E. L. KATASONOVA, Doctor of Historical Sciences, Institute of Oriental Studies, Russian Academy of Sciences

Keywords: South Korea, "Korean wave", modern Korean culture, K-pop, K-drama

IS JAPAN LOSING GROUND?

Today, in youth and expert circles, you can increasingly hear the words K-pop, K-drama, etc., which have almost surpassed their famous Japanese counterparts J-pop, J-drama, J-rock, etc. in popularity. And even more often in magazines and on Internet sites, there is a rather mysterious phrase "Korean wave", which, judging by the media, has flooded many countries of the world in recent years, including Russia.

What is the "Korean wave"? This is a broad and purposeful dissemination of Korean modern and traditional culture in the world, initiated and sponsored by the government and private structures of South Korea. The first messengers and conductors of this "wave" were TV dramas and feature films, as well as popular music-K-pop, which caused a real boom in other countries. Following this, the Government of the Republic of Korea launched an ambitious project to promote han style (Korean style) to the world markets, which was represented by well-known actors Choi Soo Jung and Yang Mi Kyung in Korea.

We are talking, first of all, about samples of traditional culture and national life - Korean writing, old clothes, Korean cuisine, original music, etc. Thus, today the concept of "Korean wave" already includes not only pop culture, although it is given the palm, but also the spread of the Korean language, and foreign tourism, and fashionable clothes, and souvenirs, and national cuisine, and cosmetics, and much more that is made in South Korea.

"KOREAN WAVE": THE FIRST SURGE

The "Korean wave" was born in the late 1990s, and many experts attribute its causes to the Asian financial crisis that shook South Korea in 1997-1998. In search of a way out of the economic difficulties that have arisen, following the example of Japan, the country has taken up the development of the cultural industry and the export of these products to the countries of the region. After all, as the experience of an advanced neighbor has shown, the demand in Asia for high-quality goods with a cultural context is literally everywhere and is especially acute in the most active consumer environment - youth.

On the other hand, Korean pop culture was immediately prepared to become a kind of locomotive, paving the way for the export of other products promoted to world markets under the label "made in Korea", first of all-household items, electronics, automotive industry. And in this regard, first of all, we should mention such leaders of the South Korean industry as the Hyundai Motor Automobile Corporation, the consumer electronics giant Samsung Electronics, etc., who were sponsors of various cultural events. Since then, the main strategy for promoting the "Korean wave" has been cooperation between public and private entities.

The next stage in the growth of Korean pop culture's popularity was the successful 2002 FIFA World Cup held jointly by South Korea and Japan, which raised the country's international profile. It was from this time that the world began to talk about the Korean economic miracle, against which Korean films, TV dramas and pop music began their broad offensive not only in Asia, but also on other continents.

In China, the first to experience the cultural "penetration" of Korea, this phenomenon was immediately given the poetic name "Korean wave" - hallyu, from where it literally spread all over the world. After China, Japan also entered the Korean cultural maelstrom. And along with it, the "wave" covered other Asian states: Malaysia, the Philippines, Thailand, Taiwan, Hong Kong, Vietnam, Cambodia, etc. The National Tourism Organization of Korea (NOTK) even declared 2004 the "Year of Hallyu".

Today, this cultural "element" has already reached the territory of more than 60 countries, including Russia, Mongolia, Uzbekistan, Tajikistan, Egypt, and reached Europe and America, capturing along the way the countries of the Middle East and even part of Africa.

And in South Korea itself, in Gyeonggi Province, the construction of a park under the symbolic name "Hallyuwood" (like Hollywood) is in full swing, which will house a museum with the most complete information about Korean films and TV series, as well as numerous shops, restaurants, entertainment centers, etc.

park decided to make a popular Hong Kong actor Jackie Chan. Moreover, according to the organizers of the project, "Jackie Chan is very well suited for this role, because he loves Korea, Korean culture, and is well acquainted with many Korean stars" [2].

