Zachos Samoladas

The financial crises that swept over international economics had a negative impact on the production of audiovisual material, specially on the production of television series and motion pictures. In Greece in particular the high cost of production and the geographical boundaries of the Greek language brought to a complete halt the local production. Moreover the low cost of acquisition of series from E.U. An other countries led to a major change of percentage between Greek and foreign audiovisual material in the years 2010-2012.

In contrast to Greece and the E.U. Countries that are suffering from the economic crises, television series production is on the rise in countries like neighboring Turkey, as well in Asian countries like China and South Korea.

It is obvious why all Television networks are running away from Greek productions and searching good deals from local and international distributors. The low cost of program acquisition specially from Turkey has swept not only Greece but almost all Mediterranean TV markets. According to the Turkish newspaper «Hurriyet» it is becoming one of the most important export goods for Turkey with revenues up to 4.000.000 Turkish lira (almost 2.000.000 euro).

 

In the same motive of aggressive audiovisual distribution follows China and Japan with animation series and children / youth audience oriented program. Since 2010 China is the world's biggest producer of animated work, surpassing both the United States and Japan.

 

The concept of the average Greek viewer on watching TV series is based on sex and age. For the women audience an average episode must contain passion, love, a handsome male lead and of course the right amount of sentiment and inspiring music to complement it. For the male audience action, adventure, suspense, sometimes mystery, friendship and honor, are among the ingredients that a good TV series should have. For younger audience music, action, new trends an lifestyle is the right mix.

 

For many years, those ingredients were found in a variety of programs both Greek and international. But when the financial crises arrived at the local production houses and television networks slowed down the flow of money to local productions, the audience turned to international programs that filled the slots of daily programing on public and private Television networks. The arrival of Turkish dramas covered an aspect of local production, since many of the settings and stories like the panoramic shots of Constantinople, the living space of a wealthy and thriving Greek community for over a millennium, bring memories and nostalgia to viewers for what was lost. According to Greek writer Nickos Cheiladakis, many of the Turkish dramas now shown on Greek TV bring to surface a well hidden aspect of the Greek society. On the other hand there is a strong movement in social media and in the artistic community against those tv dramas because in some cases they act as a subliminal political message.

This is the part were the Korean dramas and other television series come into the spotlight. The basic factor on introducing Korean TV series to the Greek viewers and TV networks is the fact that there are many similarities in both cultures and the “education” of the Greek audience to themes and motives appearing in Korean dramas. These elements cover a wide and broad spectrum of themes like :

 

• the bridging of different social classes under random situations (this is mainly focused on female audience, intended to create a subconscious relation between the female lead and the female viewer (for example the Korean drama “A thousand kisses)

 

• intense action in police themed dramas raising political issues, focused mainly on male audience (as seen in Korean dramas Athena, the Goddess of war, Poseidon, Ghost, The chaser, The refugee, City Hunter)

 

• In series with a mixture of the above elements and target groups, incorporating also the element of revenge, adapting also a more romantic aspect of life with the action adventure genre (as seen in Korean dramas Bad Guy, City Hunter)

 

• Medical themed series, a genre that the Greek audience seems to enjoy on TV and one can find in Korean dramas like Brain, or Golden Time.

 

• The mystery/ horror genre which is focused on younger audience, mixed with other genres, which again is a favorite genre on Greek TV.( ”Vampire Prosecutor”,”Hometown Legends”, “Faith”, “Dr Jin”, “Big”, “Rooftop Prince”, “Secret Garden”. “Arang and the Magistrate”).

 

• The romantic/ sentimental/ love story genre focused specifically on female audience of all ages, which again is the majority of television viewers in Greece. This majority is giving high ratings for any program that falls in this category and is the most loyal and constant viewer. ( ”Coffee Prince” “Pasta”,”Romance Town”, “Baby Faced Beauty”, “Fashion King”, “Lovers in Paris”, "Marrying a Millionaire", "My Name is Sam Soon", “ 49 days”, “Winter Sonata”).

 

• The historic/ epic genre which sometimes includes elements of the romantic and action adventure genres.

 

• And finally series that depict issues that a younger audience can relate to like ”Boys over flowers”, “Sungkyunkwan Scandal”, “ Merry my Mary”, You're beautiful”, “ A playful Kiss”, “Dream High”, “Heartstrings”, “Goong”).

 

In conclusion one might ask “how the Korean dramas could find their way on Greek TV”. The answer is simple yet involving a wide range of actions and steps needed to complete the task. We must create the need for Korean cultural products. We must educate the Greek audience and draw attention to all aspects of Korean audiovisual programs. What we need in order to access the Greek society successfully is to create a well informed audience about the Korean culture by gathering and systematizing information from almost every aspect of the Korean cultural products, so that the Greek viewers will be able to adapt the differences as something new but fascinating. In simple words...”to make it fit into Greek society”. And in order to do that we must “educate” Greek viewers by directing their interest in this new cultural production, emphasizing the similarities of these two nations, and at the same time take advantage of the Greek financial condition so as to show them a new way of surpassing their problems as Koreans did in the recent past.

 

To establish this kind of relationship between the two cultures, we should give to Greeks opportunities to communicate effectively with the contemporary Korean cultural production. Dissemination will be achieved through promotion, exhibitions(concerts, shows, art), publications and educational programs. A roadshow of Korean television shows and productions, events with artists, hi tech workshops introducing the Korean breakthroughs in television and Arts, Korean actors, or singers appearing on Greek television, a Korean outbreak to Greek and international social media through well orchestrated fans and fan made pages and other targeted actions aimed to promote our goal.

 

If there is no road ahead, we will create one, once said an important man.

This is my motto. And the goal is to create the cultural and financial path in order to bring the South Korean audiovisual productions and cultural products to Greece, while creating an army of Greek fans and supporters to South Korean works.

 

The analysis of the K-Drama thematics belongs to Mrs Eleni Andreadou film critic and Asian media specialist.