East asian pop culture: Analysing the Korean Wave
Abstract
This volume provides, collectively, a multi-layered analysis of the emerging East Asian media culture, using the Korean TV drama as its analytic vehicle.
... Al evidenciar la importancia de dicha industria, la asamblea nacional promulgó en 1995 la nueva ley de promoción de películas, trazando incentivos para la producción cinematográfica y la atracción de capital corporativo para su desarrollo (Iwabuchi y Chua, 2008). Esta iniciativa no pasó inadvertida a conglomerados como Samsung y Hyundai, que comenzaron a invertir en diversos sectores de la industria mediática con el objetivo de revitalizarla y mejorar su competitividad. ...
... En Japón la telenovela Winter Sonata alcanzaba importantes niveles de audiencia en televisión restringida. El éxito fue tal que la Nippon Hoso Kyokai (NHK o Corporación de Transmisiones de Japón) retransmitió la telenovela alcanzando niveles altos de popularidad (Iwabuchi y Chua, 2008). ...
... Tras su éxito se generó una mayor empatía entre los japoneses hacia Corea, un hecho destacable ya que entre ambas naciones existió tensión durante años debido que Japón ocupó la península coreana durante 1910 a 1945, generando por mucho tiempo un sentimiento de enemistad entre ambas naciones. Con ella se incrementó el turismo hacia Corea, que en 2004 creció un 35.5% en comparación al año previo, especialmente en zonas donde se grabó dicha telenovela, gracias a las fanáticas japoneses de la telenovela que viajaron (Iwabuchi y Chua, 2008). ...
El objetivo de este trabajo es detectar los elementos que influyen en el éxito de la industria cultural surcoreana, conocida como “Hallyu”, enfocándose en las telenovelas coreanas, o “K-Dramas”, que han experimentado un ascenso considerable en los últimos 30 años. Usando el método de investigación documental se hace un recuento de sus inicios, evolución y actual momento. Se encuentran tres modelos que resaltan las características de su éxito y que pueden ser referencia para las industrias latinoamericanas, otrora grandes productores de telenovelas, que han disminuido en años recientes su presencia en mercados internacionales. Algunas de las características que se observan para que el “Hallyu” goce de popularidad internacional es el uso de las tecnologías de la información y la calidad de sus trabajos, logrando con ello llegar a nuevas regiones con poca relación cultural con Corea. Estos éxitos son producto de la difusión cultural a través del gobierno coreano y la iniciativa privada nacional, que han implementado estrategias conjuntas para que sus productos alcancen un éxito internacional, a la vez mejorando la percepción que se tiene de Corea en el extranjero.
... outside Korea) where K-pop is consumed? Some insights into this perspective can be gained from a research stream on Asian modernity (Chua and Iwabuchi, 2008;Ryoo, 2009;Shim, 2006). In particular, Shim (2006) interprets the uptake of K-pop's cultureincluding K-beauty -as a hybridized Asian alternative to the dominant Western globalization of popular culture, whereby the Korean Wave offers a more palatable 'vision of [Asian] modernization'. ...
... Most notably, as we discussed in the introduction, the highly distinctive and standardized beauty ideals of K-pop celebrities (K-beauty) are gaining cult-like followings among youth consumers in Korea, Asia, and beyond the region (Chua and Jung, 2014;Kim, 2011;Oh, 2014). Given that Asian modernity offers a postcolonial critique that legitimizes other, non-Western forms of modernity, the popularity of K-pop has been often interpreted as a celebratory re-insertion of East Asian values into the politics of global popular culture, which is dominated by Western cultural hegemony (Chua and Iwabuchi, 2008;Kim and Ryoo, 2007;Shim, 2006). In this endeavor, previous research has largely queried how Kpop is assimilated within neighboring Asian countries (e.g. ...
... This gender imagery is infused by transnational image-scapes, cultural globalization, and Western hegemony (Appadurai, 1990;Oh, 2014). Yet, at the same time, the Korean traditional cultural models (Kim, 2003;Lee, 2013) and regional politics of Asian modernity (Cayla and Eckhart, 2008;Chua and Iwabuchi, 2008) are also at play. Because K-pop is a hybridized expression of multiple cultural referents, K-beauty can be conceived to be located at the intersection of global and local beauty ideals. ...
This article aims to understand how young Korean women respond to the changing ideals of K-beauty, a form of gender imagery embodied by Korean pop celebrities, when such ideals become exported as global cultural products. The findings reveal that K-beauty is characterized by three paradoxical themes: manufactured naturalness, hyper-sexualized cuteness, and the ‘harmonious kaleidoscope’. When we unravel these paradoxes further, we observe that they provoke unsettlement and ambivalence among young Korean women, who shed light on the acculturative labors of concealment, selective resistance, and compliance that permeate the field of K-beauty. We argue that through these new layers of women’s work, the paradoxes in beauty are re-domesticated, the globalizing Western dictates are brought into alignment with neo-Confucian cultural ideology, and a new hybridized hegemonic regime of feminine beauty becomes established.
... Hasil riset tersebut kemudian ditindaklanjuti oleh Lee Sooman dengan melakukan perekrutan terhadap talenta-talenta calon idola yang sesuai dengan kriteria para calon penggemar. Proses dari mulai pencarian bakat, perekrutan, pelatihan, sampai pengorbitan bintang-bintang dari SM Entertainment ini telah direncanakan dalam tahap 'produksi' pada New Culture Technology (Lee, 2014 (Huat & Iwabuchi, 2008). Istilah Hallyu kini digunakan untuk menyebut apapun yang berkaitan dengan dengan merebaknya budaya populer Korea Selatan ke pelbagai negara di seluruh dunia yang mana melalui musik, film, drama, gaya hidup, sampai sepakbola, budaya populer ini mendominasi selama bertahuntahun (Huat & Iwabuchi, 2008). ...
... Proses dari mulai pencarian bakat, perekrutan, pelatihan, sampai pengorbitan bintang-bintang dari SM Entertainment ini telah direncanakan dalam tahap 'produksi' pada New Culture Technology (Lee, 2014 (Huat & Iwabuchi, 2008). Istilah Hallyu kini digunakan untuk menyebut apapun yang berkaitan dengan dengan merebaknya budaya populer Korea Selatan ke pelbagai negara di seluruh dunia yang mana melalui musik, film, drama, gaya hidup, sampai sepakbola, budaya populer ini mendominasi selama bertahuntahun (Huat & Iwabuchi, 2008). ...
