아세안

Korean culture industry has been growing rapidly since the 1990sand “The Korean Wave” which began in northeast Asia has spread tothe Middle East. The immense popularity of Korean Drama in Iran hasbegun in 2007 with <Daejanggum>, a historical drama set in theChosun Dynasty court. In 2009, <Jumong> which was aired through theIranian National TV sparked up “The Korean Wave” again and thisphenomenon was seen by the Korean enterprises and government asan exceptional opportunity for both business and diplomacy. On theother hand, <My Love, Samsoon> was broadcasted via an illegalsatellite channel and was immensely popular, especially among youngIranian women. In critically examining the “success” of Korean dramasin Iran, I argue that their success derived less from their Korean-nessthan from certain affective themes that could be readily appropriatedby the Iranian public. This paper attempts to show how transnationalculture becomes localized and contains hybrid contexts in this globalera. Furthermore, I will explore “The Korean Wave” as multi-facetedcultural flux, not as unified entity.