At the same time, it is important to emphasize that different regions of the world clearly show their own cultural preferences. If in South and Southeast Asia, Korean TV series are mainly in demand, then in Europe, Korean feature films, both action films and films related to the so-called intellectual cinema, are much more interesting. The taste of Europeans can be judged, for example, by the film directed by Kim Gi Doku "Pieta", which won the prestigious award for best film at the Venice International Film Festival in 2012.

Probably, K-pop music, which combines the features of Western melodies and Japanese pop repertoire, performing songs in the style of rhythm and blues and dance in the manner of hip-hop, and in addition to all this, also uses powerful visual effects, has acquired the largest audience of its fans in both the West and the East.

In 2011, Korean pop musicians were applauded by Paris. And 2012 was declared the year of K-pop in Canada. And, judging by the forecasts of the French-language Canadian newspaper Le Presse, the presence of Korean artists on the world stage will increase over the next few years [3]. What can we say about residents of Asian countries and especially young people, for whom K-pop, thanks to the Internet and the availability of digital content, is not only music, but also a whole subculture driven by an interest in modern South Korean fashion and styles.

ASIA AT THE EPICENTER OF THE KOREAN CULTURAL BOOM

Today, the Korean cultural industry, including show business, earns more than $1 billion annually. It is mainly focused on the export of its products, and approximately 99% is accounted for by Asian countries [4].

In China, the fashion for everything Korean has even been called "Korean fever". Now in China, as in other Asian countries, South Korean performers of pop music, fashion, and TV series broadcast to China via satellites are in mass demand.

A harbinger of the Korean boom in China was the series " What is Love?", after which the country was flooded with a variety of Korean TV products, and then pop music. In 2006, South Korean dramas were already shown more frequently on Chinese state-run TV channels than all other foreign programs combined. And Korean pop music is so firmly established in the everyday life of the Chinese that almost every Beijing fast food restaurant on the monitor screen must broadcast concerts of popular pop groups and fashionable pop singers from South Korea.

The situation is similar in Taiwan today. Here, due to the massive demand for Korean dramas, a number of special channels were opened for their broadcast. And the first Korean TV production that the Taiwanese audience got acquainted with was a film based on the historical drama "The Pearl of the Palace" (2004). The impressions of what I saw were so strong that 195 thousand people were attracted to me. The Taiwanese went to South Korea to visit the filming location of their favorite TV series [5].

Korean dramas also proved to be equally attractive to Hong Kong viewers. And in Vietnam, an influential state-run newspaper ranked the extraordinary popularity of Korean themes on local television as one of the ten most surprising cultural events of 2001. [5]Moreover, thanks to Korean melodramas, the number of Vietnamese studying Korean has increased significantly.

Cambodia also did not escape the influence of the "Korean wave", which literally swallowed up local youth, who now strive to follow Korean fashion at all times and in everything contrary to local traditions. But even more surprising was the reaction of Cambodians to watching Korean soap operas. In 2007 alone, 1,759 Cambodian women traveled to South Korea in search of personal happiness through the mediation of South Korean firms operating in the marriage services market [6]. However, such trips were soon banned by the Cambodian government, which saw them as a threat to the nation and Khmer culture.

Something similar can be observed today in Malaysia, where the whole country followed with great interest the development of the plots of the acclaimed " Pearl of the Palace "and the TV series" Autumn in my Heart " (2000) shown after Pei. Korean films are no less enthusiastically received here. Pioneers on the big screens were the Korean blockbuster " Shiri "(1999) and the horror film" Phone " (2002), thanks to which the Malaysian audience learned the names of South Korean stars - Lee Jung and Won Bin. These and other Korean actors are no less popular today in Singapore, Indonesia, and India, where Korean films and TV dramas have noticeably squeezed out local visual products.