Diplomasi publik merupakan kunci utama dari soft power yang sering digunakan oleh pemerintah berbagai negara di dunia, termasuk Korea Selatan, dalam upaya mencapai kepentingan negaranya dengan memanfaatkan budaya dan aktor swasta. SM Entertainment sebagai salah satu aktor swasta kemudian memberikan kontribusi positif terhadap diserapnya budaya Korea Selatan dengan cepat secara global melalui Korean wave. Penelitian ini menganalisis strategi perusahaan SM Entertainment yang disebut dengan NCT dan hubungannya dengan diplomasi publik yang dilaksanakan oleh Pemerintah Korea Selatan dengan menggunakan konsep corporate diplomacy. Penelitian ini merupakan penelitian kualitatif melalui studi pustaka dengan cara menganalisis aktivitas-aktivitas yang dilakukan oleh SM Entertainment dan melihat di mana kecocokan aktivitas tersebut dengan corporate diplomacy. Penelitian ini menemukan bahwa peran SM Entertainment dalam diplomasi publik Korea Selatan adalah melakukan berbagai kegiatan perusahaan dengan aplikasi strategi New Culture Technology (NCT) dalam aktivitas diplomasi kebudayaan, penanaman modal asing, kegiatan branding (place/nation/destination), pengembangan brand dan produk, serta pelaksanaan Corporate Social Responsibility (CSR).
... Many academic studies were published after the K-drama Winter Sonata gained a huge reputation when it was broadcast in 2002 and exported to other countries in Asia (Lee, 2008;Jung, 2009;Jin & Yoon, 2016). When K-drama was exported to China, it was unexpectedly popular and hence the word Hanliu, literally "Korean wave" in Chinese, was first coined by the Chinese Beijing Youth Report on 19 November 1999 (Bae et al., 2017;Chua & Iwabuchi, 2008;Lee, 2009;Lee, 2015). Later it was more commonly referred to in academic literature in the Korean form Hallyu. ...
... The productions were reviewed by scholars as "impure" with 'unexpected mixing and mingling of cultural materials' (Jenkins, Ford, & Green, 2013, p. 263;Dal & Kyong, 2014). Revisiting the past transnational success of East Asian television dramas before Hallyu 1.0, Chua and Iwabuchi (2008) described some traits that include period dramas featuring complicated family issues from Taiwan in the 1980s, and modern Japanese romance among elites displaying well-dressed young professionals with luxurious lifestyles in the 1990s, and that the later K-drama began to take its position in the late 1990s after the decline in popularity of Japanese drama. The literature on K-drama has discussed its genre as a hybridized production, and most scholars highlighted that it has a Confucianist value (Lin & Tong, 2008;Jung, 2010;Kim, 2013;Dal & Kyong, 2016). ...
... The Korean Wave or Hallyu has hit Indonesia in the early 2000s. The presence of the Korean wave cannot be separated from the invasion of Korean popular cultural products throughout the world (Shim 2006, Huat & Iwabuchi 2008, Kuwahara 2014. Various popular culture products, such as films, ...
Korean street food in Indonesia is part of the ‘Korean Wave’ (hallyu) that hit Indonesia in the early 2010s. It is not difficult to find Korean street food in Indonesian cities. Korean street food has become part of urban culture in Indonesia. This research aims to analyze the existence of Korean street food in Indonesia using the concept of glocalization according to Roland Robertson. This research also analyze the glocalization of Korean street food in the local context in the form of halal Korean street food so that it is accepted and consumed by Indonesian people. This study uses a qualitative method with a case study approach as a research strategy. Data collection was carried out by means of observation, interviews, and documentation. The result of this study has shown that through various forms of glocalization, Korean street food has become part of Indonesian society. Korean street food has carried out relative syncretism of food through a process of particularization as universalization. This process is carried out by adopting the halal concept in Korean street food. The results of this research contribute to understanding the glocalization of street food in adopting the halal concept.
... This period is known as the Hallyu 1.0 era, which marked the beginning of the popularity of Korean culture in Asia. Government support and investment created a favorable environment for the export of Korean music, films, and TV dramas [6]. Subsequently, the Korean government further increased its budget for the cultural industry by launching a series of events, such as the Asian Song Festival, which aimed to increase foreign tourists' interest in Korean culture [7]. ...
The study focuses on the global cultural integration of Korean entertainment companies regarding the idol culture industry, using SM Entertainment as a case study for in-depth analysis. Idol culture, as a part of Korean pop culture, has achieved great success globally over the past decades. With the rise of digital media, the trend of internationalization in the entertainment industry has become more pronounced. The acceptance of different cultures by audiences in different countries has also become one of the focal points of research. This study will focus on SM Entertainment's successful practices in overseas markets such as Asia, with a special focus on how it has integrated the Korean Wave culture to satisfy the aesthetic and cultural needs of audiences in different countries and regions in order to increase its acceptability in the international market. The company's strategies in terms of artist image, music style, and promotional techniques are examined in depth. Ultimately, this study provides insights into SM Entertainment's success in achieving cultural integration and adapting to multicultural demands, which is important for understanding global cultural communication, the internationalization of the entertainment industry, and the dissemination of local culture in the international market.
... The study of producers is not merely due to its relative neglect in existing East Asia Popular Culture literature's predominant focus on reception (e.g. Chen 2018; Chua 2012a; Chua and Iwabuchi 2008;Iwabuchi 2002;Jirattikorn 2018;Lee 2008). Changing geopolitical configurations and the rising dominance of digital platforms have enabled increasing numbers of Singaporean television producers to venture in recent years to create cultural content for the larger Chinese market. ...
... Some East Asian media scholars have discussed the ways in which Korean cultural products have penetrated the regional market. Huat and Iwabuchi (2008) asserted that Korean media content has become popular by incorporating Western cultures and values into an Asian context. They understood "cultural affinity" as a new impetus for promoting interregional media flows, insofar as East and Southeast Asian audiences are aware that they are connected to each other through the consumption of Korean television dramas (p. 6). ...
