![The Korean Society for Journalism & Communication Studies (KSJCS)](/images/basic/pubreader_back.gif)
확장하고 경합하는 K : 국내 언론 보도를 통해 본 K 담론에 대한 분석
초록
한류가 확장 및 심화됨에 따라 이로부터 파생된 기호인 ‘K’의 이용 또한 증가하고 있다. 해외에서 먼저 사용된 용어인 ‘K팝’이 2000년대 중반부터 국내로 역수입되어 사용되기 시작한 것을 계기로, 이후 K는 ‘K드라마’, ‘K콘텐츠’, ‘K뷰티’, ‘K푸드’ 등 해외에서 인기를 얻고 있는 다양한 한국의 문화 콘텐츠를 지칭하는 데에 사용되는 접두어가 되었다. 더 나아가 코로나 19 발발 이후 ‘K방역’이라는 단어가 언론에서 범람하고 사회 다양한 영역에서 K 용어가 등장함에 따라 K는 또 다른 기의를 확보하고 있는 것으로 보인다. 이에 본 연구는 K 담론의 발생과 전개 과정을 탐색적으로 톺아봄과 동시에 이에 대한 비판적인 분석을 제공하고자 한다. K 담론은 한국 사회의 어떤 영역 및 주제들을 어떤 방식으로 다루고 있는가? K 담론이 생산하는 사회적 의미는 무엇인가? 이에 대한 답을 모색하기 위해 본 연구는 뉴스 빅데이터 수집 및 분석 시스템인 빅카인즈(BIGKinds)에서 2000∼2021년 사이 국내 주요 일간지에서 생산된 K 관련 기사를 수집했다. 수집 및 정제된 총 7,639건의 기사의 키워드들을 대상으로 워드 클라우드 분석을 시행한 후 이를 바탕으로 K 담론에 대한 해석을 시도했다. 우선 K 담론 기사를 11개 분야로 분류하여 살펴봄으로써 K가 어떠한 의미의 지형을 형성하고 있는지를 살펴보았다. 그리고 K 담론의 시기를 K 태동기, K 발전기, K 폭발기로 분류하여 각 시기의 특성을 짚어보고, 특히 K의 정치언어화를 논의했다. 이러한 분석 결과를 바탕으로 K 담론장 내부에서 경합하는 담론을 세 가지 층위(문화 흐름의 논리와 상품 생산의 논리, 초국적 수용의 차원과 국민적 메시지의 차원, 선진적 기호와 후진적 기호)로 제시했다. 본 연구는 이러한 논의 과정을 통해 K의 시장주의적, 국가주의적 차원을 비판적 시각으로 바라볼 계기를 제공함과 동시에 K 담론을 둘러싼 권력 문제에 대한 심화된 고찰의 필요성을 제기하고자 한다.
Abstract
With the rise of Hallyu, using the prefix ‘K’ has increased as well. After the term ‘K-pop’ which was coined abroad was imported to Korea in the mid-2000s, ‘K’ has become a common prefix for various cultural content that are gaining popularity abroad, such as K-drama, K-beauty, and K-food. Furthermore, as the word ‘K-quarantine’ was introduced by the Korean government after the outbreak of Covid-19, using ‘K’ has expanded into wider social areas beyond popular culture. Therefore, ‘K’ is more than just an identifier for ‘Korea’, but rather a discursive site where different meanings are conflicting each other. Recognizing the significance of K-words to illuminate the current Korean society, this study seeks to explore the ‘K discourse’ and provide critical analysis of it. What areas and topics are included in K discourse? What social meanings are produced by K discourse? To answer these questions, this study collected 7,639 news articles containing ‘K’ as a keyword in major domestic daily newspapers from 2000 to 2021, using BIGKinds, a Korean news big data collection and analysis system. Then a word cloud analysis was conducted to map out the general features of K discourse. The articles were classified into 11 categories: pop, policy, beauty, economy, content, food, medicine/technology, art/literature/comics, music/performance, value, and others. The analysis of the usage of ‘K’ in each field reveals the various significations of K discourse. In addition, the chronological characteristics of K discourse were examined by dividing it into three periods – beginning, developing, and expanding periods – and the commercialization and politicization of K discourse throughout these periods were discussed. Based on these findings, this paper suggests complexities of K discourse in three dimensions. First, while ‘K’ stemmed from a cultural phenomenon, it has come to signify the market value of commodities, thereby turning attention to the economic effect of Korean content and disregarding its cultural aspects. Second, while ‘K’ is used in the context of transnational cultural acceptance of Korean content, on the other hand, it is also utilized by the Korean government, thus reinforcing its nationalist implications. Finally, ‘K’ originally embeds national pride that Korean content is well received by overseas audiences, but recently it has been appropriated by the public to criticize the backwardness of Korean society. The insights gained from this study provide a critical perspective on market-centered or nationalist aspects of the K discourse and propose the need for an in-depth examination of the power and ideology surrounding it.
