Mass Media and Stereotypes. Most of the researches on mass media effects have dealt with formation of negative attitudes and behaviors (i.e. aggression, violence, consumption, deviant behaviors). It is not surprising that mass media has been viewed as “completely devoted to emotional gratification and entertainment” (Postman, 1985 cited in Wikipedia).In an article in the Canadian Psychology, McIlwraith (----) elaborated on Marshall McLuhan’s ideas on the effects of television. He differentiated the continuity model (that mental states produced during television viewing will persist into post-viewing time) followed by McLuhan from the complementary model (that physical inactivity during TV viewing will result in a "rebound" of restlessness and hyperactivity in the post-TV period) of Herbert Krugman. According to him, McLuhan postulated that because television was such a high-involvement medium, viewers came to crave the same degree of total involvement in all their experiences. Krugman, on the other hand, regarded TV as a medium of low involvement, and postulated that adolescent viewers, starved for real experience, sought out deep involvement in other areas of their lives as a way of getting what they didn't get from TV. In the end, McLuhan’s and Krugman’s use of different effects models led them to the same conclusion- that is, that activities after TV viewing are affected by the television viewing itself.
Mok (1998), through literature review and first-hand accounts, focused on the effects of media images and stereotypes on Asian Americans. She found that media projection altered Asian American women’s standards for beauty and attractiveness, with the image of “all-American” as the model, including that of their standard for male partners. However, they uplifted their self-perception by thinking that it has been fashionable for American men to marry Asian Americans.
Kwon’s (2006) interest in understanding the popularity of Asian telenovelas in the Philippines stems from the uniqueness of Philippine culture compared to other Asian countries, having been influenced by Spain and U.S. for more than four centuries. He noted how Hollywood has had a major influence in establishing Western standard in many aspects of the Filipino society.
Koreanovelas in Pinoy TV. In 2003, GMA 7 began to import the Koreanovela “Endless Love’ in order to compete with the popular Chinovela “Meteor Garden” from ABS-CBN 2 at that time. Since then, the competition of these major TV networks and their affiliates has not abated and TV viewers continue to enjoy access to Koreanovelas through free TV. Other foreign TV networks are also airing Koreanovelas. With the government’s laxity in reinforcing policies against piracy, DVD copies of Koreanovelas are currently rampant in the market.
The high audience shares of Asian soap operas in TV viewing (30-44% in non-primetime schedules and 41-52% in primetime schedules, compared to the usual 45-56% of local soaps in primetime schedule) have prompted researchers to explore what makes Koreanovelas attractive to the Filipino audience. Two particular studies, both presented at the Conference in Seoul Korea entitled Cultural Space and Public Sphere in Asia 2006, have been of interest to me.
Employing grounded theorizing with 18-21 years old women regular viewers of Asian soaps, Vinculado (2006) conducted a series of FGDs exploring the reasons why Filipinos have embraced these Asian programs (e.g. the qualities of the program, plot, characters, actors, pacing). Her findings highlight the following:
- They prefer the new and fresh faces, instead of the more familiar local actors.
- The Asian soaps present good elements (i.e. better characterization, are aired within a finite time period, have realistic conflicts and practical solutions, simple, straightforward, and uncomplicated plot, bold endings instead of the common happy endings).
- Women characters in the Asian soaps were stronger and more empowered, even in comparison to American and Latin soaps.
- In terms of cultural affinity,
respondents feel that they can relate to the physical characteristics of the characters, being Asian and exposed to the physicality of the actors in their everyday lives (unlike Caucasians)
respondents also feel a cultural connection to the settings used in the programs (e.g. settings where exchanges happen – university, coffee shop, etc.)
respondents say that they can really relate to close family ties
respondents claimed they retain their awareness of some cultural differences with these Asian soaps (e.g. show of anger and affection, sometimes to the point of hitting the female characters), but are “forgiving” knowing that these are still foreign products presenting foreign cultures
Kwon’s (2006) FGDs on Koreanovelas with undergraduate and graduate students of the Department of Mass Communications at the University of the Philippines, on the other hand, explored the consumption and attractive elements of Koreanovelas, and the cultural reading and construction of meaning about Koreans through these soaps. He found that Koreanovelas are easily accessed through mass broadcasts and DVD copies. He also found similar findings regarding the attractive elements of these soaps. In addition, respondents felt more comfortable with the implicit and high contextual expression of love, which is not sensual or sexual compared to Western soap operas. The extended viewing of Koreanovelas by overseas Filipino workers was also noted in the study.
The respondents also agreed that the Koreanovelas are just a fad, which will be later replaced by something new, and that they see future regional exchanges in light of the introduction of Korean culture. Further, the respondents considered Koreanovelas as a culture education apparatus, where they can see and understand the everyday life and society of Korea (i.e. food, dining and communication, traditional custom and contemporary fashion).
While Vinculado sought to understand the attractive elements of Koreanovelas for the enhancement of Filipino local soaps, Kwon’s study explored the consumption of Koreanovelas as a mediated communication medium representing certain aspects of Korea and its culture. Hence, he modified the framework of communication and culture interact model (Pernia, Pascual, and Kwon, 2004 cited in Kwon, 2006), shifting from religious programs to Koreanovelas. The model proposed that culture and communication are interactive - culture is transmitted through the act of communication (i.e. the contents of the TV program). This transmission occurs within the particular context; in this case, the Filipino culture.
Aside from accessing Koreanovelas, actors and actresses of these soaps have also visited the Philippines. Most notable was the visit of Kwon Sang Woo (lead actor locally known as Cholo in Stairway to Heaven) in December 2006 to promote a skin product, as well as to personally donate and volunteer for Gawad Kalinga. His visit received good media coverage and is known to most Koreanovela fans. Yang Mi-gyeong (support lead actress locally known as Lady Han in Jewel in the Palace) also visited the country in March 2005 for a series of cooking demonstrations.
Koreanovelas can be seen both as a commercial product targeting economic influence (Rhee, 2003 cited in Kwon, 2006), or a culture medium targeting the enhancement of audience perception about Koreans (Lee, 2003, Chai, 2002, and Xuehue, 2002 and Ying, 2003 cited in Kwon, 2006).