... The Korean Wave (Hallyu) originated in the late 1990s as cultural products such as television dramas and movies were exported, first to Asian countries and subsequently K-pop became popular in other parts of the world including the Americas and Europe (Kim 2013). These transnational f lows have been attributed to the export imperative -the belief that a small domestic market demanded the exporting of goods and services -which was exacerbated by the recession following the 1997 International Monetary Fund (IMF) crisis (Chua and Iwabuchi 2008;Lie 2015). However, the desire to develop new markets abroad is not enough to explain Korean popular culture's transnational success; it also depended on other factors like having K-pop musicians take the lead in an often unpredictable industry (Lie 2015). ...
This chapter explores how thinking gender and sexuality transnationally can help us make sense of “queer” media, practices and performances proliferating across East Asia and Southeast Asia through two prominent examples – South Korean popular music (K-pop) and “boys love” (BL) media. Thinking gender and sexuality transnationally is useful for making sense of the overlapping processes of queer K-pop and BL media fandom, consumption and (re)production, whether this means fans identify as Lesbian, Gay, Bisexual, Transgender, Queer or cis-heterosexual. After situating K-pop within the spread and global phenomenon of the Korean Wave and its androgynous elements, the chapter provides an overview of queer K-pop consumption and performance in Thailand, Indonesia, Singapore and the Philippines. Beyond Japan, transnational BL fan cultures are situated in specific cultural, historical and geographical contexts and need to be interpreted differently from Japanese BL fandom.
... And then in 2002 the invention of satellite broadcasting contributes to the dissemination of programs. By early 2006, Korean cultural productions including television drama, film, pop music, etc., had become popular among audience in Asia [3]. ...
... Many researchers (including B.H. Chua, K. Iwa-buchi and C. Cho) see these phenomena as a threat to the existing local communities and their customs. A consequence of these processes is the growing resistance to the transformations into the European and American lifestyle and the search for one's own roots and identity [7,8]. ...
The main research problem that this article focuses on is: does a wide-ranging cultural policy contribute to the implementation of the idea of sustainable development in practice? This article aims to show, using the example of South Korea, the importance of the state’s cultural policy as a factor that is conducive to economic success and an increase in the standard of living of a society. This policy leads to the evolution of society from one centered on the mass consumption of material goods to one centered on the mass consumption of cultural goods, which, combined with the development of creative industries, contributes to the implementation of the elements of sustainable development in practice. The research methods used in the work were the study of literature in the studied area, the analysis of documents and reports on cultural policy, and the development of cultural and creative industries. An assessment of the degree to which pop culture development in South Korea is a factor in the economic development of the country, given its commercial nature and its ability to increase the standards of living of an entire society, was also carried out. The example of South Korea shows the benefits for the national economy of promoting creativity and culture. Preferences and consumer attitudes are shaped in areas that have a minimal impact on the natural environment and the exploitation of natural resources.
... One of the special-interest tourism trends based on visiting destinations is traveling to where a TV drama series or film was filmed, and it has been widely called "movie-induced tourism" [15,22]. This term is understood as the tourism that follows the success of a film or series in the place where it was filmed [18]. ...
This study aims to (a) identify the relationship between travel motivation and popular media (mainly films or TV programs), (b) examine the relationship between destination images and popular media as an information source, and (c) investigate the influence of popular media on destination’s decision-making process. The relationship is focused on three aspects: motivation, destination image, and the decision-making process for tourists. This study employed a self-administered questionnaire survey. The questionnaire was composed of (i) respondents’ motivation and general information about their visit to the destination (Jeju Island in Korea), (ii) attributes of the film-induced tourism of their visit to the destination, and (iii) respondents’ socio-demographic elements. A correlation analysis and a standard multiple regression analysis were employed. The results discovered that there is a significant relationship (a) between a destination and popular media, (b) between destination image and popular media, and (c) between the decision-making process and popular media. The implications of this study can help destination marketers and managers build competitive strategies using the effective management of film-related tourist attraction sites to increase visitor numbers and ensure that a sustainable long-term relationship is encouraged between destinations and tourists.
... O Leste Asiático atualmente se posiciona como uma importante região no cenário mundial, onde vários países se destacam, tanto pelo rápido progresso econômico nas últimas décadas quanto pela consolidação de suas indústrias midiáticas nacionais. Japão e Coreia do Sul se configuram como efervescentes polos de produção, distribuição e consumo de programas televisivos: os animes japoneses e os dramas sul-coreanos são produtos de exportação a nível global (Chua & Iwabuchi, 2008;Kim, 2014). Mas, se antes a circulação de conteúdo audiovisual era feita exclusivamente pelas redes de televisão tradicional, seja ela via radiodifusão ou satélite, cada vez mais observa-se o papel da internet nesse processo (Wee, 2016, p. 209). ...
Através da Hallyu, a Coreia do Sul tem se tornado um polo significativo de produção de cultura pop. Devido às particularidades do mercado de TV e internet no país, as empresas de streaming estrangeiras têm tido dificuldade para crescerem lá. Em contrapartida, a Coreia se estabeleceu como um dos maiores mercados nacionais de streaming de vídeo na Ásia. A partir de uma revisão da literatura e de matérias jornalísticas, identificamos dois fenômenos significativos. Primeiro, um grupo de conglomerados locais se juntaram para formar a plataforma Wavve com o objetivo de enfrentar o “mal estrangeiro”, representado pela presença da Netflix no país. Segundo, a indústria sul-coreana está se utilizando da influência global das plataformas estrangeiras para expandir o alcance da Hallyu. Este estudo de caso, então, revela nuances e estratégias de uma indústria de mídia em ascensão na periferia global.
Palavras-chave: Hallyu, Coreia de Sul, streaming, Wavve.
... Huat dan Iwabuchi menjelaskan pada awal tahun 2000an, budaya populer Korea masuk dan mulai dikenal oleh dunia internasional (Huat & Iwabuchi, 2008). Saat itu mulai dikenal istilah Hallyu, atau Korean Wave (Jung, 2011), yang dimulai dengan hadirnya drama televisi berjudul Winter Sonata (2002). ...
