재미있는 글이 있어서 옮겨왔다. "노하우21"이라는 시사정치 웹 사이트 게시판에 "노라리"라는 필명을 쓰시는 뉴요커가 뉴욕타임즈를 나름대로 번역/요약하신 글이다. 그 분 말씀에 따르면 뉴욕타임즈에 한국 관련 기사가 요즘 자주 올라온다고 한다. 회원가입해서 받아봐야겠다.

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1.가을동화--태국,말레이지아
파리의 연인-베트남
대만,홍콩,몽골--대장금, 겨울연가-우즈베키스탄
중국은 거의 전국에서 한국의 연속극이 인기이며 젊은이들의 의상과 머리 스타일이 한국의 스타들을 따라하는 것이 유행.

2.한국은 중국이나 일본의 영향에 대한 방어적 입장에서 벗어나 자체의 문화를 해외에 퍼뜨리는 아시아의 선두주자로 나섰다.
잘 연출된 tv연속극,정제된 영화,대중가요로 부터 온라인 게임까지 한국의 기업들과 연예인들은 열광적인 동아시아 사람들의 보고,듣고,따라하는 역활을 더욱 높였다.

3.한국의 연예산업 규모는 90년대 후반부터 시작된 정부의 투자는 1999년 85억불 규모에서 2003년 435억불 규모에 이르렀으며 1998년 이전에는 통계조차 잡을 수 없는 미미한 규모의 수출은 2003년 6억5천만불로 뛰었다

4.1998년부터 예정된 일본문화에 대한 개방에 따른 무차별적인 공세에 따른 대책으로 문광부는 많은 에산을 투입하여 국내산업을 육성하기 위한 5개년 계획을 수립하고 장비와 보조금을 지원하여 대학에 관련학과를 거의 0에서 300개 이상으로 늘렸다

2002년 korea culture & content agency 를 설립하여 수출을 촉진하였으며 "한류"가 아시아를 휩쓰는 2004년 1월 거의 모든 분야의 일본문화에 대한 규제를 철폐하였다.

2000년대 초 대만에서 한국의 연예산업이 미국과 일본의 문화를 압도하기 시작하였고 5년전 대만의 gala tv는 한국의 연속극 1시간용에 1000불을 지불하였으며 일본의 연속극에는 $15,000-20,000를 지불하였으나 지금은 한국 $7,000-15,000.-일본은 $6,000-12,000.-로 역전.

"한국 연속극은 정서적인 힘이 강하며 연예인들은 흥행촉진을 위하여 기꺼이 현지에 올 준비가 되어 있다"

"한국 연속극때문에 대만인들은 한국산 물품을 더욱 구매하려 한다"

한국산 소비재와 자동차들은 과거 5년간 급격한 판매신장을 가져 왔다. 전체적으로 대만인들의 해외여행은 감소하였으나 한국여행은 2000년 108,831명에서 2004년 298,325명으로 늘었다

5.한국은 새로운 문화의 힘을 비경제적 측면에서의 수단으로 사용하기 시작했다. 한국 해외공보처는 "겨울연가"를 아랍권의 한국에 대한 긍정적인 감정을 일으킬 목적으로 아랍언어로 자막을 처리하여 이집트 tv에 방영하기 시작했다

6.부수적인 효과로 중국에서 지하시장을 통한 북한에 유입되어 북한여성들에게 "올인"의 송혜교 머리 스타일이 인기.

7.한류를 별로 좋아하지 않는 뉴환타지여행사의 왕루이 부장에 따르면 한국방문객의 80%정도는 자기가 좋아하는 연속극의 찰영지를 찾는다고 했으며 자기의 아이들이 연속극을 통한 한국의 생활양식이나 의상,음식에 더욱 익숙한 탓에 중국보다 오히려 한국을 더욱 가깝게 느낀다고 한다.

노라리 님 말씀:
내맴대로 내용을 편집했슴당...아 편집의 무셔움이여.
물론 파도가 거세면 그에 따라 저항도 만만치 않은 법..대만에서 한국의 문화상품에 20%의 세금을 부과한다는 내용도 있지요..
모든 오역과 왜곡에 대한 책임은 물론 저한테 있지요.

[원문]
Roll Over, Godzilla: Korea Rules

By NORIMITSU ONISHI
Published: June 28, 2005


TAIPEI, Taiwan - Here in one of the first corners of Asia hit by the "Korean Wave" of cultural exports, a television series about a royal cook, "A Jewel in the Palace," proved so popular that it is now used to advertise South Korea on the Taipei subway. A huge hit in Mongolia, the drama also fueled a boom in tourists from Hong Kong visiting South Korea.


South Korean products and stars like Gweon Sang Woo are popular in Taipei.

A weepy love story, "Winter Sonata," became the rage in Uzbekistan after driving the Japanese into a frenzy last year. In Thailand and Malaysia, people devoured "A Tale of Autumn," and Vietnamese were glued to "Lovers in Paris." In China, South Korean dramas are sold, and pirated, everywhere, and the young adopt the clothing and hairstyles made cool by South Korean stars.

