THE INFLUENCE OF K-DRAMAS

(SQUID GAMES AND ALCHEMY OF SOULS)

ON THE BEHAVIOUR OF UNDERGRADUATE STUDENTS

IN LAGOS

BY
UME-EZEOKE, ADAOLISA CHRISTINE

19100111493

JUNE 2023
 THE INFLUENCE OF K-DRAMAS

(SQUID GAMES AND ALCHEMY OF SOULS)

ON THE BEHAVIOUR OF UNDERGRADUATE STUDENTS

IN LAGOS

BY
UME-EZEOKE, ADAOLISA CHRISTINE

19100111493

A Project submitted to the School of Media and

Communication, pan-Atlantic University, in partial fulfilment of
the requirements for the reward of the degree of Bachelor of
Science in Mass Communication.

i
 Abstract

The purpose of this study is to investigate how K-drama affects Nigerian undergraduates living
in Lagos. The study investigates how two Korean dramas, Alchemy of Souls and Squid Games,
affect different facets of their behaviour, such as social interactions, self-esteem, cultural
perceptions, and lifestyle preferences. For this study, a quantitative technique in the form of
online surveys is used to collect in-depth data from a broad sample of teenagers in Covenant
University, University of Lagos, and Augustine University via online platforms like WhatsApp
group chats. This study discovered that although the majority of the respondents are influenced
by the series in the aspects of fashion, tourism and language, watching the series does not blur
their awareness of reality. It can be concluded that undergraduate students are avid watchers of
Korean dramas, and they also influence the viewers, but only to a certain degree.

Keywords: K-drama, Nigerian youths, Influence, Teenagers

ii
 ACKNOWLEDGEMENTS
My utmost gratitude is to Almighty God who saw me through my stay in this university, guided

me through my project and helped me complete it. I am thankful to my mother and siblings for

all their support. I am grateful to the lecturers, classmates, and non-academic staff I encountered

throughout my stay in PAU (Pan Atlantic University) for all their support, however little. I am

also thankful to my supervisor, Dr. Sunday John, for all his guidance during the execution of this

project. I am also thankful for all the assistance given to me by Dr. Stanley Nwani and Mr.

Aifuwa. Finally, this is in memory of my father. May his soul rest in peace. Amen.

iii
 STUDENT’S DECLARATION

I have read and understood the School of Media and Communication Policy on plagiarism.

I declare that this dissertation/project is my own work and that all sources are fully referenced. I

also declare that I have not submitted this work for any other purpose.

Ume-Ezeoke Adaolisa Christine

19100111493

iv
 CERTIFICATION

I certify that this work was carried out by Ume-Ezeoke Adaolisa Christine in the School of

Media and Communication, Pan-Atlantic University, under my supervision

_______ ___________

Supervisor

School of Media and Communication

Pan-Atlantic University

Lagos, Nigeria
 v

TABLE OF CONTENTS

Title.................................................................................................................................................. i
Abstract.......................................................................................................................................... ii
Acknowledgements....................................................................................................................... iii
Student Declaration...................................................................................................................... iv
Certification....................................................................................................................................v
Table of Contents.......................................................................................................................... vi
Table of Figures.............................................................................................................................ix
CHAPTER 1
INTRODUCTION......................................................................................................................... 1
1.1: Background of the Study.................................................................................................... 1
1.2. Statement of the Problem....................................................................................................3
1.3 Research Objectives.............................................................................................................4
1.4 Research Questions..............................................................................................................5
1.5 Significance of the study......................................................................................................5
1.6: Scope of the Study.............................................................................................................. 7
1.7: Operational Definition of Terms.........................................................................................8
CHAPTER TWO
2.1: Conceptual Literature Review.......................................................................................... 10
2.1.1 Television Drama in Nigeria........................................................................................... 10
2.1.2. Korean Films and young adults..................................................................................... 11
2.1.3. Korean dramas in Nigeria.............................................................................................. 13
2.2: Empirical Literature Review.............................................................................................15
2.3: Methodical Literature Review:......................................................................................... 18
2.4: Findings from Literature Review......................................................................................20
2.5: Theoretical Framework....................................................................................................20
CHAPTER THREE
3.1: Research Design............................................................................................................... 24
3.2: Rationale for Method Chosen........................................................................................... 24
3.3: Study Population...............................................................................................................25
 3.4: Sampling Techniques and Sampling Size......................................................................... 25
3.5: Method of Data Presentation and Analysis.......................................................................27
CHAPTER 4
Chapter 4.1: FINDINGS FROM THE SURVEY AND FOCUS GROUPS............................ 28
Section A: Demographics:................................................................................................. 28
Section B: The Main Survey..............................................................................................30
vi
4.2: Discussion of Findings:.................................................................................................... 40
4.2.1 Research Objective One: Ascertain the level of viewership of Squid Games and/or
Alchemy of Souls by Nigerian youths............................................................................... 40
4.2.2 Research Objectives Two: Determine the reasons for viewership of Squid Games
and Alchemy of Souls by Nigerian youths........................................................................ 41
4.2.3: Research Objective Three: Determine the effect of exposure to Squid Games and
Alchemy of Souls on Nigerian youths............................................................................... 42
CHAPTER FIVE
5.1: Summary of Findings and Conclusion..............................................................................44
5.2: Recommendation:............................................................................................................. 46
References..................................................................................................................................... 46
APPENDIX:..................................................................................................................................51
 vii

LIST OF TABLES

Table 4.01 (Percentage of the gender of respondents)--------------------------------------------------28

Table 4.02 (Percentage of the age brackets of the respondents)---------------------------------------29
Table 4.03 (Percentage of the educational levels of the respondents)--------------------------------29
Table 4.04 (Percentage of respondents who watch K-Drama)-----------------------------------------30
Table 4.05 (Percentage of the number of series the respondents have watched in the past year)-30
Table 4.06 (Percentage of how often the respondents watch k-drama in a week)------------------31
Table 4.07 (Percentage of number of times the respondents have watched Alchemy of
Souls/Squid Games)----------------------------------------------------------------------------------------31
Table 4.08 (What the respondents enjoyed about the series)------------------------------------------32
Table 4.09 (Percentage of people whose personal fashion style has been affected after watching
the series)-----------------------------------------------------------------------------------------------------34
Table 4.10 (Percentage of people who wished to learn the language after watching the series)--34
Table 4.11 (Percentage of people whose perception of love and other relationship has been
affected by their series)-------------------------------------------------------------------------------------34
Table 4.12 (Percentage of respondents that made friends with people who love the series)------35
Table 4.13 (Percentage of people considering travelling to South Korea after watching the
series)----------------------------------------------------------------------------------------------------------35
Table 4.14 (Percentage of people who experience negative effects due to watching
K-dramas)-----------------------------------------------------------------------------------------------------36
Table 4.15 (Percentage of people who agree or disagree on the depiction of Korean culture in
K-dramas)----------------------------------------------------------------------------------------------------36
Table 4.16 (Percentage of people whose decisions were influenced by things they learned from
the series)----------------------------------------------------------------------------------------------------37
Table 4.17 (Percentage of people who recommended any or both of the series to a friend or
family member)---------------------------------------------------------------------------------------------37
ix
Table 4.18 (How often the respondents recommended the series)-----------------------------------38
Table 4.19 (Percentage of people who agree that K-drama affects teenagers’ mental health)---38
Table 4.20(K-drama affects teenagers’ mental health part 2)-----------------------------------------39
Table 4.21 (Percentage of people who felt pressure to keep up with K-drama series and
trends)------------------------------------------------------------------------------------------------------39
Table 4.22 (Percentage of people who agree that K-dramas’ popularity)-------------------------40
x
 CHAPTER 1:

INTRODUCTION

1.1: Background of the Study

Korean dramas like ‘Squid Game’ and ‘Hell Bound’ reignited the Nigerian populace’s

interest in Korean media. However, Korean entertainment always had a passionate fan base in

Nigeria. Nigerians have caught an interest in other parts of Korean culture, such as music

(K-pop), language, beauty, fashion, literature, history among other aspects.