Fandom muncul sebagai kelompok yang terbentuk karena adanya ketertarikan pada satu objek yang sama. Fandom adalah budaya popular dalam masyarakat industri, sebagai bentuk untuk mengagumi suatu budaya. Fandom juga merupakan bukti bahwa khalayak adalah faktor penting dalam perkembangan media. Fandom pada boyband Korea dapat dikatakan yang paling besar dan memiliki anggota terbanyak. Saat ini kemunculan Fandom (kelompok penggemar) pada boyband Korea menyebabkan munculnya aktivitas penggemar dalam mengaktualisasikan Fan Fiction sebagai bentuk dukungan kepada idolanya. Perkembangan penggunaan internet saat ini bukan hanya sebagai media pencarian, namun juga menjadi alat komunikasi. Peneliti mencoba menganalisis fenomena Fan Fiction yang disebarkan dengan memanfaatkan kehadiran internet, yaitu platform Wattpad, dan kemampuan internet yang memungkinkan seseorang untuk dapat menjadi citizen author. Penelitian ini menggunakan metode kualitatif, dengan melakukan wawancara untuk mendapatkan data. Hasil dari penelitian ini adalah terdapat dua faktor yang mempengaruhi seorang fan untuk menulis Fan Fiction mengenai idola mereka, yaitu faktor internal dan juga faktor eksternal. Kata kunci: Penggemar, Fan Fiction, Citizen Author, Wattpad.
... The Korean Wave phenomenon indicates the emergence of contra-flows in the global media industries (Kim, 2007;Thussu, 2007). When the financial crisis fell upon East Asian and Southeast Asian societies, the Korean media industry became a rising center of cultural production in the region in that other East Asian economies searched for cheaper media content (Chua and Iwabuchi, 2008). While its early stage was deeply intertwined with the governmental agenda to integrate the country's key industries with the global system, the corporate sectors -in particular, K-pop, online gaming, and animation -have advanced its second phase in the logic of capitalist consumerism (Jin, 2016). ...
This study focuses on the BTS sensation, examining how three entities – digital networks, the K-pop industry, and fandom – have engaged in the production of an alternative global culture. Based on a multimodal critical discourse analysis of this rising cultural act, the current study pays attention to the dialectical interaction of digital transformation and cultural subjectivization in the contemporary music ecosystem. By integrating Manuel Castells’ notion of the network society into Stuart Hall’s articulation of cultural resistance, I consider BTS as a counter-hegemonic cultural formation from the periphery within the network society. I also argue that the BTS phenomenon has not only unveiled the ideological dimension of Korean cultural formations, but has also proposed new possibilities of non-western and peripheral societies and subjects in the globally networked cultural sphere.
... To make the term more inclusive and reflective of the diversity that permeates popular culture, one must also add that PCT is a unique product concept that offers an experience which combines two powerful sectors of economy: popular entertainment and tourism. Despite being a relatively new field, high-profile DMOs utilise PCT in inbound marketing campaigns, most notably in the UK, USA, Canada, New Zealand, and Korea (Chua & Iwabuchi, 2008;Connell, 2012). ...
This study seeks to encourage tourism organisations to explore new directions for tourism development. It argues that popular culture events can raise the value of cultural tourism in Australia. This study explores current trends in events tourism and explores tourists' attitudes towards diverse popular culture activities available in Australia. There are very few studies that try to explore the many kinds of cultural experiences that can be obtained by tourists visiting Australia. This study fills in the gap in current literature by extracting new themes and factors that help build the cultural value of local events in the tourism context.
1990'ların ortalarından bu yana, Güney Kore kültür endüstrisi çarpıcı biçimde dönüşüm yaşamış ve özellikle son on yılda, Güney Kore popüler kültürü tüm dünyaya hızla yayılmıştır. Kore popüler kültürüne yönelik artan ilgiyi tanımlamak için Asya'da Hallyu ("Kore Dalgası") terimi kullanılmıştır. Hallyu’nun başarısının arkasında yatan nedenler arasında Kore kültür şirketlerinin liberalleşmesi, hükümetin kültür şirketleri yetiştirme politikası, yeni medyanın gelişmesi, Asya kültür şirketlerinin değişmesi yer almaktadır. Kore Dalgasını küresel bağlamda yeni bir karşı dalga olarak tanımlamak ve bunun nasıl meydana geldiğini anlamak için özellikle Kore TV ve film endüstrilerinin nasıl geliştiğini bilmek gerekir. Bu iki endüstri tamamen hükümet tarafından kontrol edilmiş ve Kore kültür politikası 1980’lerin sonuna doğru dış baskılar doğrultusunda değişime uğramıştır. Güney Kore hükümeti, bu ulusal fenomenden tam olarak yararlanma yoluna gitmiş ve medya endüstrilerine Kore kültürü ihraç etmeye başlamıştır. Bu küresel yayılımla, Güney Kore'nin ulusal imajı güçlendirilmiş, yapımları gün geçtikçe popülerlik kazanmış ve ülke ekonomisi kalkındırılmıştır. Böylelikle, dünyayı kasıp kavuran bu dalga araştırmacıların merak konusu haline gelmiştir. 1990'lardan başlayarak Asya'da medya liberalleşmesiyle öncelikle Çalışmada Asya tüketim pazarında kendini gösteren ve 2000’li yıllar itibariyle dünya çapında ve ülkemizde de popüler bir kültürel olgu haline gelen Hallyu’nun tanımı, nasıl geliştiği ve Hallyu başarısının sırrı incelenmiştir. Ayrıca, küreselleşmeyle yayılan Kore dalgasının başlangıcı, komşu ülkelere yayılımı, yükselişi, tüm dünyayı etkisi altına alma süreci ve başarısının ardındaki faktörlere de yer verilmiştir. Çalışma nitel araştırma yöntemlerinden döküman incelemesi tekniği ile gerçekleştirilmiştir.
