality and feminine men.<ref>{{Cite magazine|last=Dongre|first=Divyansha|date=23 November 2021|title=How Self-appointed Vigilantes are Exploiting Policy Loopholes to 'Police' BTS' ARMY|url=https://rollingstoneindia.com/how-self-appointed-vigilantes-are-exploiting-policy-loopholes-to-police-bts-army/|magazine=Rolling Stone India|access-date=24 November 2021|archive-date=23 November 2021|archive-url=https://web.archive.org/web/20211123233530/https://rollingstoneindia.com/how-self-appointed-vigilantes-are-exploiting-policy-loopholes-to-police-bts-army/|url-status=live}}</ref> In February 2021, Matthias Matuschik, a radio presenter for the German radio station [[Bayern 3]], came under attack for declaring BTS were "some crappy virus that hopefully there will be a vaccine for soon."<ref>{{Cite web |last=Chakraborty |first=Riddhi |date=2021-02-27 |title=Xenophobic German Presenter's Comments About BTS Are Just the Tip of the Racist Iceberg |url=https://rollingstoneindia.com/xenophobic-german-presenters-comments-about-bts-are-just-the-tip-of-the-racist-iceberg/ |access-date=2023-03-09 |website=Rolling Stone India |language=en-US |archive-date=9 March 2023 |archive-url=https://web.archive.org/web/20230309154624/https://rollingstoneindia.com/xenophobic-german-presenters-comments-about-bts-are-just-the-tip-of-the-racist-iceberg/ |url-status=live }}</ref> On 1 September 2021, a billboard of [[Jungkook]] from BTS was taken down in Pakistan after the billboard purportedly received complaints for promoting homosexuality and using the word [[BTS#Fandom|ARMY]], in conflict with the [[Pakistan Army]].<ref>{{Cite news|last=Sng|first=Suzanne|date=7 September 2021|title=Billboard for BTS' Jungkook Removed in Pakistan for 'Promoting Homosexuality'|url=https://www.straitstimes.com/life/entertainment/billboard-for-bts-jungkook-removed-in-pakistan-for-promoting-homosexuality|work=The Straits Times|access-date=3 November 2021|archive-date=3 November 2021|archive-url=https://web.archive.org/web/20211103065832/https://www.straitstimes.com/life/entertainment/billboard-for-bts-jungkook-removed-in-pakistan-for-promoting-homosexuality|url-status=live}}</ref> In November 2021, group calling themselves "Team Copyright" based in Bangladesh took down a number of Twitter accounts associated with the BTS fandom through false copyright claims over allegations that the band promotes "atheism and homosexuality".<ref>{{Cite news|last=Chin|first=Monica|date=18 November 2021|title=BTS Fan Twitter Accounts Say They're Being Targeted by Copyright Trolls|url=https://www.theverge.com/2021/11/18/22789201/bts-fan-accounts-dmca-takedowns-twitter-copyright-suspension-allegation|work=The Verge|access-date=24 November 2021|archive-date=24 November 2021|archive-url=https://web.archive.org/web/20211124091243/https://www.theverge.com/2021/11/18/22789201/bts-fan-accounts-dmca-takedowns-twitter-copyright-suspension-allegation|url-status=live}}</ref>

K-pop and K-pop idols have been criticized for promoting unhealthy attitudes around weight in Indian adolescents.<ref>{{Cite web |last=Mitra |first=Debraj |date=12 December 2022 |title=Alarm over kids' obsession with looking thin, finger at Korean pop culture |url=https://www.telegraphindia.com/my-kolkata/news/alarm-over-kids-obsession-with-looking-thin-finger-at-korean-pop-culture/cid/1903320 |access-date=2022-12-28 |website=Telegraph India |archive-date=28 December 2022 |archive-url=https://web.archive.org/web/20221228055801/https://www.telegraphindia.com/my-kolkata/news/alarm-over-kids-obsession-with-looking-thin-finger-at-korean-pop-culture/cid/1903320 |url-status=live }}</ref>

