KÜLTÜR ENDÜSTRİSİ VE KÜLTÜREL KÜRESELLEŞME KAVRAMLARI BAĞLAMINDA KORE DALGASI DİZİLERİ

Öz

Yeni medya teknolojilerinin gelişmesiyle 1970’lerden günümüze kadar gelerek gündelik yaşamımızda birçok durumu değiştiren küreselleşme olgusu, medya içeriklerinin birbirinden farklı ülkelerin insanları tarafından tüketilebilmesiyle birlikte kültürün de küreselleşmesini sağlamıştır. 2000’li yıllarda tüm dünyaya dizileriyle yayılmaya başlayan Kore Dalgası (Hallyu) da ilk bakışta yerel bir kültürün küresel anlamda tanınmasının bir vesilesi olarak görülse de, aslında Batılılaşmış değerlerin yeniden üretimini sağlayan medya ürünlerinden oluşmaktadır. Türkiye’de çoğunlukla gençler tarafından sevilerek takip edilen Kore dizilerinin bu denli beğenilmesinin sebebinin tarihteki yakınlıklar/ortak noktalar olduğu düşünülse de; aslında bu dizileri Türk izleyicisi için de çekici kılan saklı unsur, özellikle Hollywood film endüstrisinin neredeyse tüm dünya insanlarına aşıladığı Batılı değerlerin benimsenmişliğidir. Bu bağlamda, bu çalışmada kültür endüstrisi ve kültürel küreselleşme kavramları çerçevesine, Kore Dalgası dizileri ile ilgili dünya literatüründe yapılan çalışmalar ele alınarak, konu ile ilgili farklı bakış açıları üzerinden, bu dizilerin Türk izleyicisi ile bağlantısı tartışılacaktır.

Anahtar Kelimeler

• Kore dalgası,hallyu,diziler,küresel kültürKore dalgası

DRAMAS OF THE KOREAN WAVE IN THE CONTEXTS OF CULTURE INDUSTRY AND CULTURAL GLOBALIZATION

Öz

The phenomenon of globalization which transformed many situations in our daily lives with the development of new media technologies since 1970’s up to this day, has also provided the globalization of culture because it made the consumption of media contents possible by the people of different countries. The Korean Wave (Hallyu) which started spreading around the world with its television dramas in the 2000s was thought to be a means to make a local culture popular at first, however it was made of some media content that reproduced the Western values. Although it was thought that the reason why Turkish youth mostly loved these Korean dramas is the shared historical memories of the two countries, but actually the hidden reason that made these dramas attractive for the Turkish audience is the embracement of the Western values that are imbued in almost the whole people in the world. In this context, this article will discuss the relationship of these dramas with the Turkish audience in light of the concepts of culture industry and cultural globalization, through mentioning the different perspectives expressed throughout the literature about the Korean Wave dramas.

