Thai Television Dramas, a New Player in Asian Media Circulation: A Case Study of Full House Thai
This paper examines the success of Full House Thai, a Thai remake of popular Korean drama “Full House”. First, it explores the indigenization of Korean elements in the Thai remake Full House, arguing that the success of Full House Thai lies not only on th
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Thai Television Dramas, a New Player in Asian Media Circulation: A Case Study of Full House Thai Amporn Jirattikorn
Abstract This paper examines the success of Full House Thai, a Thai remake of popular Korean drama “Full House”. First, it explores the indigenization of Korean elements in the Thai remake Full House, arguing that the success of Full House Thai lies not only on the attractiveness of Thai actor and actress but also on the Thai- ization of Korean elements. The second part looks at the reception of Asian audience towards Full House Thai. Taking the case of Vietnamese audience, the paper explores how Vietnamese audience interpret Thai remake version in relation to the original Korean version as well as with respect to Thai culture portrayed in the series. The aspects of Thai culture the paper asks Vietnamese audience to reflect upon include views on gender, roles of men and women, the portrayal of social class as well as romantic love. Data presented in this paper come from textual analysis as well as in-depth interviews with 15 Vietnamese audiences. Keywords Thai television dramas · Remake · Audience reception · Transnational media flows
1 Introduction Woon Nak Rak Tem Baan is a Thai remake of popular Korean drama “Full House,” which aired in 2004. It features the story of how a famous actor and a young woman who wants to become a writer accidentally come to live together in the same house, where they fall in love with each other. After its first release in Korea in 2004, it has been exported to many countries in Asia, and has been remade four times in four different languages—Filipino, Vietnamese, Indonesian, and Thai. Of these, none has gained as high audience ratings as Full House Thai. Aired in 2013–2014, this
A. Jirattikorn (*) Department of Social Science and Development, Faculty of Social Science, Chiang Mai University, Chiang Mai, Thailand © Springer Nature Singapore Pte Ltd. 2018 N. Kawashima, H.-K. Lee (eds.), Asian Cultural Flows, Creative Economy, https://doi.org/10.1007/978-981-10-0147-5_10
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Thai version has gained immense popularity both in Thailand and in many Asian countries. It has been broadcast on television in 9 countries and has been subtitled in 17 languages on website channels. Prior to the success of Full House Thai, Thai television dramas had gradually gained popularity in Asia. Beginning around 2003, Thai dramas entered Chinese television channels,1 followed by the success of many drama series in the following years. For example, Battle of Angels, broadcast on Anhui Satellite TV in 2009, achieved the tenth highest audience rating of all programs in the first week it was released. It was re-run four times between 2009 and 2010 (Phongpatcharathornthep 2012). Roy Adeet Hang Rak (Track of Love), aired in 2010, achieved the second highest ratings on China Central Television’s TV drama channel (CCTV 8) (Chan 2011). Following this success in China’s television market, Thai dramas have expanded to Vietnam, Taiwan, Singapore, Malaysia, and the Philippin
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