Some Nigerians apply to be beneficiaries of the Korean Government Scholarship (now

Global Korean Scholarship), where if they qualify, they stand a chance to study at a Korean

university, either for undergraduate or postgraduate levels.

However, before all this, Korean dramas were the first point of contact Nigerians had with

South Korea. Around the year 2015, K-dramas became immensely popular in Nigeria when

several Nigerian TV stations became the first to begin showing them on their channels. It was no

surprise that these shows drew a following among Nigerians, who were attracted to the cultural

themes and unique storytelling of K-dramas. Currently, K-dramas are watched by a large number

of Nigerians and have become a staple part of the Nigerian television schedule. Around 2010,

there was a mania about Boys over Flowers, and Lee Min Ho, the lead actor, which never left.

The love for Lee Min Ho sparked a general interest in Korean movies and with other iconic

series such as Secret Garden, A Man Called God, Sungkyunkwan Scandal, the K2, City Hunter

as well as the consistency of other good series being released caused the Nigerian Korean drama

fandom to grow at a steady rate. However, there were also a sizable number of people who

disliked them, quoting the fact that their superficial romance plots and handsome male leads are

1
making young girls delusional and creating a false reality that was slowly leading to an

obsession.

The popularity of Korean dramas (K-dramas) has grown significantly around the world,

including in Nigeria. K-dramas are widely known for their unique plots, cinematography, and

cultural themes that appeal to a wide range of audiences. The drama, which touched on issues

that could be relevant even to indifferent Nigerians, such as mental health, illness, and suicide,

captured the attention of otherwise indifferent Nigerians. With the advent of digital platforms

such as Netflix and Viki, K-drama has become more accessible to Nigerian viewers, leading to

an increase in consumption.

Nonetheless, despite the rising popularity in K-dramas, little is known about how they

affect Nigerian viewers. Few research has looked at the effects of K-dramas on viewers from

other cultural backgrounds; instead, most studies on the impact of K-dramas have concentrated

on the Asian community.

Consequently, the purpose of this study is to investigate how K-dramas affect young adult

viewers in Lagos, including how attitudes, behaviours, and emotional reactions change. The

study will look into how much exposure Nigerian viewers have to K-dramas and which ones are

the most well-liked. The study will also look at how K-dramas have influenced Nigerian viewers'

sense of cultural identification.

2
1.2. Statement of the Problem

Several studies have examined the impact of K-dramas on teenagers, mainly in Asian

countries such as South Korea, China, and Japan. These studies examine the effects of K-drama

on a range of factors such as attitudes, behaviour and emotional responses.

Kim and Shim (2015) investigated the effects of K-drama on self-esteem and body

image of Korean teenage girls. The study found that exposure to K-drama had a positive effect

on teenage girls' self-esteem, particularly regarding their perceived physical attractiveness. But

the study also found that exposure to K-drama negatively affected teenage girls' body image,

increasing dissatisfaction with their weight and body shape.

Another study by Liao and Wu (2015) examined the effects of K-drama on romantic

beliefs and behaviours of Chinese teenagers. The study found that exposure to K-drama

significantly influenced the romantic beliefs and behaviours of Chinese teenagers, particularly in

relation to their expectations of romantic relationships and willingness to engage in romantic

behaviour.

A study by Chen and Chen (2016) investigated the impact of K-drama on the emotional

responses of Taiwanese teenagers. This study found that exposure to Korean dramas had a

significant impact on the emotional responses of Taiwanese teenagers, especially in relation to

emotional experiences such as happiness, sadness, and excitement. It also found that K-drama

exposure had a positive impact on social interaction and communication skills in Taiwanese

teenagers.

Finally, a study by Chang and Yoo (2018) investigated the impact of K-drama on the

social identity of Korean American teens. This study found that exposure to K-drama had a

3
positive impact on the cultural identity and social belonging of a Korean American in her teens,

leading to increased pride in her Korean heritage and other Korean Americans. I have found that

my social connections with people are stronger.

Taken together, these studies suggest that K-drama may have a significant impact on a

young adult's attitudes, behaviour, and emotional responses, especially romantic beliefs,

self-esteem, and cultural identity.

Upon extensive research, I discovered that research on Korean dramas, especially in the

African context, was pretty much impossible to find. I found some articles who were

conceptually similar to my topic. None of the articles however used Nigeria, or Africa in its

entirety, as a background for context or a case study, despite the media having a solid fanbase in

the geographical region. This study gap is what I wish to rectify with my research.

1.3 Research Objectives

This project seeks to achieve the following objectives:

1. Ascertain the level of viewership of Squid Games and/or Alchemy of Souls by Nigerian

youths.

2. Determine the reasons for viewership of Squid Games and Alchemy of Souls by Nigerian

youths.

3. Determine the effect of exposure to Squid Games and Alchemy of Souls on Nigerian

youths.

4
1.4 Research Questions

The questions being answered are:

1) What is the level of viewership of Squid Games and/or Alchemy of Souls by Nigerian

youths?

2) What are the possible reasons for viewership of Squid Games and Alchemy of Souls by

Nigerian youths?

3) What are the effects of exposure to Squid Games and Alchemy of Souls on Nigerian

youths.

1.5 Significance of the study

In recent years, Korean dramas, or K-dramas, have gained widespread popularity among

viewers around the world. Nigeria is not an exception. As a result, a study on the influence of

K-dramas in Nigeria is significant for several reasons.

This study would give an academic insight on the history and effect of Korean drama, and in

extension foreign drama in Nigeria on young Nigerians. This would help to understand and track

what viewers are looking for when they watch content, whether TV shows, TV series or movies.

It would be an introduction into what would hopefully be a surge of studies into the influence of

East Asian media in African society.

5
 The study can provide insight into the elements that influence K-dramas' appeal in Nigeria.

These may involve features like relatable plots, distinctive cultural components, and potent

character development. Content producers can adapt their works to appeal to Nigerian viewers

more effectively by understanding why K-dramas are popular with Nigerian audiences.

The study can look at how K-dramas have influenced Nigerian society and culture. The

study may, for instance, look into how watching K-dramas influences Nigerian viewers'

perceptions of things like gender roles, family dynamics, and love relationships. With the help of

this information, Nigeria and South Korea's cultures can share ideas and promote one another.

This would not only assist filmmakers in reviewing their present work and using some

techniques used by Korean filmmakers to create visually appealing shows. Also, policymakers

would benefit from it since it would provide them with more knowledge about how and why

foreign media continues to attract large audiences despite Nollywood's rapid advancements and

how to use that knowledge to develop supportive regulations for the Nollywood sector.

Studying how K-dramas affect Nigerian viewers might help build effective media policies

that support cultural diversity and tolerance as well as insights into the function of media in

forming cultural identity. This study will finally add to the scant literature on K-drama audiences

from non-Asian cultural backgrounds and lay the groundwork for more research in this area.