But the truly surprising phenomenon was the penetration of hallyu into the most closed country in the world - North Korea, where cultural products from the South are mainly smuggled. What is particularly surprising, and even more revealing, is that this illegal but highly profitable business is usually run by high-ranking officials who often travel abroad on business. Then TV shows and movies are secretly replicated at home and secretly sold as pirated copies. The practice of collective "underground viewings" began to enter life, the number of which has increased dramatically recently. However, it seems that these new trends were put to an end when in November-December 2013 demonstrative executions were carried out.-

but 80 people were charged, among other things, with watching South Korean TV programs and serials [7].

Still, Korean cultural products are most widely distributed in Japan, which accounts for about 80% of the country's total cultural exports. The close relations of these two neighboring states for many years were due not only to geographical proximity, but also to the religious and ethno - cultural unity of the Japanese and Korean peoples, whose fate at the same time was overshadowed by the difficult historical past-Japan's military aggression against Korea and its 35 - year colonial regime (1910-1945).

Paradoxically, despite the long and strict ban on the legal admission of Japanese cultural products to Korea, which was finally lifted only in 1998, this country has always been for Japan the largest, albeit illegal, market for its goods and a convenient "testing ground" for all its cultural innovations. It can even be said that by shaping the tastes and cultural demands of South Korean consumers, Japan has largely contributed to the birth of Korean pop culture itself, which is, in fact, a more or less talented copy of Japanese.

Koreans have followed the path trodden by the Japanese, taking as a basis all the best and most popular from Japanese pop culture and combining it with their unique national flavor, significantly strengthening it with American standards, which are strong in this country. At the same time, Korean pop products had a number of absolute advantages over Japanese-a combination of high quality and low prices, as well as a complete absence of elements of political influence, which is so characteristic of the cultural practice of Japan and the United States.

The Asian audience could feel complete freedom, experiencing the relatively neutral power of the Korean cultural industry. And the result exceeded all expectations: Korean pop culture has now flooded Japanese TV screens and concert venues, creating a real competition for the Japanese cultural industry. For example, research conducted in July 2011 by the Japanese advertising agency Hakuhodo in 10 Asian cities-from Taipei to Mumbai-showed that while South Korea is still noticeably behind Japan in the production of anime and manga, it has already almost equaled it in the field of pop music and is far ahead of the Japanese in the production of anime and manga. production of films and television series [8]. In short, Korea is now a cultural challenge to Japan.

KOREAN TV SERIES IN JAPAN: FROM LOVE TO HATE

The boom of Korean culture in Japan began with the NBC television show "Winter Sonata" (2002) (also known as "Winter Love Song") in 2003, which immediately became a real hit in Japan. The romantic plot, beautiful melodies and excellent acting captured the hearts of Japanese viewers, especially middle-aged and older viewers. Critics wrote that the touching love story told in the TV series reminded many Japanese women of the beautiful time of their youth. And a large part of the fans of this story, as well as residents of other countries, under the influence of unexpectedly surging romantic feelings, went to Korea with the dream of meeting their love there, similar to the one they saw on the screen.

The Korean company "Rakuen Korea Inc." has built a fairly successful business on this "love pilgrimage", helping Japanese women and Korean men to get acquainted with the purpose of marriage. While only 80 Japanese women visited Korea in October 2003 in search of a life partner, more than 1,700 mixed marriages were registered in August 2004. One of the incentives for raising this kind of marriage statistics was the arrival in April 2004 in Japan of the star of "Winter Sonata" actor Bae Yong Chun, whose name has never lost its popularity in Japan. Suffice it to say that in 2007, the presentation of his new book about traveling in Korea, held at the Tokyo Dome, in one of the largest concert halls in Tokyo, gathered 45 thousand people. his fans, mostly female fans.

