![]() Kkonminam (flower boy) characters-male protagonists with feminine, attractive appearances and playful, immature personalities-have been prominently employed, almost formulaically, to curate this appeal and highlight a caring and sensitive performance of masculinity. The entertainment medium of Korean dramas in particular has been described by scholars as being well-received for their “storylines rooted in real-life situations, characters that beat the odds, and definite ending.” In addition, the allure of distinctly chaste, fluffy depictions of romance in Korean dramas set them apart from many of their Western counterparts. ![]() Since the 1990s, South Korean culture has garnered increasing global popularity, notably driven by Hallyu, the export of Korean dramas and pop music. Keywords: South Korea, Korean drama, masculinity, modern gender roles Thus, the evolution of gender roles in Korean dramas, in conjunction with the genre’s global influence, provides insight to the relationship between entertainment and real-world gender narratives. ![]() In contrast, Sung-yoon Kim’s drama Itaewon Class, released in 2020, presents a new definition of masculinity governed by duty, morality, and a broader progressiveness and allyship with marginalized communities, which exists in tandem with contemporary South Korean campaigns for gender equality and the subversion of patriarchal norms. Hyung-min Lee, 2017) feature male protagonists who are limited to the masculinities of kkonminam and alpha males. Ki-sang Jeon, 2009) and Strong Girl Bong-soon (dir. Popular Korean dramas such as Boys Over Flowers (dir. Exemplified in pop music stars and the male leads of dramas, the Hallyu movement centered a “pretty boy” image that formed a dichotomy with the hegemonic style of masculinity which remained dominant in South Korea. ![]() ![]() Abstract: The Hallyu wave of the 1990s brought soft masculinity to the forefront of Korean entertainment. ![]()
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