p> Bong Joon-ho is a South Korean film director and the last three film he directed were Snowpiercer, Okja and Parasite. Those films had the same theme which is social class inequality in the capitalist system. Researcher used Norman Fairclough's critical discourse analysis to find out the representation of the lower class in the three films and then used Michel Foucault's subject position theory to find the shifting position of lower- class subjects in three Bong Joon-Ho films. The result, this study found out that there were 4 shifts in the positioning of lower class subjects represented in those three films. In these films, capitalists are portrayed as the winning party but the way Bong Joon-ho positions the relationship between the lower class and the upper class was different. In these films, Bong Joon-ho conveys his thoughts and concern about the impact of the capitalist system to the society. Through his last film Parasite, Bong Joon-ho wanted to show that both the lower class and the upper class could become a victim in the capitalist system. These three films show that there is no alternative to the capitalist system and that in the end people just have to respect each another. </p
BTS, a seven-member K-pop boy band from South Korea, is regarded as cultural, social, and economic "Next Generation Leaders" due to their commitment to themes such as mental health, education, and the environment. A significant part of their success is attributed to their dedicated fan community, the BTS A.R.M.Y. This transnational community, active both online and offline, is characterized by their loyalty to the band as well as charitable and activist engagement. The present study, based on sociological theories of postmodern communitas, examines how members of the German BTS A.R.M.Y. create transnational community. The research relies on empirical data from 13 group interviews conducted between February 14 and May 18, 2023, and analyzed using Strauss' and Corbin's Grounded Theory methodology. The study sheds light on contextual factors, fandom triggers, community-building strategies, and their consequences. Contexts encompass the genre features of Korean popular music, the significance of social media platforms, identification with band members, and the development of parasocial relationships. Fandom triggers often stem from introversion and psychosocial issues faced by the participants. Community-building strategies consist of the collective engagement in fan activities, the establishment of shared values, norms, and core topics, as well as the use of a symbolic sign system. As a result of these actions, many respondents experience, on one hand, stigma from outsiders regarding their passion. On the other hand, they report changes in their way of life, particularly in the form of personal growth, increased self-love, and openness to new experiences.
This research aims to determine the emergence of the roleplay phenomenon that forms a virtual identity in Twitter social media. This brings up character differences in the original identity of the roleplay account owner. The development of increasingly advanced technology shows that everyone can hide their true identity but can still socially interact freely. The method used in this research is a qualitative research with a phenomenological research approach. The technique used in this research is sourced from interviews and documentation. Interviews were conducted with one person and observations made by players in online interactions on the activity of the Twitter account @dyeonjuft. The results of this study indicate that the virtual identity that is formed in the roleplayer phenomenon depends on the idol whose identity is borrowed to form an account user character. The communication process carried out online is related to the CMC theory which allows another life in the virtual world.
The Korean wave is the popularity of Korean pop culture that occurs in several regions worldwide, including Indonesia. This phenomenon needs to be investigated to discover the historical roots that contributed to the Korean Wave. This article is based on research using post-modern ethnographic methods. Based on this method, it was found that the popularity of Korean pop culture or the Korean wave is related to the history of the popularity of Asian cultural products previously popular in Indonesia, such as Hong Kong films and Taiwanese dramas. This finding reinforces previous findings, which state that cultural closeness or proximity is one of the factors contributing to the popularity of Korean pop culture in several regions of the world.
This article deals with Indonesian Muslim youth engaging with Korean television dramas. This article employs observation and interview among 43 Indonesian Muslim youth. This study has shown that there is symbolic distancing that happens in Indonesia because of Islamic and Hallyu’s interaction and negotiation. Based on symbolic distancing concept, Indonesian Muslim youth engaging with Korean TV dramas involves the localized appropriation. Indonesian young Muslims believe that it is crucial to preserve Islamic values while consuming Korean TV dramas. Images and representations of Korean TV dramas basically do not reduce their Islamic identity. Ultimately, images and representations in Korean television dramas support their Muslim identity. Indonesian Muslim youth who enjoy watching Korean television dramas learn from the scenes depicted. However, these young Muslims also negotiate or even oppose the representations which contradict with their Islamic understandings. These images and representations have been appropriated based on their Islamic values.
Cinderella Complex adalah kecenderungan wanita untuk bergantung secara fisik, yang ditunjukkan oleh keinginan kuat mereka untuk diperlakukan dan dilindungi orang lain, terutama pria. Tujuan dari penelitian ini adalah untuk melihat ide dan faktor Cinderella Complex dan preferensi pemilihan pasangan di antara wanita dewasa awal yang menyukai drama Korea. Peneliti menggunakan metode penelitian kualitatif dengan pendekatan studi kasus. Peneliti menggunakan teknik purposive sampling dengan wawancara mendalam dan metode observasi bersama dengan Cinderella Complex Scale yang digunakan untuk menyaring subjek. Hasil penelitian menunjukkan kecenderungan Kompleks Cinderella pada subjek pertama, SA, di mana ia melihat dirinya sebagai seseorang yang kurang dalam penampilan, mental, dan kecerdasan. Dengan demikian menyebabkan dia berharap seseorang dengan kepribadian stabil menjadi suaminya. Subjek kedua, JM, menunjukkan kecenderungan Cinderella Complex dengan memandang dirinya sebagai wanita yang rapuh dan lemah dengan kurang percaya diri. Dengan demikian menyebabkan JM berharap seseorang dengan kepribadian stabil sebagai suaminya untuk bertindak sebagai panduan dan dukungan psikologis. Subjek ketiga, RW menunjukkan kecenderungan Kompleks Cinderella dengan cara dia mengandalkan almarhum ayah dan pacarnya untuk menyelesaikan masalahnya. Dengan demikian menyebabkan subjek menyukai seseorang yang kepribadiannya persis seperti mendiang ayahnya sehingga ia bisa menjadi penggantinya. Subjek keempat, SM menunjukkan kecenderungan Kompleks Cinderella dengan mematuhi dan mengikuti semua keputusan ayahnya dan karenanya membuatnya tunduk. Itu membuatnya berharap seseorang yang secara finansial stabil sebagai suaminya sehingga dia hanya akan menjadi ibu rumah tangga.
In the complex sphere of global television dramas, South Korea has emerged as a regional force in the last few decades, followed by Turkey in the 2000s. Turkish TV dramas are sold to over 140 countries throughout the world, demanding a constant supply of new content, met in part by remakes. While Korean productions receive limited distribution in Turkey, a significant number of these have been remade by Turkish companies. Since 2013, Korean dramas have replaced Hollywood series as the primary source of adaptations for Turkish dramas. There appear to be shared sensibilities that make the Korean stories palatable to Turkish audiences, but more significantly, certain production practices make Korean sources a more viable choice than Hollywood series for Turkish producers. This article explores these sensibilities from an industrial point of view, employing testimonies from leading industry informants who have been instrumental in introducing Korean source material to Turkish television.