But it wasn't just the search for love that attracted Japanese people to Korea. They were fascinated by the picturesque views of the local nature shown in the "Winter Sonata". The city of Chuncheon in the northern part of the country, where the drama was filmed, witnessed an unprecedented influx of tourists from Japan - up to 140 thousand a year [8]. DVD versions of the series and CD songs have become extremely popular. The full script of the series was published in a separate book, 90 thousand copies of which were sold in a short period. A year later, the publication's circulation increased to 200 thousand copies. Since then, a new TV tradition has emerged: in April of each year, NH-K began to organize the screening of a new Korean TV series for Japanese students studying Korean, preceded by the publication of a literary version of the TV drama so that viewers could prepare in advance for upcoming screenings.

Gradually, the fascination with South Korean TV dramas in Japan reached such incredible proportions that acts of protest against the dominance of Korean products on Japanese screens soon followed. One of the first manifestations of public discontent was a comic book with the explicit title "Hatred of the "Korean Wave"", published in 2005 with a circulation of 360 thousand copies. and immediately became a bestseller. It frankly expresses the idea that Korea owes its economic rise and all other successes exclusively to Japan. On August 7, 2011, these sentiments resulted in a mass demonstration in Japan, which took place in front of the Fuji TV Company's office on Odaiba (the newest seaside subcenter of Tokyo on the bulk territory of Tokyo Bay). Location of the event

this event was not chosen by chance: a significant part of the shares of the TV company belongs to people from Korea, with the tastes and preferences of which the channel's management is forced to take into account.

Shortly before these events, popular Japanese actor Takaoka Sousuke, who in fact largely provoked them, tweeted about his dislike of the "Korean wave": "I don't watch Channel 8 [Fuji TV] anymore. Sometimes I think that this is more of a Korean channel. Japanese viewers want to see traditional Japanese programs." And later he added: "It seems like Korean programs have brainwashed you, and it's really sad. The channel needs to understand the negative effect of all this" [9]. And although the actor himself soon lost his contract with his production agency for such harsh judgments, he was supported by the Internet community, launching an Online movement to boycott Korean programs on Japanese television. This sentiment has even prompted executives at Japan's Yahoo News to conduct special surveys among Japanese users about their attitude to the"Korean wave." The results were as follows: 93% of respondents expressed their dissatisfaction with the fact that "too many Korean artists appear on Japanese TV screens"; 3% of respondents found it difficult to express their definite opinion on this issue; and only 1% of respondents were in favor of further increasing the import of these products from Korea [10].

By the way, a similar situation with Korean television series is observed today in China, Taiwan and other Asian countries, where the local public and authorities oppose the dominance of Korean soap operas that have occupied national TV channels. In the local press and official circles of the country, critical speeches of party functionaries, artists, and journalists against the excessive enthusiasm of the country's population for South Korean pop culture began to appear more and more often.

K-POP: FROM TV SERIES TO CONCERTS

It is significant that while Korean TV products have begun to lose their popularity ratings abroad, another stream of the "Korean wave" - music-is freely gaining its power. In Japan, for example, Korean pop music has now become essentially the main driving force behind the "Korean wave". It is interesting that many popular Korean singers in Japan, such as Yoo Si Won or the late Park Young Ha, first secured star status through their participation in television series, and only then continued their career here as actors and performers of popular music.

If we talk about professionals, then, first of all, we should mention the name of the singer BoA, who became a symbol of the" Korean wave " in Japan. After all, it was BoA who became the first performer of modern Korean songs, who received wide recognition here immediately after her debut in 2000. This singer first introduced Korean pop music in China, and in 2009, the first of all Korean artists appeared on the American market.

To date, BoA is one of the most popular Korean artists, having released seven full albums and many more individual singles. In her homeland, she is often criticized for the fact that the singer spends most of her concert activities outside of Korea, mainly in Japan. So, for 12 years of her career in Korea, she had only 5 solo performances, while in Japan she annually organizes dozens of concerts in the largest halls of the Japanese capital, including Tokyo Dome, etc. Her platinum-certified albums consistently rank first on the Japanese Oricon charts. And this is not surprising, since the singer's repertoire is based on music in the style of Japanese rock (J-rock). She records and releases her CDs first in Japan in Japanese. Then it translates them into English in the US and then republishes them in Korea in Korean.