Keywords:
K Discourse, Hallyu, News Reports, Word Cloud, Discourse Analysis키워드:
K 담론, 한류, 언론 보도, 워드 클라우드, 담론 분석Acknowledgments
This article was supported by the 2021 Research Grants for Emerging Scholars of the Korean Society for Journalism & Communication Studies sponsored by Hyundai Homeshopping, 이 논문은 현대홈쇼핑 후원 한국언론학회 2021년도 신진학자 연구지원 사업에 의해 수행되었음.
References
-
Ainslie, M. J., Lipura, S. D., & Yim, J. B. Y. (2017). Understanding the Hallyu backlash in Southeast Asia: A case study of consumers in Thailand, Malaysia and Philippines. Kritika Kultura, 28, 63-91.
[https://doi.org/10.13185/KK2017.02805]
-
Anderson, C. (2020). Soul in Seoul: African American popular music and K-pop. Oxford, MI: University Press of Mississippi.
[https://doi.org/10.14325/mississippi/9781496830098.001.0001]
- Baek, S-G. (2015). Media discourse. Seoul: CommunicationBooks.
- Choi, J., & Ryoo, W. (2012). Discourse politics on the new Korean Wave: Focusing on the discourse analysis of the major Korean newspaper’s articles. Urichumgwa Gwahakgisul, 8(3), 346-379.
- Choi, S. (2014). Frame and affective tone of Hallyu news reports by the U.S. and China after Psy’s ‘Gangnam Style’. Korean Journal of Journalism &Communication Studies, 58(2), 505-532.
- Choi, Y. (2006). Television drama flow and nationalism in East Asia. Journal of Communication Science, 6(1), 463-497.
- Choo, J. (2021). Who can be “real” K-Pop idol?: The construction of neoliberal subjectivity of “hard work”. Unpublished master’s thesis, Seoul National University, Seoul, Korea.
- Duong, N. H. P. (2016). Korean Wave as cultural imperialism: A study of K-pop reception in Vietnam. Unpublished master’s thesis, Leiden University, Leiden, Netherlands.
-
Entman, R. M. (1993). Framing: Toward clarification of a fractured paradigm. Journal of Communication, 43(4), 51-58.
[https://doi.org/10.1111/j.1460-2466.1993.tb01304.x]
- Fairclough, N. (1992). Discourse and social change. Cambridge: Polity Press.
-
Fiarclough, N. (2013). Critical discourse analysis: The critical study of language. New York, NY: Routledge.
[https://doi.org/10.4324/9781315834368]
- Gitlin, T. (1980). The whole world is watching: Mass media in the making and unmaking of the New Left. Berkeley, CA: University of California Press.
- Hall, S. (1997). Representation: Cultural representations and signifying practices. London: Open University & Sage Publications.
- Herman, T. (2019, October 11). Looking back at how ‘K-pop’ came to Billboard 20 years ago. Billboard. Retrieved 8/10/22 from https://www.billboard.com/music/music-news/k-pop-billboard-20-years-8532755, /.
- Hong, S-K. (2013). Hallyu in globalization and digital culture era: Full House, Gangnam Style, and after. Gyeonggi: Hanwool Academy.
- Hong, S-K., & Park, S. (2022, April). Reshaping Hallyu: Global reception of Korean content on Netflix. Paper presented at Is Netflix Riding the Korean Wave or Vice Versa?, Seoul.
-
Hurt, M. W., & Jang, W-H. (2018). Korean street fashion as truly popular culture: The PAEPI as an interruption in the discursive formation of HALLYU and the special K. MARXISM 21, 15(2), 184-210.
[https://doi.org/10.26587/marx.15.2.201807.007]
-
Hwang, S-I., & Park, J-B. (2020). ‘Korean Wave’ news analysis using news big data. Journal of the Korea Entertainment Industry Association, 14(5), 1-14.
[https://doi.org/10.21184/jkeia.2020.7.14.5.1]
-
Ju, H. (2020). Korean TV drama viewership on Netflix: Transcultural affection, romance, and identities. Journal of International and Intercultural Communication, 13(1), 32-48.
[https://doi.org/10.1080/17513057.2019.1606269]
-
Jung, S., & Yu, S. K. (2013). An analysis of the news coverage of the Korean Wave: With special reference to Chinese and Japanese newspapers. Journal of Communication Research, 50(1), 121-156.
[https://doi.org/10.22174/jcr.2013.50.1.121]
-
Kim, D-J. (2018). Transnationality of the ‘Korean Wave’ and ‘Reverse Media Imperialism’ thesis: The UK K-pop and post-imperialness on the Beatles. The Journal of Asiatic Studies, 171, 7-47.
[https://doi.org/10.31930/JAS.2018.03.61.1.7]
- Kim, H. N. (2019). A critical study on the acceptance of foreign TV program in young Korean generation : Focusing on the possibility of naming ‘patriotic narcissism’. Unpublished master’s thesis, Hanyang University, Seoul, Korea.