6
1.6: Scope of the Study

My research participants will be young adults (people between the ages of 18 and 29

according to the new youth policy of 2019) from three universities located in Lagos state. The

research will rely on quantitative data, specifically online surveys distributed to students. The

study's goal is to gain a comprehensive understanding of the intricate details that attract and

retain the loyalty of young viewers in a society that appears to have a rapidly dwindling attention

span, and how manipulating that loyalty can affect the viewers' behaviour in the short and long

run.

There are several potential limitations to a study on the impact of K-Drama in Nigeria,

including:

● Bias in self-report: The study relies on participants accurately reporting their K-Drama

behaviours and attitudes. However, participants' responses may be biassed, or they may

not accurately recall their behaviours or attitudes.

● Cultural differences: Nigeria has a distinct cultural context that may have an impact on

how K-Drama is perceived and consumed. Certain cultural norms or beliefs, for example,

may influence how people perceive the content of K-Dramas or interact with media.

● Language barriers: Many K-Dramas are not available in Nigerian languages or with

Nigerian subtitles, limiting the media's accessibility to non-English speakers.

● Limited research: There may be a scarcity of existing research on the impact of

K-Drama in Nigeria, which may limit the study's ability to draw accurate conclusions or

make meaningful comparisons with other countries or media.

7
 ● Social desirability bias: Participants may be swayed by social norms and provide

answers that they believe are socially desirable rather than their true opinions or

behaviours, limiting the accuracy of the data collected.

● Methodological limitations: The study may have methodological limitations, such as a

small sample size, a lack of a control group, or a lack of randomization, all of which may

have an impact on the validity of the results.

● Difficulty in finding and convincing the respondents.

● My required number of respondents was 398 respondents, but I was only able to get 326

respondents.

1.7: Operational Definition of Terms

A. Attitudes: A psychological construct referring to a person’s positive or negative

evaluation of an object, person, or emotional response.

B. Behaviour: Refers to observable actions or responses by an individual, such as changes

in daily habits or routines.

C. Effect: Refers to the impact or influence that K-dramas have on the viewers, such as

changes in attitudes, behaviour, or emotional responses.

D. Emotional responses: Refers to the range of feelings and reactions experienced by an

individual in response to K-dramas, such as happiness, sadness, or excitement.

8
E. Exposure: Refers to the amount of time spent watching K-dramas, including the

frequency, duration, and types of K-dramas watched by the viewers.

F. Hallyu Wave: This refers to the widespread popularity of South Korean entertainment

and culture in various parts of the world. It began in the late 1990s and has grown into a global

cultural phenomenon. The term “Hallyu” is a combination of the Korean words for “Korean”

(han) and “flow” (ryu), meaning the flow of Korean culture throughout the world. It started with

the proliferation or Korean television dramas, or K-Dramas as it is popularly known as, then led

to an interest in Korean pop music or “K-Pop,” which has also gained a significant following,

with the rise of groups like BTS, BlackPink, BigBang, Twice among others. It has also led to an

interest in Korean fashion, cuisine, and beauty products. The Korean government has actively

supported the Wave, creating programmes to promote Korean language and culture worldwide.

G. Influence: In this context, it refers to the effect or the impact K-dramas have on the

viewers.

H. Korean drama: They are series produced in South Korea. Typically, they consist of

multiple episodes and follow dramatic storylines. They can be of different genres but are

famously known for their romantic comedy genre.

9
 CHAPTER TWO:

LITERATURE REVIEW
2.1: Conceptual Literature Review

In this section, I will discuss previous academic articles done on concepts related to my

project topic, which are television drama, Korean films, Nigerian youths.

2.1.1 Television Drama in Nigeria

Television drama can be defined as a series whose plot usually involves dramatic events.

They are usually shown on television in episodic form (is shown in episodes). Foreign television

drama has had a long history with Nigeria, dating back to the 1960s, when the country gained

independence from Britain. Series such as "The Saint" and "Z-Cars" were introduced by the

Nigerian Broadcasting Corporation. They were from the United Kingdom, and the Nigerian

audience appreciated the high production values and quality acting.

Nigerian television stations began to produce their own drama series in the 1970s, but

foreign dramas remained popular. American shows such as "Dallas" and "Dynasty" were

especially popular among Nigerian viewers, who were captivated by the lavish lifestyles

depicted in these shows.

The proliferation of satellite television in Nigeria during the 1990s made it easier for

Nigerians to access foreign television dramas from all over the world. As a result, there has been

an increase of foreign drama series, particularly from India and Latin America. Indian dramas, in

particular, grew in popularity in Nigeria, with shows such as "Kumkum Bhagya" and "Jodha

Akbar" gaining a large audience.

10
2.1.2. Korean Films and young adults

(Marasign & Salazar, 2016) look at the appeal and influence of Korean dramas on young

Filipino audiences in their study named, Exploring the Appeal and Influence of Korean Dramas

on Filipino Adolescent Viewers. The study looks at the emotional effects it has on people and

investigates the reasons for their interest in Korean dramas. The article also takes into account

how viewers' perceptions of relationships and cultural values may be influenced by Korean

dramas. This study explores the effects of Korean dramas on young Filipino viewers, providing

significant new information about how cross-cultural media consumption habits affect young

people.

(Yoke & Jamil, 2022), this study aims to look into how Korean drama (K-drama) affects

Malaysian youth in terms of both good and negative influences. As K-dramas gain popularity, it

is critical to understand whether their influence poses any risks and what kind of impact it might

have on today's youth. A quantitative online survey with a total of 49 participants was used to

perform the study, and descriptive statistics were used for analysis. The findings showed that

while watching K-dramas had both positive and negative effects on Malaysian youths, the

positive effect outweighed the negative effect, indicating that positive rather than negative effects

were more prevalent.

11
 (Indrawan et al., 2022) focuses on how Indonesia's generation Z has been affected by

Korean dramas in terms of linguistic and behavioural changes. Data were gathered using online

interviews and questionnaires as part of a mixed methodology study. The collected data is given

a descriptive analysis and tabular presentation. According to the findings of the research,

generation Z residents are influenced by Korean dramas to adopt a similar lifestyle and linguistic

style. The study recommended good interaction with domestic content to prevent Generation Z

residents from swaying to the Korean wave.

(Prasopsorn & Panmanee, 2019) discussed the impact of the Korean Wave on Thailand

since the turn of the twenty-first century, using examples of well-known occurrences to highlight

the societal and economic implications. The methods and framework for the primary research,

which involved interviewing 16 young Thai consumers about their perspectives on Korean

television entertainment (in particular, dramas), and how it affected their attitudes toward Korean

culture, were presented along with a review of the relevant literature. According to the author's

interviews, this group has an unfavourable opinion of domestic dramas. The majority of the

interviewees said that their affinity for Korean dramas and/or music made them more

appreciative of Korean culture as a whole. A few people's desire to visit South Korea and learn

more about its culture was realised as a result of this.

12
 (Fortunata & Utami, 2021) discussed how Indonesian audiences, especially adolescent

Korean fans who still frequently exhibit easily influenced traits and emulate their role models,

get increasingly addicted by the popularity of Korean dramas. The purpose of this study is to

ascertain how adolescent imitation behaviour is impacted by K-Drama viewing addiction. Two

variables—the variable addiction to viewing and the variable imitation behaviour—are present in

this study. The survey method is used in a quantitative research strategy. The simple linear

regression test, T-test, and examination of the coefficient of determination (R2) were all

employed in the data analysis process. The attention dimension was the one with the highest

value in the outcome of the viewing addiction variable.