"Forward to Japan: from BoA to Kara" - became a kind of slogan of the next generation of Korean musicians, represented mainly by various teen idol groups - the so-called boy bands - "Tonbasingi" and others, which have recently been replaced by girls 'groups-Girls' Generation, Kara and others. etc. Their performers aged 10 to 20 years are guided by their peers, who are the main consumers of pop culture. And, admittedly, this is the most demanding and capricious audience, for whom an original image and an unusual entourage are just as important requirements as a talented performance and good music. Korean performers successfully cope with these tasks, having the set of qualities that their Japanese counterparts clearly lack: impeccable style, good vocal and choreographic skills, attractive appearance and undoubted charisma. And musically, Korean women are not far behind Japanese women, holding the first lines in the charts of the Japanese Oricon. Suffice to say, this is Girls' Generation's first album, released in Japan in June 2011., immediately sold in the first week in the amount of 232 thousand copies, and all its sold circulation exceeded the cherished 500-thousandth milestone.

The Japanese press has already coined the word "new hallyu" (shin haryu), and some journalists have gone even further and coined the term "Korean invasion". This, of course, suggests certain analogies with the "British invasion" - the triumphant concerts in the United States in the 1960s by such legendary English bands as the Beatles and the Rolling Stones. But such associations, of course, do not indicate any comparison of Korean girls with rock legends, but only indicate the scale of the extraordinary popularity of Korean girl groups in Japan.

True, such popularity

There is also a downside associated with the rather strong dependence of the Korean music industry on the Japanese market, which accounts for 68% of all South Korean music exports. For comparison, exports to China and the United States account for 11.2% and 2.1%, respectively [11].

At the same time, it should be noted that in the 2000s, the process of mastering the Chinese market by Korean musicians seriously slowed down, and the US music space still remains an unconquered peak for them, despite several fairly successful attempts to reach it. One of them was the world tour of the Korean singer with the stage name Pi, who soared to the peak of popularity in 2004 and became the first winner of the Asian charts. In 2006, Time magazine named him one of the "100 Most Influential People who Changed the world". And yet, the American market has only just opened its doors to Korean artists, as well as to Japanese ones.

The fact is that the South Korean music industry for many years significantly lagged in its development from Japan and other countries. Now she has her fans in many countries of the world. Moreover, if earlier the most common way to promote K-pop to the world market was considered to be exporting CDs, now it's time to export concerts. And the most reliable and popular channel is social networks. In 2011, the number of views of South Korean pop content on YouTube was 2 billion. 300 million rubles. And 2012 was marked by the incredible success of the video "Gangnam Style" (Gangnam Style) and its performer-rapper Sy (Psy). According to surveys, nine out of ten foreigners, after watching this funny performance, expressed a desire to visit South Korea [12]. This example once again confirms the well-known fact that the popularity of cultural content directly affects the flow of foreign tourists to the country. So, in 2012, approximately 11 million visitors were expected to visit the country. foreign citizens, and more than 23% of them are from Asia [12].

Residents of many neighboring countries - Taiwanese, Japanese, Thais, etc. - come to Seoul for shopping, or just to have fun-go to a restaurant or to concerts of popular Korean pop stars. The variety and quality of Korean goods and services are high, while prices are much lower than in Japan. This is why crowds of Japanese teenagers simply occupy Korean stores in search of fashionable youth items. And this phenomenon is also directly linked to the "Korean wave"here.

WHAT IS THE SECRET OF THE "KOREAN WAVE" PHENOMENON?