-
Kim, K. H. (2021). Hegemonic mimicry: Korean popular culture of the twenty-first century. Durham, NC: Duke University Press.
[https://doi.org/10.1215/9781478021803]
-
Kim, S. (2013). Television discourse on K-POP and K-POP idol star’s passion. Journal of Communication Research, 50(1), 45-83.
[https://doi.org/10.22174/jcr.2013.50.1.45]
- Kim, S. (2018). The other side of mediascape represented by Welcome! First Time in Korea? Culture/Science, 93, 265-277.
- Korean Foundation for International Cultural Exchange (2022). 2022 Overseas Hallyu survey. Retrieved 6/10/22 from https://kofice.or.kr/b20industry/b20_industry_00_view.asp?seq=1235, .
- Lachasse, J. (2021, October 9). “Squid Game”, “Parasite”, “Solo leveling”...Comment la culture Sud-Coréenne a conquis le monde. BFMTV. Retrieved 6/10/22 from https://www.bfmtv.com/people/cinema/squid-game-parasite-solo-leveling-comment-la-culture-sud-coreenne-a-conquis-le-monde_AN-202110090029.html, .
- Lee, D. (2005). Formation of Hallyu cultural capital and cultural nationalism. Culture/Science, 42, 175-196.
- Lee, D. (2011). K-pop: An icon of transnational national culture in neoliberal era. Naeireul Yeoneun Yeoksa, 45, 234-252.
- Lee, G. T. (2020). K-Pop in conflict: Between local and global music. Seoul: Three Chairs.
- Lee, S. (2022). How will Squid Game changes Korean dramas? In G. H. Jung et al. (Eds.), Squid Game and content revolution (pp. 179-206). Seoul: Inmulgwa Sasangsa.
-
Lee, S. H., & Han, H. J. (2019). Representation of the states and nationalism in travel TV shows: Examining Welcome! First Time in Korea? (MBC Every1). Korean Journal of Communication & Information, 95, 163-193.
[https://doi.org/10.46407/kjci.2019.06.95.163]
-
Lee, S. W. (2016). K-pop, a peculiar encounter of Korean and pop music: Inquiry into K-Pop’s Korean authenticity. Journal of Humanities, 73(1), 77-103.
[https://doi.org/10.17326/jhsnu.73.1.201602.77]
- Macdonell, D. (1991). Theories of discourse: An introduction. Hoboken, NJ: Wiley-Blackwell.
- Nam, I-W. (2017). Reporting on Hallyu and cultural public relations: Analysis of news frame on Hallyu in the German media. The Journal of the Korea Contents Association, 17(8), 312-324.
-
Park, D., & Lee, G. T. (2022). Industrialization, financialization, and startupization of the Korean Wave: News big data analysis of Hallyu and K-POP for 21 years. Korean Journal of Communication & Information, 112, 7-66.
[https://doi.org/10.46407/kjci.2022.04.112.7]
-
Park, S. (2020). Colorism of K-beauty industry. Korean Journal of Journalism & Communication Studies, 64(6), 124-160.
[https://doi.org/10.20879/kjjcs.2020.64.6.004]
- Park, S. (2022). Mibaek: Cultural politics of skin color. Seoul: Culturelook.
- Rhee, H. (2017). Korean Wave as a global genre: Analysis on possibility of Korean Wave to become a global genre. Unpublished master’s thesis, Seoul National University, Seoul, Korea.
-
Ryu, E. (2011). France, possibilité de la HalIyu globale. Etudes de la Culture Francaise et de Arts en France, 38, 443-465.
[https://doi.org/10.21651/cfaf.2011.38..443]
- Shin, H. (2005). The cultural politics of ‘K-pop’ in the era of transregional cultural traffics. Media and Society, 13(3), 7-36.
- Spence, M. (2021, October 10). Hallyu! How Korean culture conquered the world. The Times. Retrieved 6/10/22 from https://www.thetimes.co.uk/article/hallyu-how-korean-culture-conquered-the-world-kb2swqwb5, .
- The Federation of Korean Industries (2020). A public perception survey of issues that made Korea. Retrieved 6/10/22 from http://www.fki.or.kr/FkiAct/Promotion/Report/View.aspx?content_id=9b782410-87de-421b-b4ed-679f32c38ec5&cPage, .
- Yim, M. (2021). Thinking K. Gyeonggi: Sideway.
-
Yoon, K., Min, W., & Jin, D. Y. (2020). Consuming the contra-flow of K-pop in Spain. Journal of Intercultural Studies, 41(2), 132-147.
[https://doi.org/10.1080/07256868.2020.1724907]
- Yoon, S. (2006). Intercultural communication and narrative analysis of news. Korean Journal of Communication & Information, 36, 162-198.