(Mutahar et al., 2019) analysed reality views of the event depictions on Korean TV

dramas among them and to explore how people relate to this drama, such as realism perceptions

and identity, based on questionnaire responses from a purposive sample of 400 Jordanian young

viewers. The findings showed that the gender of the viewer has an effect on their level of

viewing and sentiments toward it. Their results also showed that sentiments toward this drama

are influenced by how intensely it is watched. The perceived reality rate of this drama is

unaffected by this intensity, nevertheless.

13
 2.1.3. Korean dramas in Nigeria

Korean dramas, or K-dramas, have grown in popularity in Nigeria over the last decade. The

stories, plot twists, and unique culture portrayed in these shows have captivated Nigerian fans of

K-dramas. They first gained prominence in Nigeria in the early 2000s, when shows like Winter

Sonata and Stairway to Heaven were broadcast. These dramas were first broadcast on Nigerian

television networks such as NTA and AIT, and their success paved the way for more K-dramas to

be broadcast in the country.

With the rise of online streaming platforms such as YouTube and Netflix in the mid-2000s,

K-dramas gained even more popularity in Nigeria. Nigerian viewers now have access to a

broader selection of Korean dramas, including both new releases and old favourites.

One of the factors Nigerian fans value is the unique cultural elements depicted in

K-dramas, such as traditional clothing, food, and music.

The quality of production is another factor that contributes to the popularity of K-dramas in

Nigeria. Korean dramas are known for their high production values, which include breath-taking

cinematography and elaborate sets. Nigerian viewers appreciate the attention to detail and effort

put into creating a compelling viewing experience in these shows.

Korean dramas have also gained popularity in Nigeria as a result of Nigerian fans' active

participation on social media (Tayo, 2020). Nigerian viewers discuss and share their favourite

K-dramas on social media platforms such as Twitter and Instagram, which helps to build a fan

base. Many Nigerian viewers have also begun to learn Korean, which has helped to deepen their

appreciation for K-dramas.

14
2.2: Empirical Literature Review

As I mentioned, I will be discussing some academic articles that are related to my chosen

topic. The only research papers I could find that used Nigeria as its scope paid attention to

‘foreign materials’ in general and did not specifically talk about Korean dramas.

Olatunji & Soyele (2015) investigated the impact of foreign television programmes on

the social behaviour of Nigerian youths in this study. The authors proposed that the Nigerian

government and parents monitor the content of foreign television programmes available to young

people in order to reduce the negative effects of such programmes on their social behaviour.

Adesina (2017) investigated the impact of foreign television programmes on Nigerian

youths in this study. According to the findings of the study, exposure to foreign television

programmes had a significant impact on the attitudes and behaviours of Nigerian youths. The

study suggests that regulations be put in place to ensure that foreign television programmes

available to young Nigerians do not have a negative impact on their attitudes and behaviours.

Ojo (2013) investigated the impact of foreign media on Nigerian youths in this study. The

study discovered that exposure to foreign media increased materialism, individualism, and

decreased traditional values among young Nigerians. The study also discovered that foreign

media had a significant impact on young Nigerians' language and fashion. According to the

study, policies should be put in place to ensure that foreign media does not have a negative

impact on the cultural values and traditions of Nigerian youth.

15
 Ogwezzy & Ezechukwu (2017) investigated the impact of foreign media on Nigerian

youths in their study. Exposure to foreign media, according to their findings, increased the desire

for material possessions, western lifestyles, and individualism. The study also discovered that

exposure to foreign media reduced traditional Nigerian values such as respect for elders, family

values, and communalism. The study concludes that foreign media has both positive and

negative effects on Nigerian youths.

Adebayo & Oguntade (2019) investigated the impact of foreign media on Nigerian

youths in their exploratory study. The study discovered that exposure to foreign media caused

Nigerian youths to adopt foreign languages, dress styles, and lifestyles. The study did discover,

however, that exposure to foreign media harmed appreciation of Nigerian culture and identity.

The study concluded that foreign media has both positive and negative effects on Nigerian

youths, with the effects depending on the type of media content and the youth's individual

characteristics.

Ojebode (2012) examined the impact of globalisation and foreign media on Nigerian

culture from a Nigerian perspective in his article. According to the author, the dominance of

Western media content in Nigeria has resulted in cultural imperialism as well as the erosion of

traditional Nigerian values and identity. According to Ojebode, foreign media content frequently

portrays Western culture as superior and desirable while demeaning or ignoring African cultures.

The author also stated that the proliferation of foreign media content has resulted in the

homogenization of global culture, with local cultures increasingly resembling Western culture.

Ojebode suggested that, in the face of globalisation and foreign media dominance, Nigeria

should develop policies and strategies to protect and promote its cultural identity.

16
 Omotayo & Abiodun (2018) investigated the influence of foreign media on Nigerian

youths in selected universities in southwest Nigeria in their study. The study discovered that

exposure to foreign media had both positive and negative effects on Nigerian youth attitudes,

values, and behaviour. The study discovered that exposure to foreign media increased knowledge

and awareness of global events and trends, as well as self-expression and confidence. However,

the study discovered that exposure to foreign media reduced appreciation for Nigerian culture

and values.

Adeniji & Akinola (2016) investigated the attitudes of Nigerian youth towards foreign

films. According to the study, while Nigerian youth enjoyed foreign films, they preferred locally

produced films. The study concludes that, while Nigerian youth enjoy foreign films, they prefer

locally produced films that reflect their cultural values and experiences.

Adewoyin & Ogunyemi (2017) looked at Nigerian moviegoers' attitudes towards

Hollywood films in this study. While Nigerian audiences enjoyed Hollywood films, they

preferred Nigerian films because they were more culturally relevant, according to the study.

These studies indicate that, while Nigerian youth enjoy foreign films, they prefer locally

produced films that reflect their cultural values and experiences.

17
2.3: Methodical Literature Review:

Following the same order as the previous sub-section, an analysis will be made on the

methodology of the articles and the possible reasons why those methods were selected.

Olatunji and Soyele (2015) used a survey to conduct their research. They polled 350

undergraduate students at a Nigerian university and discovered that exposure to foreign

television shows was significantly associated with changes in young Nigerians' social behaviour.

They discovered that exposure to foreign television shows increased aggression, sexual

promiscuity, drug use, and materialism among Nigerian youths.

Adesina (2017) collected data from 200 undergraduate students at a Nigerian university

using a survey method. According to the findings of the study, exposure to foreign television

programmes had a significant impact on the attitudes and behaviours of Nigerian youths. The

study discovered that exposure to foreign television shows increased materialism, westernisation,

and a decrease in cultural values among young Nigerians.

Ojo (2013) used a questionnaire to collect information from 300 Nigerian youths aged 15

to 30. The study discovered that young Nigerians' exposure to foreign media was associated with

changes in their values, beliefs, and attitudes. The study discovered that exposure to foreign

media increased materialism, individualism, and decreased traditional values among young

Nigerians.

18
 Ogwezzy & Ezechukwu (2017) used a survey design to collect data from 320 respondents

aged 15 to 35. The study discovered that exposure to foreign media had a significant impact on

Nigerian youth attitudes, values, and behaviour. Exposure to foreign media, in particular,

increased the desire for material possessions, western lifestyles, and individualism. The study

also discovered that exposure to foreign media reduced traditional Nigerian values such as

respect for elders, family values, and communalism. Overall, the study indicates that foreign

media has both positive and negative effects on Nigerian youths, and that these effects vary

depending on the type of media content consumed and the context in which it is consumed.