Die Einleitung führt in den Sammelband und dessen Gegenstand, das Teen TV, ein. Jenes Fernsehen lässt sich zunächst über das Sujet der Jugend bestimmen, die in individualisierten und ausdifferenzierten Gesellschaften sehr unterschiedliche Ausprägungen kennt. Fiktionale Jugendserien, die im besonderen Fokus der Publikation stehen, bilden verschiedene Facetten von Jugend nicht nur ab, sondern formen diese als Teil einer kommerziellen Teenagerkultur mit. Teen TV verweist in diesen Zusammenhang zugleich auf ein Publikumssegment, das die Fernsehindustrie gezielt adressiert. Neben anvisierten sind es tatsächliche Zuschauer*innen, über die sich das Teen TV definieren lässt. Nach der Begriffsbestimmung wird das Teen TV als Genre diskutiert. Bei aller Hybridität ist ihm gemein, dass es Entwicklungsherausforderungen und Identitätssuchen in der Adoleszenz aushandelt und dabei ein hohes Maß an Selbstreferenzialität aufweist. Immer wieder rekurriert das Teen TV auf seine Kulturgeschichte(n), die die Einleitung vor allem im US-amerikanischen Kontext beschreibt. Außerdem finden entsprechende Ansätze in der deutschen Fernsehfiktion Beachtung. Abschließend werden gegenwärtige und transnationale Tendenzen des Teen TV erkundet.
In this paper I will trace a brief history of major Asian film festivals to understand how the notion of ‘Asianness’ evolved over time and how it is expressed nowadays through programming practices and film markets. Then I will focus on the case study of the Tokyo International Film Festival (TIFF) as a problematic site where cultural and economic dynamics converge. As an A-category festival, TIFF has to balance its international status with regional relevance, negotiating ‘Asianness’ in a complex relationship involving the local film industry, since questions on ‘Asian cinema’ are deeply linked to the national. Finally, I will draw some conclusions, discussing how TIFF relates to other major film festivals in Asia, where ‘Asianness’ has been used as a shared effort to distinguish themselves from the paradigm set by European film festivals. However, this is an ongoing process, TIFF struggles to use ‘Asianness’ as a unifying element and the specific interests of each festival obstruct the possibility to create a more systematic trans-Asian model.
This study examined the recent issue and perception towards Korean wave on media coverage in Republic of Korea. Korean wave (Hallyu) that refers to a preference of Korean cultural contents, including drama, movie, and music, has been expanded throughout several regions initiated from Asian countries. In order to understand the global cultural phenomenon in a changing media environment, it is necessary to continuously review issues and changes of Korean wave. To investigate recent perception on the media, news data regarding Korean wave were analyzed by applying text-mining. Results showed that issues of news of Korean wave changed according to the social circumstances. For instance, the issue of favoured cultural contents, such as Korean idol “BTS” and the movie “Parasite,” appeared as associated words. In 2020, it was found that COVID-19 was one of the frequently mentioned words related to Korean wave. This paper provides the recent case of cultural phenomenon using quantitative method.
O livro apresenta capítulos de pesquisadores brasileiros e australiana que discutem as narrativas seriadas televisivas, games e animações e suas expansões transmídia.
No caso específico dos mundos abertos, destaco o capítulo Minecraft story mode
uma análise transmidiática da ficção interativa da Netflix
O mercado midiático da Ásia Oriental, amparado por forças nacionais em produção televisiva, criou um espaço relevante de trocas que fortalecem o espectro regional. Os dramas de TV são parte essencial desse universo por serem um formato televisivo desenvolvido na região e por dialogarem com questões culturais que mantêm esse mercado em constante expansão. A produção de dramas movimenta essas dinâmicas mercadológicas tanto através da venda de formatos televisivos quanto de produtos licenciados. Atualmente, Coreia do Sul e Japão se destacam como grandes polos de exportação desse tipo de conteúdo e são mediadores centrais das influências que geram o mercado. É de um deles uma das maiores e mais rentáveis narrativas televisivas da Ásia Oriental: Hana Yori Dango, originalmente japonesa, que se expandiu como formato de roteiro pela região. Essa narrativa surgiu como mangá e avançou para outras plataformas midiáticas, se destacando especialmente no formato de drama de TV. Hana Yori Dango possui adaptações televisivas na Coreia do Sul, China, Taiwan, Tailândia, entre outros. Posicionamos, então, Hana Yori Dango em meio ao debate sobre a transnacionalização televisiva e o regionalismo em um dos espaços mais efervescentes em cultura pop no mundo atual: o Leste da Ásia.
In our digital era, fandom has become a social and cultural phenomenon, notably in Thailand. Fans are dedicated, and creating fan text (i.e., text production made by fans about their object of fandom) is one way of showing dedication and passion to the fan base. This article explores how Thai fans engage with fan text on popular social media platforms such as Twitter, and how fandom relates to identity construction among Thai fans who are online media users. The results from a selected sample comprising 100 fan tweets from four different sources, suggests five types of fan tweets, including: hypothetical interpretation, fan art, narrative concerning an anecdote regarding the source text, expression of personal opinions and feelings, and fan parody. Moreover, this article discusses fans’ shared lexicon called ‘fan talk,’ and how fans position themselves as relatives and friends of the source texts. This article further discusses the humorous nature and the transcultural elements found in fan tweets, especially the ‘Thai-ifize’ method that fans use in creating fan tweets.
Este artículo propone una revisión bibliográfica en torno a la conformación de los fans como fenómeno de observación y reflexión desde la educación, enmarcado en una serie de transformaciones sociales, económicas y culturales acentuadas por la presencia de tecnologías y prácticas de consumo. Ubicando algunos antecedentes y autores clave en la materia, se señala cómo ciertos factores socioeconómicos, vinculados a productos y estrategias de la industria cultural, han influido en las formas de consumo y producción de los fans, catalogadas por algunos teóricos como iniciativas de participación y formas de aprendizaje autónomo propias de la era digital.
Without direct fieldwork access, one can nevertheless imagine what possible changes can happen in the everyday life of North Koreans, by references with conditions elsewhere in East Asia which resonates with current conditions in North Korea. First, the division between North and South Korea can be referenced with the other instances of nations divided by a communist and a capitalist regime; namely, the present China and Taiwan and the previous North and South Vietnam. In contrast to these references to possible routes to reunification, it also can be referenced to instances of peaceful separations, such as the case of Malaysia and Singapore. Second, now that a nascent private market economy has been introduced, the experiences of Vietnam and China in marketizing their respective centrally planned economy can serve as references to imagine the possible economic transformation of North Korea. Third, the penetration of imported media/popular cultures into North Korean media consumption may stimulate new aspirations of local population for a different material future, as it has done in other parts of East Asia. Drawing on the experiences of other East Asian nations as reference points, potential and possible changes in the everyday life in North Korea can be imagined.