It is difficult to answer unequivocally. But, nevertheless, a number of experts point out the specifics of Korean pop culture itself, which easily resonates in the soul of Asians due to its preserved national flavor and its spiritual and moral values. On the other hand, Korean pop culture, like Japanese pop culture, has a certain universality due to the specifics of its development, which makes it accessible in other civilizational realities. It is no coincidence that the face of Korean cinema in the West is director Kim Ki-dok, who is much less in demand at home than abroad. He clearly understood the needs of the Western market, complementing fashion trends with eastern exotics that have not yet become boring here.

Noting this feature of Korean culture, researchers in Korea usually refer to the fact that local authors manage to "organically connect East and West in their works and that the main theme of Korean films is eternal and universal values, such as: love, human relationships, fostering feelings of kindness and justice" [2]. In China, on the other hand, they are particularly sensitive to something completely different in Korean cultural products - the similar mentality of the two neighboring peoples, as well as the commonality of Confucian cultural traditions.

"South Korean TV shows are full of East Asian cultural details. There is also respect for the elders, and the life of representatives of several generations of relatives under one roof. All this is close to the heart of the Chinese audience, " Chinese fans of Korean culture note. And American viewers, in turn, claim that Korean films, compared to other Asian films, more subtly draw the everyday life of ordinary people and vividly convey simple human feelings, as well as reveal the features of Korean culture that are little known in this country [2].

The foreign press also writes a lot about these problems today. So, according to the Korean Cultural Information Service (KOCIS) under the Ministry of Culture, Sports and Tourism, over the past five years, the number of articles in the foreign press about Korean society and culture, including hallyu, has increased 10 times, while issues of the economy of South Korea and North Korea have become much less covered [3]. One of the most recent examples of such publications is an article in the January 2013 issue of the Hong Kong Economic Journal.

Analyzing its content, it should be emphasized that one of the distinctive features of Korean cultural production, Hong Kong analysts see, first of all, in the uniqueness and originality of the images created by it. Thus, the success of the Korean drama "The Pearl of the Palace", which is very popular in this country, in their opinion, is already embedded in bright extraordinary characters, both main and secondary characters, as well as an intriguing plot [3]. The same unforgettable image is created by singer Sai in his newfangled video "Gangnam style", where he dances together with a brightly dressed guy in front of a red sports car.

But the main secret of Koreans ' success in the field of modern culture, according to journalists, lies not so much in the originality of the cultural products they create, but in the very cultural policy pursued by the country in recent years.

for the last few decades. It is significant that the peak of the "Korean wave" occurred in 2004 - 2006, when traditionalists in Korea were dissatisfied with the excessive commitment of then-President Roh Moo-hyun and his entourage to European values. And in this sense, the propaganda of the "Korean wave" can be perceived as a kind of PR move by ideologues aimed at proving to their people and the whole world the enduring values of Korean culture.

Perhaps it is for this reason that some researchers attribute the unprecedented success of the "Korean wave" to the effective aggressive advertising that Seoul conducts in order to promote a positive image of its country. Indeed, just look at the headlines of Korean newspapers and online publications devoted to this phenomenon, and everything becomes obvious: "Pi conquered Hollywood", "Madonna is delighted with Son Hye Kyo" , etc.

All these arguments lead to the conclusion that for South Korea, the phenomenon of the "Korean wave" is one of the most effective tools of "soft power": It is associated with state policy, ideology, the image of the country and the Korean people, as well as the development of the national economy and private business. By increasing cultural investment in the 1990s, the Korean Government was convinced that cultural development could enrich the country's economy. Thus, according to the Korea International Trade Association (KMTA), three-quarters of foreigners, after getting acquainted with Korean poi culture, began to purchase goods produced in this country.

Singapore's largest newspaper, The Straits Times (January 14, 2013), reported that in 1999, the Korean government allocated $148.5 million to distribute Korean dramas to all countries in East and South-East Asia. [3].