Adebayo & Oguntade (2019) took a qualitative approach, collecting data through

in-depth interviews with 20 Nigerian youths aged 18 to 35. The study's findings revealed that

exposure to foreign media had a significant impact on Nigerian youths' language, culture, and

identity. The study discovered that exposure to foreign media caused Nigerian youths to adopt

foreign languages, dress styles, and lifestyles. The study, however, discovered that exposure to

foreign media had a negative impact on appreciation of Nigerian culture and identity.

Omotayo & Abiodun (2018) used a quantitative approach to collect data from 150

Nigerian youths aged 18 to 25 years old. The study discovered that exposure to foreign media

had both positive and negative effects on Nigerian youth attitudes, values, and behaviour. The

study discovered that exposure to foreign media increased knowledge and awareness of global

events and trends, as well as self-expression and confidence. However, the study discovered that

exposure to foreign media decreased appreciation for Nigerian culture and values while

increasing materialism and individualism.

19
2.4: Findings from Literature Review

In summary, all these research papers prove that foreign media indeed has an effect on

teenagers, especially in regard to their actions and perceptions of the world around them. They

also highlight the importance of regulation, in order to ensure that the negative effects do not

outweigh the good ones.

2.5: Theoretical Framework

The purpose of this section is to provide a look into the theories that show the potential

effects of the media on the attitudes, behaviour, and emotional responses of its viewers. The

theories I will employ for the purpose of this research are Uses and Gratifications theory,

Cultivation theory, and Social Learning theory.

The Theory of Uses and Gratifications is a communication theory that explains why people

use media and what gratifications they seek from it. Social scientists such as Elihu Katz, Jay

Blumier, and Denis McQuail proposed it in the 1940s and 1950s. Instead of being passive

recipients of media messages, the theory proposes that people actively seek out and use media to

satisfy their needs and desires.

According to the theory, people use media for a variety of reasons, including entertainment,

information, social interaction, personal identity, and escape from reality. According to the

theory, viewers are selective in their media consumption and use it to meet specific needs. For

example, one person may watch the news to stay informed about current events, use social media

to connect with friends, or watch a movie to escape from reality for a while, whereas another

may watch the news for entertainment, use social media to stay informed about something

happening at the time, and watch movies to learn more about a place or culture.

20
 According to the uses and gratifications theory, the gratification people seek in the media is

influenced by individual factors such as personality, values, and beliefs, as well as other factors

such as their mood and context. For example, a student who wants to study more will seek

educational media, whereas someone who wants to relax will seek entertainment media.

One of the most important aspects of this theory is its emphasis on the active role of media

users. It challenges the conventional view of media as a one-way process in which messages are

delivered to passive audiences. Instead, the theory emphasises the importance of audience

agency, arguing that media consumption should be a dynamic, two-way process in which

audiences actively engage with and make sense of media messages. This theory can be applied to

K-dramas consumption, as Nigerian viewers may be drawn to these shows because of their

unique storylines, cinematography, and cultural themes. Furthermore, viewers may be watching

K-dramas to satisfy emotional needs such as entertainment, escape, and emotional connection.

In conclusion, by recognizing that media consumers are active and selective in their media

consumption, uses and gratifications theory provides insights into the ever-complicated

relationship between the media and its audience.

21
 The cultivation theory is a social theory that contends that long-term exposure to media

content can gradually shape and influence an individual's beliefs, attitudes, and worldview.

Although George Gerbner and his colleagues proposed it in the late 1960s, it was developed over

decades of research on the effects of television on audiences. According to the theory, people

who have been exposed to a certain level of television content over time are more likely to

develop a worldview that reflects the values, norms, and expectations portrayed on television. It

may differ from reality, but it becomes the viewer's reality as a result of the viewer's exposure to

that media content. It implies that how certain groups and situations are portrayed in the media

affects how viewers perceive and interact with those groups and situations in real life. K-dramas,

for example, give South Korea a fantasist air, with every guy being handsome and

well-mannered. Tourists, on the other hand, discover that it is just like any other country. This

theory can be applied to K-dramas because they expose Nigerian viewers to Korean cultural

themes and values, which can influence their perception of their own culture and social norms. It

can also help with national branding, as it has been proven to be a success factor in South Korea.

The social learning theory is a primarily psychological theory that emphasises the

importance of social contact, imitation, and observation in the acquisition and evolution of

behaviour. According to the hypothesis, people pick up information about their surroundings by

watching what others do and observing the results of those activities, including any rewards or

penalties. It was established by psychologist Albert Bandura.

22
 The social learning hypothesis states that learning takes place through a process known as

observational learning or modelling. Four essential elements are involved in this process:

motivation, retention, reproduction, and attention. People first focus on the behaviour they see in

other people. This focus is affected by things like how relevant, appealing, or similar the model

is thought to be. After the conduct has been noticed and addressed, the individual remembers the

details through cognitive processes like encoding and rehearsal. The remembered details act as a

mental image of the observed activity that can then be imitated. The ability of the individual to

imitate or duplicate the observed behaviour is referred to as reproduction. This theory was one of

the theories that proved the power of the media consumed by the public and is commonly used in

discussions on how children and young adults imitate what is shown on the media.

In conclusion, this study can investigate the impact of K-dramas on attitudes, behaviour,

and emotional responses among Nigerian viewers by using theoretical frameworks such as the

Uses and Gratifications theory, Cultivation theory, and Social Learning theory.

23
 CHAPTER THREE

3.1: Research Design

The study will be employing a quantitative research method, using quantitative data

from surveys administered to a diverse sample of youths. This is because the researcher's goal is

to test the effectiveness of K-drama on the Nigerian adolescent population, and it is the most

effective way to analyse such data. In order to attract respondents, the research will be conducted

using online questionnaires, specifically a Google form that will be posted on fan group chats on

social networking apps such as WhatsApp and Telegram.

3.2: Rationale for Method Chosen

The following are the reasons for choosing this research instrument:

A. It is the most affordable. Given the country's economic situation, printing copies of the

research survey and distributing them to my respondents will be costly, even though it is

the most appropriate method of distribution to use. Online surveys are the most effective

method because they are distributed to a large number of people.

B. It is extremely convenient for respondents to respond and submit them without having to

travel to any location to submit the copies.

C. It is much easier to collect and analyse survey responses. There are even options for

displaying the results in various formats, such as graphs, pie charts, and so on.

24
3.3: Study Population

I chose three universities in Lagos as my study population in order to effectively represent

my population. This is because Lagos is regarded as the country's economic and cultural centre,

with people travelling from all over the country to study or conduct business. My target audience

consists of teenagers and young adults aged 15 to 35, which roughly corresponds to the age

grade of university students. I chose the University of Lagos (55,000 students), Lagos State

University (35,000 students), and Augustine University for my research (1,508 students). To

distribute the questionnaire, email, and social media platforms such as WhatsApp would be used

to distribute the emails. My selection criteria for the focus group are respondents in 200 level and

above who have actively watched K-dramas for up to or more than a year. Descriptive analysis

would be used to explain and apply the data to the research problem.

3.4: Sampling Techniques and Sampling Size

For this study, simple random sampling will be used. Simple random sampling is a

research sampling method in which the study sample is drawn at random from the study

population (Mahmutovic, 2022). This is to ensure that all areas of my study population are

represented equally. This method is not only the cheapest and most convenient, but it also

eliminates any form of bias from the sampling because the respondents are chosen at random. It

also provides an important level of confidence in the survey results.

After calculations, my expected sample size is 398 respondents, with a confidence level of 90%

and an error margin of 5%. This was using Yamane’s sample size formula.