===Japan===
[[Anti-Korean sentiment in Japan]] has sparked a number of [[Japanese nationalism|far-right nationalist]] street protests demonstrating against the import of South Korean entertainment products.<ref name="Cho Hae-Joang" /> The anti-Korean comic, ''[[Manga Kenkanryu]]'' ("Hating the Korean Wave") was published on 26 July 2005 and was widely sold in Japan. According to a [[The Korea Times|''Korea Times'']] article posted in February 2014, "Experts and observers in Korea and Japan say while attendance at the rallies is still small and such extreme actions are far from entering the mainstream of Japanese politics, the hostile demonstrations have grown in size and frequency in recent months."<ref>{{Cite news |date=21 February 2014 |title=Anti-hallyu Voices Growing in Japan |work=[[The Korea Times]] |url=https://www.koreatimes.co.kr/www/art/2014/02/688_152045.html |access-date=21 April 2016 |surname=Park |given=Si-soo |archive-date=11 February 2022 |archive-url=https://web.archive.org/web/20220211182032/https://www.koreatimes.co.kr/www/art/2014/02/688_152045.html |url-status=live }}</ref>

== See also ==
{{Portal|Society|South Korea}}
{{div col|colwidth=15}}

* [[Miracle on the Han River]]
* [[Korean idol]]
* [[Tourism in South Korea]]
* [[Economy of South Korea]]
** [[Korean Cultural Center]]
** [[Korean Culture and Information Service]]
** [[Presidential Council on Nation Branding]]
* [[Korean literature]]
** [[Literature Translation Institute of Korea]]
* [[Cinema of Korea]]
** [[Hallyuwood]]
** [[South Korean animation]]
* [[Music of South Korea]]
** [[Impact and popularity of K-pop]]
** [[Korean hip hop]]
** [[Korean rock]]
** [[Cultural technology]]
** [[List of K-pop artists]]
** [[List of South Korean idol groups]]
** [[Traditional Korean musical instruments]]
* [[Korean dance]]
* [[List of Korean dramas associated with the Korean Wave]]
* [[Korean diaspora]]
* [[Korean studies]]
* [[Asian Century]]
* [[Cool Britannia]] & [[British Invasion]]
* [[History of South Korea]]

{{div col end}}

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 | last         = Oh
 | first        = Chuyun
 | editor-last  = Kuwahara
 | editor-first = Yasue
 | contribution = The Politics of the Dancing Body: Racialized and Gendered Femininity in Korean Pop
 | title        = The Korean Wave: Korean Popular Culture in Global Context
 | date         = 2014-02-20
 | pages        = 53–81
 | publisher    = [[Palgrave Macmillan]]
 | location     = New York
 | isbn         = 978-1-137-35027-5
 | language     = en
 | doi          = 10.1057/9781137350282_4
}}
* {{citation
 | last      = Park
 | first     = Hyesu
 | title     = Understanding Hallyu: The Korean Wave Through Literature, Webtoon, and Mukbang
 | publisher = [[Routledge India]]
 | date      = 2020-12-11
 | isbn      = 978-0-367-14358-9
 | language  = en-in
 | doi       = 10.4324/9781003140115
 | s2cid     = 228814751
}}
* {{citation
 | last         = Shin
 | first        = Haerin
 | contribution = Hallyu (Korean Wave)
 | pages        = 419–422
 | editor-last  = Danico
 | editor-first = Mary Yu
 | title        = Asian American Society: An Encyclopedia
 | date         = 2014
 | publisher    = [[SAGE Publications]]
 | location     = Thousand Oaks, California
 | doi          = 10.4135/9781452281889
 | isbn         = 978-1-4522-8190-2
}}
* {{citation
 | last         = Walsh
 | first        = John
 | editor-last  = Kuwahara
 | editor-first = Yasue
 | contribution = ''Hallyu'' as a Government Construct: The Korean Wave in the Context of Economic and Social Development
 | title        = The Korean Wave: Korean Popular Culture in Global Context
 | date         = 2014-02-20
 | pages        = 13–31
 | publisher    = [[Palgrave Macmillan]]
 | location     = New York
 | isbn         = 978-1-137-35027-5
 | language     = en
 | doi          = 10.1057/9781137350282_2
}}
{{refend}}
==External links==
{{Commons category}}
{{Wiktionary}}
*[https://www.npr.org/2020/07/13/888933244/start-here-your-guide-to-getting-into-k-pop Start Here: Your Guide To Getting Into K-Pop] (2020), by [[NPR]]

{{K-pop}}
{{Korea topics}}
{{Cultural appreciation}}
{{Authority control}}

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