It is very significant that the initiator of this new policy was then President Kim Dae-jung, and the first steps he took had a positive impact on the increase in the flow of foreign tourists to the country, the growth of sales of Korean cars and televisions in the world, etc. And after only 5 years, KMTA already reported that the popularity of South Korean pop culture in Asia countries grew by $1.43 billion in 2004, while GDP grew by 4.6%. Tourism revenues reached $825 million, and exports of goods related to the "Korean wave" accounted for 7.2% of the country's total exports. Films were exported in the amount of $58.3 million, which is 88.1% higher than in the previous year, while TV series sales increased by 69.6% to $ 75.5 million, etc. [2]

In March 2012, an authoritative Korean business publication published new data on the impact of the "Korean wave" on the country's economy. So, if music production and TV drama brought $86 million in profit to the country's budget in 2003, then by 2008 this figure was $220 million. Between 2007 and 2010, the amount of money "earned" by K-Pop alone increased from $189 million. up to $330 million [8].

According to Korean analysts, in 2010, the "Korean wave" helped the national economy to receive an additional $4.42 billion. [13].

Today, Seoul is talking about a stable growth in exports of Korean culture in the long term, linking this, first of all, with the upcoming Winter Olympic Games, which will be held in 2018 in Pyeongchang. After all, it is enough to recall the unprecedented rise in popularity of the country and its culture after the Summer Olympic Games in Seoul in 1988. In particular, it is assumed that the profit that Korea will receive from the 2018 Olympics will be five times higher than the profit from the Seoul Olympics [4], not to mention such categories as the country's image, which it is difficult to measure with any numbers.

Despite such tempting economic forecasts, critics of the" Korean wave "began predicting its rapid decline several years ago, pointing out that since 2007, the" Korean wave", as befits a wave, has entered the stage of decline. Thus, a survey conducted in February 2012 involving 1,200 residents of three Asian countries-Japan, China, and Taiwan - showed that 62% of respondents believe that the "wave" will fade in 5 years, and 18% are confident that its era is already coming to an end. If you add up these data, it turns out that 80% of respondents do not believe in the prospects for a further rise in the "Korean wave" [8].

Is it so? This question will probably be answered only by time.

1. For more information, see: Katasonova E. L. Japan and the Asian scenario of Joseph Nye / / Asia and Africa Today. 2013, N 9. (Katasonona E.L. Yaponiya i aziatskiy stsenariy Jozefa Naya // Aziya i Afrika segodnya, 2013, N 9.)

2. The current situation and the problem of the "Korean wave" phenomenon. Saint Petersburg State University - makkawity.livcjournal.com/819307. html

3. Hallyu under the microscope of foreign press -Russian.korea.net/NewsFoc'Us/Culture/view?articleld=105006

4. The 2018 Olympic Games are expected to bring crazy profits to Korea - olimpiadalife. ru. / pxyonchxan-2018/planiruetsya-chto-olimpiada

5. Hallyu, or Korean Wave - www.ruskorinfo.ru/wiki/ khallyu-ili-koreyskaya volna

6. The impact of the Korean Wave - daogeo.ru/vliyanie-korejskoj-pop0kultury/

7. doitq.ru /2013/1l/18/okolo-80-chelovek-kaznili-v-kndr-za-obozrenie-korejskih-programm/

8. Cool reaction to the Cool Japan movement-www.diary.ru/-MisoM/pl85043257.ht

9. Fuji TV resists the onslaught of criticism - news / leit. ru/archives/9959

10. Yahoo News conducted a survey: "Is there too much Korean Wave in Japan?" - http://www.yesasia.ru/?p-62707

11. "Kei-nop" concerts of Korean non-bands as a new round of Hallyu - Kore-saram.ru/Kei-pop-kontserti-koreiskih-pop-grupp-kak-novii-vitok-hallyu

12. South Korean rapper Sai wins the world music Olympus - http://afisha.headline.kz/musyika/

13. Economic potential of the "Korean wave" - world. kbs. co.kr/russian/program/program-economyplus_ datail.htm?N=3244