25
The formula is as follows:

N= N/1+N(e)2

Where:

n is the required sample size.

N is the population size.

e is the margin of error.

Let's calculate the sample size using the provided values:

Population size (N) = 91,508

Population proportion (p) = 50% or 0.5

Confidence level (C) = 90% or 0.9

Margin of error (e) = 5% or 0.05

n = 91508/ 1+91508(0.05)2

n = 91508/1+91508(0.0025)2

n = 91508/1+228.77

n = 91508/229.77

n ≈ 398

26
Therefore, the sample size required using Yamane's formula for a population of 91,508 people,

with a population proportion of 50%, a confidence level of 90%, and a margin error of 5% is

approximately 398.

3.5: Method of Data Presentation and Analysis

After data collection from respondents, the SPSS software would be used to analyse the

data. This is due to the fact that it was very easy to use and was the most suitable for the type of

data I collected, which was quantitative. I chose descriptive analysis under the SPSS because it is

best suited to this type of research, which is looking into the relationship between two variables.

It was chosen because it is a valuable tool for developing hypotheses during the research process.

To further ease understanding, tables will be used to present the acquired data. I chose tables for

my method of data presentation because it is concise and presents the data comprehensively.

27
 CHAPTER 4

Chapter 4.1: FINDINGS FROM THE SURVEY AND FOCUS GROUPS

As stated earlier, the project was done to achieve the following objectives:

1. Ascertain the level of viewership of Squid Games and/or Alchemy of Souls by Nigerian

youths.

2. Determine the reasons for viewership of Squid Games and Alchemy of Souls by Nigerian

youths.

3. Determine the effect of exposure to Squid Games and Alchemy of Souls on Nigerian

youths.

To achieve this, the researcher conducted an online survey and sent them on online social

platforms where people from the universities my sample audience were on. I used social media

applications like WhatsApp and Twitter to increase the interest in my survey, so a lot of Korean

drama viewers and lovers would be aware and participate.

28
Section A: Demographics:

Table 4.01: Percentage of the gender of respondents.

Frequency Percentage
Male 80 24.5
Female 246 75.5
Total 326 100.0

Table 4.01 shows the gender of the respondents. It shows that 246 of the 326 respondents are

female, while the remaining 80 are male. It can also be inferred from the Table above that 75%

of the respondents are female, while 24% are male. In conclusion, more females filled the

survey. This proves the hypothesis that more women watch more K-drama than men, which to a

major extent is due to it formerly being marketed to women as it had mainly melodrama and

romance themes, which are traditionally loved by females.

Table 4.02: Percentage of the age brackets of the respondents.

Frequency Percentage
18 – 25 years 133 40.8
25 – 30 years 140 42.9
30 years and 53 16.3
above
Total 326 100.0

Table 4.02 shows the age bracket each respondent falls under. It shows that 140 of the total

respondents were between 25 to 30 years of age, while 133 of the respondents were between 18

to 35 years of age and 53 of the respondents were 30 years old and above. It can be inferred that

the majority of the respondents (42%) are between the ages of 25 to 30 years of age.

29
 Table 4.03: Percentage of the educational levels of the respondents
Frequency Percentage
Undergraduate 213 65.3
Post-Graduate 84 25.8
Other 29 8.9
Total 326 100.0

Table 4.03 shows the breakdown of the educational levels of the respondents. Majority of the

respondents (65.3%) are in an undergraduate program, 25.8% are in a post-graduate program,

while 8.9% of the respondents are in other programs.

Section B: The Main Survey

Table 4.04: Percentage of respondents who watch K-Drama

Frequency Percentage
Yes 326 100.0
No 0 0.0
Total 326 100.0

Table 4.04 shows the number of respondents who watch K-dramas. All 326 respondents

indicated that they watch Korean dramas. Therefore, only Korean drama viewers filled the

survey.

30
 Table 4.05: Percentage of the number of series the respondents

have watched in the past year

Frequency Percentage
2 – 5 dramas 64 19.6
6 – 10 dramas 92 28.2
12 – 30 dramas 86 26.4
30 dramas and 84 25.8
above
Total 326 100.0

Table 4.05 shows the number of series that have been watched by the respondents in the

previous year. Majority of the respondents watched between 6 to 10 dramas in the past year,

accounting for 28.2% of the total respondents in the Table above. 86 respondents watched

between 12 to 30 dramas, representing 26.4% of the respondents. 84 respondents (25.8%)

watched 30 dramas and more the previous year, while only 64 respondents (19.6%) watched

between 2 to 5 Korean dramas.

Table 4.06: Percentage of how often the respondents watch

k-drama in a week

Frequency Percentage
1 – 2 hours 78 23.9
3 – 4 hours 102 31.3
4 – 5 hours 60 18.4
5 hours and 86 26.4
above
Total 326 100.0
Table 4.06 shows the hourly viewership of K-dramas in a week. 102 (31.3%) of the respondents

watch K-dramas for 3 to 4 hours a week. Following behind is 26.4% of the respondents (86),

who spend 5 hours or more a week watching K-dramas. 23.9% of the population (78) spend 1 to

2 hours a week, and 18.4% (60) spend 4 to 5 hours each week watching K-dramas.

31
 Table 4.07: Percentage of number of times the respondents have

watched Alchemy of Souls/Squid Games

Frequency Percentage
Once 200 61.3
Twice – four 118 36.2
times
Five times plus 8 2.5
Total 326 100.0

Table 4.07 shows how many times the respondents have watched the two series since its

release. Majority of the respondents (200;61.3% of the total respondents) watched it once since

its release. The second most picked option was twice to four times, which was chosen by 118 of

the respondents. Only 8 of the respondents watched the series up to five times or more.

Table 4.08: What the respondents enjoyed about the series

Actors alone
Storylines alone
Fashion alone
OSTs alone
Themes alone
Storylines and Themes
Storylines and Fashion
Actors and Fashion
Actors and OST
Fashion and Themes
Storylines and OST
Actors and Storylines
Fashion and OST
Frequency Percentage
8 2.52%
35 11.01%
29 9.12%
3 0.94%
0 0.00%
2 0.63%
5 1.57%
5 1.57%
2 0.63%
1 0.31%
5 1.57%
16 5.03%
6 1.89%

32
 Actors, Fashion and OST 4 1.26%
Storylines, OST, and 1 0.31%
Themes
Actors, Fashion and 1 0.31%
Themes
Storylines, Fashion and 8 2.52%
Themes
Storylines, Fashion and 12 3.77%
OSTs
Actors, Storylines and 15 4.72%
Fashion
Actors, Storylines and OST 16 5.03%
Actors, Storylines and 25 7.86%
Themes
Storylines, Fashion, OST 4 1.26%
and Themes
Actors, Fashion, OST, and 2 0.63%
Themes
Actors, Storylines, OST, 10 3.14%
and Themes
Actors, Storylines, Fashion 13 4.09%
and Themes
Actors, Storylines, Fashion 27 8.49%
and OSTs
Actors, Storylines, Fashion, 63 19.81%
OSTs and Themes (All 5)
Total 326 100%

Table 4.08 shows an array of the respondents’ opinions on what they loved about the two series.

The majority of the respondents (19.81%, 63 of the respondents) said they loved everything

about the series, while none of the respondents picked themes alone.

33
 Table 4.09: Percentage of people whose personal fashion style has

been affected after watching the series

Frequency Percentage
Yes 173 53.1
No 104 31.9
Maybe 49 15.0
Total 326 100.0
Table 4.09 analyses the respondents’ response to the above question. Majority of them

responded ‘Yes,’ making up 53.1% of the total responses while 49 (15%) of the respondents

were indecisive.