The term ‘Girl Industry’ was used to refer to the popular cultural contents that are produced and distributed of and for girls, as well as consumed by them. With the ongoing wave of feminist movement generations after generations, girl industries were shaped by society’s changing perception of women's roles in the community. It became one of the representations of girl power through the use of media contents, especially in music scenes where girl idols are being the representatives of young girl images and have a remarkable influence on their followers’ behaviors by reason of being their role models. Idol-manufacturing industry absorbs young people into its system of production, molds themselves into marketable personalities, commercialize their images for the masses, and contributes to the ongoing construction of ideal images of adolescent selfhood. Replacing the images of straightforwardly sexual girl, various and eclectic repertoires of girl images and diversified performances of young female identity are being shown instead, thus creating an enormous scale of fandom across the globe with different ethnicity, gender, and generation groups. Asian girl idol groups are known to be collectively produced, exhibited and distributed. The national media industries and popular culture often dream of girl industries being externalized beyond the national borderline towards other Asian and Western countries, as a ‘source of innovation and dynamism’ for national culture. Nowadays, women appear to be liberated through their educational attainment and labour market participation, but on the other hand, their emancipation is also constrained by the state’s bio-political control of their bodies and reproductive choices. Today media’s growing emphasis on individualization and lifestyle choices, as well as a process of reflexivity at work, apparently signifies de-traditionalization, individual autonomy and emancipation from oppressive traditional social forms (Conventional family and gendered self). The internet appears to be space for enacting the empowerment of women while simultaneously highlighting the desirability of female individualization. Women are invited to feel empowered and modernized through the liberalized consumption (fashion, beauty, luxuries). The rapid-changing nature of today’s globalization suggests a possible acceleration of girl industry into the new feminist movement that has a purpose to minimize the excessive commercialization of girl bodies as well as emphasizes more on female individualism with less of gendered identity. This paper will explore into the reasons behind the appropriation from Korean popular culture in the Japanese society nowadays, and the changing perspectives that Japanese has regarding openly expressed various types of femininity expression on media platforms.
A utilização da cultura pop como ferramenta política é um dado cada vez mais recorrente. Com isso, observamos o caso da Coreia do Sul e sua capacidade em conquistar uma audiência internacional e melhorar relações diplomáticas com países vizinhos através do sucesso obtido por seus produtos culturais e midiáticos, ancorados, principalmente, no fenômeno da Hallyu. Com isso em vista, o presente artigo se propõe a investigar como entidades governamentais têm se apropriado da Hallyu no intuito de construir uma marca nacional, em diálogo com a sua cultura e promover seu soft power internacionalmente. Para tanto, partimos do pressuposto de que a Coreia do Sul carece de fortes elementos para a identificação nacional-seja por parte de seus cidadãos, como diante de uma audiência internacional-e que a instrumentalização da Hallyu contribui com a criação um senso de identidade. Palavras-chave: Diplomacia Cultural. Nation branding. Soft Power. Cultura Pop. Onda Coreana.
Este artigo visa debater sobre a expansão da Netflix em mercados periféricos, tendo em vista que, nos últimos anos, a empresa estadunidense tem investido em produções locais. Considerando as mudanças nos fluxos globais de produtos televisivos, serão analisadas as estratégias utilizadas pelo serviço de streaming no México, Brasil e Coreia do Sul. Observa-se que esses territórios são importantes mercados regionais e, por isso, a empresa aplica diversas táticas: desde parcerias com emissoras locais e descontos na assinatura, até a produção de séries focadas em corrupção ou que acionam códigos de nostalgia. Nesse processo, a Netflix se mostra disposta a desafiar os conglomerados midiáticos locais.
Abstract
This article aims to discuss Netflix's expansion in peripheral markets, considering that in recent years the US company has invested in local productions. Considering the changes in the global flow of television products, we analyze the strategies used by the streaming service in Mexico, Brazil, and South Korea. It is observed that these territories are important regional markets and, therefore, the company applies several tactics: from partnerships with local broadcasters and subscription discounts, even producing series that focus on corruption or trigger nostalgic elements. In this process, Netflix is willing to challenge local media conglomerates.
While the overall majority of Hallyu research has looked at the way fans consume Korean popular culture and how it influences their identity, this paper focuses on the way these fans serve as effective agents for marketing Hallyu and how their fandom empowers them to explore new business and social opportunities. Focusing on what we call "fan entrepreneurship, " this paper examines the evolvement of fan communities in Israel and their role as cultural agents transcending different cultural and social contexts. More specifically, it analyzes their role as promoters, distributers, and entrepreneurs of Hallyu. To examine fan entrepreneurship in action, we focus on three cases of Israeli Hallyu fans who have ventured into new fields in business, education, and social activism to conceptualize the relations between fandom, agency, and the transnational marketing of Hallyu. Our findings suggest that the Hallyu experience in Israel may be relevant for understanding the grassroots processes and mechanisms responsible for the spread and the institutionalization of cultural content across national, ethnic, and linguistic boundaries.
The increasingly transnational reach of East Asian media suggests that East Asia has become an ever more de-territorialized media zone. But what has been relatively neglected in the extant scholarship is in-depth consideration of how East Asian media culture has been transnationalised beyond the geographic boundaries of Asia, especially in the context of accelerating online content distribution. In this article, we propose that Australia provides a useful case study to illuminate the cultural impacts of East Asian media beyond Asia. What is Australia's place in trans-Asia media circuits? Does the consumption of East Asian media by audiences in Australia enable them to develop increasingly reflexive understandings of cultural identity, in a turn toward everyday cosmopolitanism? Alternatively, might the new kind of mediasphere we witness emerging in Australia entail new forms of cultural encapsulation, or a proliferation of mutually disconnected ethno-specific media sphericules? Analysing in-depth qualitative interviews with 47 users of East Asian media in Australia, this article investigates how such media engagements open up and/or close down routes to reflexive transcultural practices for these media users; that is, it evaluates the potential of these media to cultivate cosmopolitan ethos in this context. We conclude that East Asian media in Australia may function for their users, paradoxically, as a cosmopolitan media niche within a national mediascape characterised more typically by cultural encapsulation.