South Korea, historically more worried about fending off cultural domination by China and Japan than spreading its own culture abroad, is emerging as the pop culture leader of Asia. From well-packaged television dramas to slick movies, from pop music to online games, South Korean companies and stars are increasingly defining what the disparate people in East Asia watch, listen to and play.

The size of South Korea's entertainment industry, which began attracting heavy government investment only in the late 1990's, jumped from $8.5 billion in 1999 to $43.5 billion in 2003. In 2003, South Korea exported $650 million in cultural products; the amount was so insignificant before 1998 that the government could not provide figures.

But the figures tell only part of the story. The booming South Korean presence on television and in the movies has spurred Asians to buy up South Korean goods and to travel to South Korea, traditionally not a popular tourist destination. The images that Asians traditionally have associated with the country - violent student marches, the demilitarized zone, division - have given way to trendy entertainers and cutting-edge technology.

Candy Hsieh, 22, who was browsing through shelves of South Korean dramas at a video store here, said her parents became fans and visited South Korea last year.

"I used to think that Korea was a feudalistic, male-centered society," Ms. Hsieh said. "Now I don't have the same image as I had before. It seems like an open society, democratic."

South Korea's entertainment industry was born for business and political reasons in the late 1990's. Increasingly rich Asians were thought to be receptive to new sources of entertainment. What is more, South Korea, which long banned cultural imports from Japan, its former colonial ruler, was preparing to lift restrictions starting in 1998.

Seoul was worried about the onslaught of Japanese music, videos and dramas, already popular on the black market. So in 1998 the Culture Ministry, armed with a substantial budget increase, carried out its first five-year plan to build up the domestic industry. The ministry encouraged colleges to open culture industry departments, providing equipment and scholarships. The number of such departments has risen from almost zero to more than 300.

In 2002, the ministry opened the Korea Culture and Content Agency to encourage exports. By the time almost all restrictions on Japanese culture were lifted in January 2004, the Korean Wave - a term coined in China - had washed across Asia.

To South Koreans like Kim Hyun Kyung, a director at Cheil Communications, an advertising agency in Seoul, feeling the reach of their culture for the first time was surprising. In 2001, during a trip to Los Angeles, she met a Chinese woman who brightened up when she learned that she was Korean.

"She was a big fan of Kim Hee Sun," Ms. Kim said, referring to a South Korean actress who is now more popular in China than at home. "She was happy that I had the same last name as she did. We were meeting for the first time, but she had a favorable image of Korea."

South Korean dramas and music have started edging out American and Japanese ones in Taiwan, which caught the Korean Wave early this decade.

Five years ago, Gala TV here paid $1,000 for one hour of a South Korean drama, compared with $15,000 to $20,000 for a Japanese one, said the network's vice president, Lai Tsung Pi. Now, a South Korean drama commands $7,000 to $15,000; a Japanese, $6,000 to $12,000.

Korean dramas are considered more emotionally powerful, and their actors are willing to come here to promote them," Mr. Lai said. "Because of the Korean dramas, Taiwanese people have become more willing to buy their products."

Sales of South Korean consumer goods and cars have risen sharply here in the last five years as well. The number of Taiwanese going to South Korea rose from 108,831 in 2000 to 298,325 last year, even though the overall number of Taiwanese traveling abroad fell during that period.

South Korea has also begun wielding the non-economic side of its new soft power. The official Korean Overseas Information Service last year gave "Winter Sonata" to Egyptian television, paying for the Arabic subtitles. The goal was to generate positive feelings in the Arab world toward the 3,200 South Korean soldiers stationed in northern Iraq.

There have been unintended effects too. Copies of South Korean dramas and music are being increasingly smuggled from China into North Korea. One popular drama in the Communist North was "All In," the true story of a South Korean gambler who went to Las Vegas with only $18 and became a millionaire.

North Korean women began copying the hairstyle of its lead actress, Song Hae Kyo, prompting the authorities there to crack down on "untidy" hair, said Kim Yang Rae, director general of the Korean Foundation for Asian Culture Exchange.

In mid-June, a 20-year-old North Korean soldier, Yi Yong Su, defected across the demilitarized zone into the town of Chorwon in central South Korea. The private said he had grown to admire and yearn for South Korea after watching its television programs, South Korean military officials told reporters.

But the worry of a possible backlash - Taiwan, for instance, is considering levying a 20 percent tariff on Korean programs - impelled the Culture Ministry two years ago to form the cultural exchange foundation, to prevent Southeast Asian countries from feeling that they are regarded only as markets.

"We've never had this experience of seeing our culture spread outside our country," Mr. Kim said about Korea's modern history. "I'm very proud, but also very cautious."

At the New Fantasy Travel agency here, about 80 percent of travelers to South Korea pick television theme tours, visiting spots where their favorites dramas were filmed, said the general manager, Louis Wang.

Mr. Wang himself is not a huge fan. But his children, who are, now feel closer to South Korea than to the country that considers Taiwan a renegade province. "They've been learning the lifestyle of Koreans, their fashion and their food," Mr. Wang said. "So now they're more familiar with Korea's lifestyle than China's."