Table 4.10: Percentage of people who wished to learn the language

after watching the series

Frequency Valid Percent

Yes 165 50.6
No 84 25.8
I considered it 77 23.6
Total 326 100.0
Table 4.10 analyses the respondents answers to the question above. Majority of the respondents

(50.6%) tried to learn the language after watching the series, 25.8% did not try to learn while

23.6% considered learning the language.

34
 Table 4.11: Percentage of people whose perception of love and other

relationship has been affected by their series

Frequency Percentage
Yes 56 17.2
No 270 82.8
Total 326 100.0

Table 4.11 analyses the respondent’s answers to the question above. Majority of the respondents

(82.8%) felt that watching the series did not affect their perception of love and interpersonal

relationships, while the remaining 17.2% thought otherwise.

Table 4.12: Percentage of respondents that made friends with people

who love the series

Frequency Percentage
Yes 232 71.2
No 94 28.8
Total 326 100.0

Table 4.12 analyses the responses to the inquisition above. 71.2% of the respondents made

friends with people who share love for the series, while the remaining 28.8% did not.

35
 Table 4.13: Percentage of people considering travelling to South

Korea after watching the series

Frequency Percentage
Yes 244 74.8
No 82 25.2
Total 326 100.0
Table 4.13 analyses the answers to the above question. Majority of the respondents (74.8%)

indicated that after watching the series, they wanted to travel to South Korea or other countries

where K-dramas are filmed, while the other 25.2 % never considered that.

Table 4.14: Percentage of people who experience negative effects due to

watching K-dramas

Frequency Percentage
Yes 74 22.7
No 252 77.3
Total 326 100.0
Table 4.14 analyses the responses to the above question. Majority of the respondents (77.3%)

indicated that they have not experienced any negative effects from watching K-dramas

excessively, while 22.7% of the respondents have experienced negative effects due to watching

K-dramas.

36
 Table 4.15: Percentage of people who agree or disagree on the

depiction of Korean culture in K-dramas

Frequency Percentage
Yes 150 46.6
No 172 53.4
Total 322 100.0

Table 4.15 analyses the responses to the above question. The majority of the respondents

(53.4%) believe that K-dramas do not accurately depict Korean culture and society. While 46.6%

of the respondents think that K-dramas accurately depict South Korea.

Table 4.16: Percentage of people whose decisions were influenced by

things they learned from the series

Frequency Percentage
Yes 129 39.6
No 197 60.4
Total 326 100.0
Table 4.16 analyses the responses to the above question. The majority of the respondents

(60.4%) have not been influenced by the series in decision making. However, 39.6% indicated

that something they learnt from watching the two series has influenced a decision they have

made before.

37
 Table 4.17:Percentage of people who recommended any or both of the

series to a friend or family member.

Frequency Percentage
Yes 275 84.4
No 51 15.6
Total 326 100.0
Table 4.17 analyses the responses to the above question. The majority of the respondents

(84.4%) have recommended the series to their friends or family members, while 15.6% of the

respondents did not.

Table 4.18: How often the respondents recommended the series

Frequency Percentage
Rarely 59 18.1
Sometimes 122 37.4
Usually 87 26.7
Always 58 17.8
Total 326 100.0
Table 4.18 analyses how often the respondents who recommended the two series did so. 37.4%

of the respondents, which is the majority, responded that they do so sometimes. 26.7% said they

recommend it usually, 18.1% rarely recommended the series, while 17.8% of the respondents

always recommend them.

38
 Table 4.19: Percentage of people who agree that K-drama affects

teenagers’ mental health

Frequency Percentage
Yes 269 82.5
No 57 17.5
Total 326 100.0

Table 4.19 analyses the respondents’ opinion on the impact of K-dramas on the mental health of

teenagers. 82.5% of the respondents responded that they believe k-dramas have an impact on the

mental health of teenagers, while 17.5% responded otherwise.

Table 4.20: Percentage of people who agree that K-drama affects

teenagers’ mental health (part 2)

Frequency Percentage
Positive 62 19.0
Negative 57 17.5
A mix of both 207 63.5
Total 326 100.0
Table 4.20 is a continuation of the previous question on the impact of K-dramas on the mental

health of teenagers. Majority of the respondents (63.5%) believed it was a mixture of both

positive and negative impacts, 19% believed K-dramas affected teenagers’ mental health in a

positive way, while 17.5% of the respondents thought K-dramas had a negative impact on the

mental health of teenagers.

39
 Table 4.21: Percentage of people who felt pressure to keep up with

K-drama series and trends

Frequency Percentage
Yes 105 32.2
No 221 67.8
Total 326 100.0
Table 4.21 analyses the respondents’ opinions on if they feel pressure to keep up with new

k-drama series or trends. The majority of the respondents (67.8%) responded that they did not

feel any pressure to keep up with the latest k-drama trends or series, while 32.2% responded that

they felt the pressure to keep up with them.

Table 4.22: Percentage of people who agree that K-dramas’ popularity

is growing

Frequency Percentage
Yes 287 88.0
No 39 12.0
Total 326 100.0

Table 4.22 analyses the respondents’ opinions on the growth of the popularity of K-dramas. 88%

of the respondents believe that the popularity of K-dramas would grow over time, representing

the majority of the respondents. 12% of the respondents, however, do not hold the same opinion.

40
4.2: Discussion of Findings:

4.2.1 Research Objective One: Ascertain the level of viewership of Squid

Games and/or Alchemy of Souls by Nigerian youths.

Based on the analysis to responses to Questions 4 to 7, which asked for:

a. if the respondents watch K-drama,

b. how many series the respondents have watched in the past year,

c. how many hours they spend a week watching K-dramas

d. and how many times they watched Alchemy of Souls and/or Squid Games since its

release, respectively.

All the respondents indicated that they watched K-dramas in question 4. Based on question 5,

28.2% of the total respondents indicated they watched between 6 to 10 k-dramas last year. If the

respondents who watched between 12 to 30 and those who watched more than that are added,

that makes up 80.4% of the total respondents. Based on the analysis of Question 6, 31.3% of the

respondents indicated that they spent between 3 to 4 hours a week watching K-dramas. A

combination with the respondents who spent 4 to 5 hours and more than 5 hours a week would

make up a leading 76.1 % of the respondents.

41
Based on the analysis of the responses to Question 7, 61.3% watched one or both Alchemy of

Souls and Squid Games at least once. In addition to the 36.2% who watched the series between 2

and 4 times and the 2.5% who watched it five times and above, all the respondents have watched

one or the two series.

This indicates that the respondents watch a lot of Korean drama, as watching more than 8 series a

year and spending more than 3 hours in a week are signs of someone who avidly watches

K-dramas.

4.2.2 Research Objectives Two: Determine the reasons for viewership of Squid
Games and Alchemy of Souls by Nigerian youths.
To allow for a wide array of answers, Question 8 allowed for the respondents to choose more

than one option. Based on its analysis, 19.81% of the respondents chose all 5 options. If all the

other multiple-option choices are added, a total of 75.41% (251) of the respondents gave more

than one reason they watch K-dramas. This refutes the popular assumption that K-drama viewers

watch the series solely for the actors, as only 8 respondents out of the 326 watched the series for

the actors alone. This area is where The Theory of Uses and Gratifications comes to play. In this

question, the respondents chose the reasons why they watched the series. Because one or both

series piqued their interest based on those qualifications (i.e. the actors, storyline, fashion, the

OSTs and the themes), they watched the series.