South Korean idol pop music (K-pop) has been circulated transnationally and has attracted fans globally. Drawing on qualitative interviews with K-pop fans in Spain, this article explores how the geo-cultural difference and distance signified by K-pop are consumed in the Spanish context, in which non-Western cultural forms are often othered and marginalised. The article shows that, while K-pop is stereotyped and racialized as a Chinos (Chinese) commodity in Spain, the fans questions the pervasive association of K-pop with the term Chinos and appropriate K-pop as a cultural resource for engaging with alternative possible lives.
In a potentially volatile policy environment as Mainland China, Korean Wave (hallyu) has penetrated into and continued survival in China through a new pattern of remakes in the context of bilateral tensions. Through a comparative examination of the Korean variety television programme Running Man and its Chinese remake Hurry up, Brothers, as a case study of the remakes, I explore how hallyu has become an amnyu (undercurrent) in the Chinese context. In this article, I conceptualize screen-capitalism to analyse and theorize emergent challenges and possibilities in a global context where collaborations flourish while conflicts remain, arguing for ‘transplantability’ as a rhizomatic quality that allows one screen culture to be connected or plugged into others outside of it, and that can be efficiently compatible with heterogeneous elements—other cultural, political, ideological, and linguistic communities—in diverse modes.
The spread of South Korean popular culture across the globe, known as the Korean Wave, has signalled a significant challenge towards the traditional one-way flow of media culture. This study applies agenda-setting effect, which has been largely applied to political communication, to the domain of mass-produced popular culture. It explores how Korean media’s news coverage of the popularity of Korean TV drama in China influences not only the first and second agenda-setting effect but also Koreans’ perception of Chinese audiences. The findings suggest that the Korean Wave could serve as a form of reversed cultural diplomacy by promoting soft power in East Asia.
This study examines commercial signs in arguably the two most visited tourism districts in Seoul, namely Myeongdong and Insadong. It focuses on beauty and food businesses and analyzes featured languages and their content and roles in signage. This article argues that business types, specialized marketing focus, and intended sales pitch influence business owners’ linguistic choices. The findings of the study suggest that the beauty industry relies heavily on English in general, but the power of K‐Beauty popularized by ‘Hallyu’ (The Korean Wave) beyond Korea inevitably invites linguistic accommodation in the form of using Chinese and Japanese. In general, the business category of beauty features a more prevalent use of English than the gastronomic business in this study. Moreover, as an area specializing in traditions and cultural heritage, Insadong shows more signs exclusively in Korean than in Myeongdong.
A partir de um prisma investigativo, esta pesquisa busca compreender o contexto sociocultural, político e econômico que permeou o nascimento e evolução do fenômeno cultural Onda Coreana (Hallyu), a fim de apurar a concepção de uma de suas principais vertentes: os Dramas de TV. Parte-se aqui do esforço em investigar, através do corpus de análise e de práticas da indústria cultural do país, questões de construção de nostalgia e de influência pop nas narrativas dos dramas televisivos sul-coreanos em favor da elaboração de uma identidade nacional renovada dentro do cenário global. O corpus de análise é a série de dramas de TV sul-coreanos (K-dramas) Reply, composta por Reply 1997 (tvN, 2012), Reply 1994 (tvN, 2013) e Reply 1988 (tvN, 2015-2016), que são retratos romantizados do passado recente da Coreia do Sul e de sua guinada pop atual. Essas narrativas exemplificam o atual esforço pela renegociação do imaginário narrativo do país através da tentativa de um acionamento nostálgico positivo de momentos delicados da história do país, a fim de ressignificá-los em favor da diplomacia política, cultural e econômica no cenário internacional.
This essay discusses how the 2016 South Korean television drama Descendants of the Sun attempts to distance the representation of the soldier from the necropolitical. Although various filming techniques and intradiegetic elements attempt to disengage the soldier figure from historical representations that continually emphasize the right to kill, Descendants ultimately demonstrates that the discourse of world peace itself is inherently violent. By promoting global humanitarianism, Descendants fails to provide a critical lens through which viewers can reflect on participation in a cosmopolitan ethos that depends on the continual renewal of neo-imperial relationships.
While the overall majority of Hallyu research has looked at the way fans consume Korean popular culture and how it influences their identity, this paper focuses on the way these fans serve as effective agents for marketing Hallyu and how their fandom empowers them to explore new business and social opportunities. Focusing on what we call "fan entrepreneurship, " this paper examines the evolvement of fan communities in Israel and their role as cultural agents transcending different cultural and social contexts. More specifically, it analyzes their role as promoters, distributers, and entrepreneurs of Hallyu. To examine fan entrepreneurship in action, we focus on three cases of Israeli Hallyu fans who have ventured into new fields in business, education, and social activism to conceptualize the relations between fandom, agency, and the transnational marketing of Hallyu. Our findings suggest that the Hallyu experience in Israel may be relevant for understanding the grassroots processes and mechanisms responsible for the spread and the institutionalization of cultural content across national, ethnic, and linguistic boundaries.
We develop a new conceptual framework to analyze the evolution of the relationship between cultural production and different forms of economic and social value creation in terms of three alternative socio-technical regimes that have emerged over time. We show how, with the emergence of the Culture 3.0 regime characterized by novel forms of active cultural participation, where the distinction between producers and users of cultural and creative contents is increasingly blurred, new channels of social and economic value creation through cultural participation acquire increasing importance. We characterize them through an eight-tier classification, and argue on this basis why cultural policy is going to acquire a central role in the policy design approaches of the future. Whether Europe will play the role of a strategic leader in this scenario in the context of future cohesion policies is an open question.
This article examines how transnational cultural flows such as K-pop create intensified regional dynamics and conflicts by looking at a specific case called the ‘Tzuyu incident’. A young Taiwanese member, Chou Tzuyu, of the K-pop girl band TWICE apologized for waving a Republic of China’s flag on a Korean TV show in an apology video released on JYP Entertainment’s official YouTube channel. The video soon went viral among K-pop fans around the globe, especially in Taiwan, China, and Korea, creating a transnational discursive space that vividly captures the complex dynamics among various actors such as the local media, the transnational entertainment corporation, fans, as well as the artists. Through a close inspection of the apology video made by Tzuyu and JYP entertainment, as well as the responses generated in China and Taiwan, this article examines the complicated power dynamics of a variety of players involved in the production and consumption of K-pop. The article argues that geopolitics in the Tzuyu incident is manifested in gendered narratives, showing the uneven power relations between the entertainment company, consumers, and the artist as well as that between China and Taiwan.
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