Anahtar Kelimeler

• Korean wave,hallyu,dramas

Kaynakça

1. Adorno, T.W. (2012). Kültür Endüstrisi Kültür Yönetimi. İstanbul: İletişim Yayınları. Adorno, T., Horkheimer, M. (2010). Aydınlanmanın Diyalektiği, İstanbul, Kabalcı Yayınevi. Bhabha, H. (1994). The Location of Culture. New York: Routledge. Berger, P.L. (1997). Four Faces of Global Culture. The National Interest, 49, Erişim: https://www.jstor.org/stable/i40110866 Dator, J., Seo, Y. (2004). “Korea as the Wave of a Future: The Emerging Dream Society of Icons and Aesthetic Experience”, Journal of Futures Studies, 9(1), 31-44. Debord, G. (2012). Gösteri Toplumu. İstanbul: Ayrıntı Yayınları. Fırat, D. (2017). “Küresel Yönde Ters Akış: Asya’dan Doğan Alternatif Bir Popüler Kültür”, Abant Kültürel Araştırmalar Dergisi (AKAR), 2(3), 67-74. Giles, D.C. (2002). “Parasocial Interaction: A Review of the Literature and a Model for Future Research”, Media Psychology, 4:3, 279-305, doi: 10.1207/ S1532785XMEP0403_04 Giles, D. C., & Maltby, J. (2004). “The role of media figures in adolescent development: Relations between autonomy, attachment, and interest in celebrities”, Personality and Individual Differences, 36, 813-822. Hae-Joang, C. (2005). “Reading the “Korean Wave” as a Sign of Global Shift”, Korean Journal, 45(4), 147-182. Hall, S. (1997). “The Local and the Global: Globalization and Ethnicity”, (Eds.) Anne McClintock, Aamir Mufti, & Ella Shohat, in Dangerous Liaisons: Gender, Nation, and Postcolonial Perspectives, Chapter 9, London: University of Minnesota Press, Erişim: https://books.google.com.tr/books?hl=tr&lr=&id=0R3P9yRtpeEC&oi=fnd&pg=PA173&dq=s tuart+hall+global+culture&ots=aGZvhfcTXV&sig=nCV8zOcVDSYv7vwcjeBQLUw0PUk&r edir_esc=y#v=onepage&q=stuart%20hall%20global%20culture&f=false Horton, D., & Wohl, R. R. (1956). “Mass communication and para-social interaction: Observations on Intimacy at a Distance”, Psychiatry, 19(3), 215–229. Huang, S. (2011). “Nation-branding and transnational consumption: Japan-mania and the Korean wave in Taiwan”, Media, Culture & Society, 33(1), 3-18. Huang, X. (2009). “‘Korean Wave’ – The Popular Culture, Comes as Both Cultural and Economic Imperialism in the East Asia”, Asian Social Science, 5(8), 123-130. Hübinette, T. (2012). “The reception and consumption of hallyu in Sweden: Preliminary findings and reflection”, Korea observer, 43(3), 503-523. Iwabuchi, K. (2001). “Becoming ‘culturally proximate’: the a/scent of Japanese idol dramas in Taiwan”, Moeran, B. (Edt.), Asian media productions, Honolulu, University of Hawaii Press. İçli, G. (2001). Küreselleşme ve Kültür. C.Ü. Sosyal Bilimler Dergisi, 25(2), 163-172. Jang, G., & Paik, W. (2012). “Korean Wave as tool for Korea’s new cultural diplomacy”, Advances in Applied Sociology, 2(3), 196-201. Jay, M. (2005). Diyalektik İmgelem: Frankfurt Okulu ve Toplumsal Araştırmalar Enstitütüsünün Tarihi. İstanbul: Belge Yayınları. Joo, J. (2011). Transnationalization of Korean Popular Culture and the Rise of “Pop-Nationalism” in Korea. The Journal of Popular Culture, 44(3), 489-504. Jung, E.Y. (2009). “Transnational Korea: A Critical Assessment of the Korean Wave in Asia and the United States”, Southeast Review of Asian Studies, 31, 69-80. Kim, J. (2013). “Korean Popular Movies and Culture Codes”, The 2nd International Conference on Intelligent Urban Computing, Proceedings, 108-111. Kim, J., Hatfield, E. (2004). “Love Types and Subjective Well-Being: A Cross-Cultural Study”, Social Behavioral Personality, 32(2), 173-182. Kim, S. (2011). “Interpreting South Korean Competitiveness: From Domestic Rivalry to Global Competitiveness”, Korea Observes, 42(4), 621-643). Klimmt, C., Hartmann, T., Schramm, H. (2013). Parasocial Interactions and Relationships. In, Psychology of Entertainment, (Edt.) Jennings Bryant, Peter Borderer Chapter 17, 291-313, New York, Routledge. Kwon, S.H., Kim, J. (2014). “The Cultural Industry Policiers of the Korean Government and the Korean Wave”, International Journal of Cultural Policy, 20(4), 422-439, doi: 10.1080/10286632.2013.829052 Mahiroğulları, A. (2005). Küreselleşmenin kültürel değerler üzerine etkisi. Sosyal Siyaset Konferansları Dergisi, (50). Marcuse, H. (1964). One Dimensional Man, Beacon Press. Mee, K.H. (2005). “Korean TV Dramas in Taiwan: With an Emphasis on the Localization Process”, Korea Journal, 45(4), 183-205. McQuail, D., Blumler, J. G., & Brown, J. R. (1972). “The television audience: A revised perspective”, D. McQuail (Edt.) Sociology of mass communications: Selected readings (s. 135–165), Harmondsworth: Penguin. Milliyet Gazetesi, “TV İzleme Alışkanlığı Gitti, Yerine İnternet Geldi”, 23.11.2017, Erişim: http://www.milliyet.com.tr/TV-izleme-aliskanligi-gitti--yerine-internet-geldi-molatik-175/ Moeran, B. (2001). “Introduction: The Field of Asian media productions”, Moeran, B. (Edt.) Asian media productions, Honolulu, University of Hawaii Press. Oh, I. (2017). “Islam and Local Culture: The Peril of State Violence and Hallyu Fandom in Indonesia (With Reference to Palestine)”, Kritika Kultura, 29, 232-257. Oh, C.J., Chae, Y.G. (2013). “Constructing Culturally Proximate Spaces Through Social Network Services: The Case of Hallyu (Korean Wave) in Turkey”, Uluslararası İlişkiler, 10(38), 77-99. Otmazgin, N., Lyan, I. (2014). “Hallyu Across the Desert: K-Pop Fandom in Israel and Palestine, CrossCurrents”, East-Asian History and Culture Review, 3(1), 32-55. Robertson, R. (1995). “Glocalization: Time-space and homogeneity-heterogeneity”, Global modernities, 2, 25-45. Ryoo, W. (2009). “Globalization, or the Logic of Cultural Hybridization: The Case of the KoreanWave”, Asian Journal of Communication, 19(2), 137-151. Schiappa, E., Allen, M., Gregg, P.B. (2007). “Parasocial Relationships and Television: A Meta-Analysis of the Effects”, Mass Media Effects Research: Advances Through Meta-Analysis, Raymond W. Preiss, Barbara Mae Gayle, Nancy Burrell, Mike Allen, Jennings Bryant, (Edt.), Chapter 18th, 301-314, London, Lawrence Erlbaum Associates, Publishers. Shim, D. (2006). “Hybridity and rise of Korean popular culture in Asia”, Media, Culture & Society, 28(1), 25-44. Talas, M., Kaya, Y. (2007). Küreselleşmenin Kültürel Sonuçları. TÜBAR – XXII, 149-162. Taylan, H.H., Arklan, Ü. (2008). Medya ve Kültür: Kültürün Medya Aracılığıyla Küreselleşmesi. Sosyal Bilimler Dergisi, X(1), 85-97. T.C. Kültür ve Turizm Bakanlığı Basın ve Halkla İlişkiler Müşavirliği, “RTÜK Televizyon İzleme Eğilimleri Araştırmasının Sonuçları Açıklandı”, 12.12.2018, Erişim: http://basin.kulturturizm.gov.tr/TR-220845/rtuk-televizyon-izleme-egilimleri-arastirmasininsonucl-.html Vorderer, P. (1996). “Picard, Brinkmann, Derrick & Co. als Freunde der Zuschauer”, Vorderer, P. (Edt.), Fernsehen als "Beziehungskiste", Parasoziale Beziehungen und Interaktionen mit TV-Personen [TV as relationship machine: Parasocial relationships and interactions with TV personae] (s. 153-171), Opladen: Westdeutscher Verlag. Yıldız, B. (2017). “K-Wave Experience in Turkey: Handling Subjugation in a Patriarchal Scoeity”, MAIR Thesis, Leiden University, Retrieved from: https://openaccess.leidenuniv.nl/handle/1887/52147