42
4.2.3: Research Objective Three: Determine the effect of exposure to Squid
Games and Alchemy of Souls on Nigerian youths.
Based on the analysis of the responses to Question 9 to 22, which asked for:

a. If the fashion sense of the respondents has been affected by watching it

b. If they tried learning the language and considered travelling to South Korea after

watching the two series

c. If watching the series affected their perception of love and interpersonal relationships,

affected some decisions they have made, and had negative experiences due to watching

K-dramas

d. If they made friends because of the series

e. If they recommended the series to other people and how often they did so.

Based on the analysis of the responses to Question 9, the style shown in the series affected the

fashion style of 53.1% of the respondents. The analysis of the respondent’s answers for Question

10 showed that 50.6% of the respondents tried learning the Korean language after watching the

series. This can be linked to the social learning theory, which states that learning takes place

through a process known as observational learning, which involves being motivated, retaining

the information by repeating continually, and eventually reproducing the imitated action.

Although 82.8% of the respondents said that their perceptions on love and interpersonal

relationships were not affected by watching the series in Question 11, 71.2% of the respondents

said they made friends due to a shared love for the series in Question 12.

Based on the analysis of the responses to Question 13, 74.8% of the respondents considered

travelling to South Korea or other countries K-dramas are filmed after watching the series.

43
According to the analysis of the responses to Question 14, 77.3% of the respondents, which is

the majority, have not experienced any negative effects due to watching K-dramas excessively.

Based on the analysis of the responses to Question 15, 53.4% of the respondents do not believe

that K-dramas accurately depict the culture and society of South Korea. Question 16 also shows

something similar to this, as the majority of the respondents (60.4%) indicated that things they

learned from watching the series have not influenced them while making decisions. This also

defeats another assumption that K-drama watchers believe everything they see in the series and

do not think that the reality might be different.

According to the analysis of the responses to Question 17, 84.4% of the respondents have

recommended the series to friends or family. The analysis of the responses to the continuation

question 16 says that 37.7% of the respondents recommend it sometimes.

According to the analysis of the responses to Question 18, 82.5% of the total respondents believe

that K-dramas have an impact on the mental health of teenagers. The analysis of the responses to

continuation question 19 showed that the majority of the respondents (63.5%) believed K-dramas

affect the teenagers’ mental health both positively and negatively.

The analysis of the responses to Question 20 showed that the majority (67.8%) of the

respondents felt no pressure to keep up with new K-drama series or trends. Finally, the analysis

of the responses to Question 21 shows that 88% of the respondents believe that the popularity of

K-dramas will grow more over time.

44
 CHAPTER FIVE

5.1: Summary of Findings and Conclusion

The aim of this study was to determine how Alchemy of Souls and Squid Games impacts the

behaviour of undergraduate students who live in Lagos. This researcher took on this project to

find out the extent to which watching Korean dramas affects the reality of undergraduate

students, including their perceptions of themselves and other people as well as the decisions they

make. The study made use of online surveys to get primary data from the respondents.

The study discovered that a lot of undergraduates watch Korean dramas a lot, as 65.3% of the

total respondents indicated they were in an undergraduate programme in a university, 92% watch

at least 6 to 10 K-drama series a year and majority of the respondents (31.3%) spend 3 to 4 hours

a week watching K-dramas.

The study also found that unlike popular assumptions, K-drama watchers actually have a good

grasp of reality. Although 53.1% of the respondents are affected by the series fashion-wise and

majority of the respondents wished to travel to South Korea and tried to learn the language (74.8

and 50.6% respectively), majority of the respondents are aware that K-dramas do not always

accurately depict Korean culture or society. Also, the series does not affect their decision

making, as seen in Questions 11,16 and 20, where majority of the respondents (82.8%, 60.4%

and 67.8% respectively) indicated that nothing they observed in the series have changed their

perspectives on love and interpersonal relationships or influenced a decision they made after

watching it, neither did they feel any pressure to keep up with the latest K-drama series or trends.

45
The study also observed that the majority of the respondents not only made friends because of

the series (71.2%), majority of the respondents also recommended the series to friends or family

(84.4%).

From all this, it can be concluded that Korean dramas have a large following among

undergraduate students in Lagos and despite the fact that they avidly watch the series, they are

also well aware that to a major extent, the series are fictional and should not be taken at face

value. A major percentage of these respondents (63.5%) believe that Korean dramas have both

positive and negative impacts on teenagers, which shows that despite the power the media holds

on its viewers, the final call is on the viewers themselves.

5.2: Recommendation:

The researcher recommends that more research should be done on the influence of Korean

dramas on African viewers, specifically Nigerian viewers. This is to generate a large amount of

research from which other researchers can base their research on.

46
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51
APPENDIX:

Find here my survey questions and other documents I used during the course of this project.

Section A: Demographics

1.Gender:

(a)Male

(b)Female

2. Age Bracket:

(a) 18-25

(b)25-30

(c)31 and above

3. Educational Level:

(a) Undergraduate

(b)Post-Graduate

(c)Other

52
Section B: Main Survey

4. Do you watch K-Dramas?

(a) Yes

(b) No

5.How many k-drama series have you watched in the past year?

(a)2-5

(b)6-10

(c)12-30

(d)30 and above

6. How often do you watch k-dramas in a week?

(a) 1 - 2 hours

(b)3 - 4 hours

(c)4 - 5 hours

(d)5+ hours

7. How many times did you watch Alchemy of Souls and/or Squid Games after its

release?

(a) Once

(b) Twice - Four times

53
 (c) Five times plus

8. What did you enjoy most about watching Squid Games and/or Alchemy of Souls?

[you can choose more than one option]

(a) The actors

(b) The storylines

(c) Their fashion

(d) The beautiful OSTs

(e) The relatable themes

9. Has the fashion or style portrayed in k-dramas affected your personal sense of style?

(a) Yes

(b) No

(c) Maybe

10. Have you ever tried to learn the Korean language or aspects of the culture after

watching Alchemy of Souls and/or Squid Games?

(a)Yes

(b)No

(c) I considered it, but never got around to do it.

54
11. Has watching Alchemy of Souls and/or Squid Games affected your perception of

love and interpersonal relationships?

(a)Yes

(b) No

12. Have you ever made friends with people who share the same love for Alchemy of

Souls and/or Squid Games?

(a) Yes

(b) Not yet

13. Have you ever considered travelling to Korea or other countries where k-dramas

are filmed because of your interest in Alchemy of Souls and/or Squid Games?

(a) Yes

(b) No

14. Have you ever experienced any negative effects such as decreased academic

performance or social isolation due to excessive k-drama watching?

(a) Yes

(b) No

15. Do you think k-dramas accurately depict Korean culture and society?

(a) Yes

(b) No

55
16. Has anything you learnt from watching Alchemy of Souls and/or Squid Games ever

influenced a decision you made before?

(a) Yes

(b) No

17. Have you ever recommended Alchemy of Souls and/or Squid Games to a friend or

family member?

(a) Yes

(b) No

18. If so, how often?

(a) Rarely

(b) Sometimes

(c) Usually

(d) Always

19. Do you think k-dramas have an impact on the mental health of teenagers?

(a) Yes

(b) No

56
20. If so, is it positive or negative?

(a) Positive

(b) Negative

(c) A mix of both

21. Have you ever felt pressure to keep up with the latest k-drama series or trends?

(a) Yes

(b) No

22. Do you think the popularity of k-dramas will continue to grow in the future?

(a) Yes

(b) No

57