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Feeling Asian modernities: Transnational consumption of Japanese TV dramas

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Abstract

The recent transnational reach of Japanese television dramas in East and Southeast Asia is unprecedented, and not simply in terms of the range and scale of diffusion, but also of the intense sympathy many young Asians feel toward the characters in Japanese dramas, so that they cope with their own modern lives by emulating the lives on screen.
... Though these films did not succeed commercially, they have gained devoted transnational fans that are fascinated by the films and that use these films to engage with said changes. This paper uses an aspect of fan studies proposed by Koichi Iwabuchi (2002;2004) to help articulate the relationship between sociopolitical transitions in Southeast Asia and the media consumption of Thai and Burmese fans. ...
... Subsequently, it draws on Koichi Iwabuchi's work on transnational media consumption, particularly his notions of modernity and nostalgia that resonate in media representations and fan engagements. In his edited book Feeling Asian Modernities: Transnational Consumption of Japanese TV Dramas, Iwabuchi (2004) argued that the popularity of trendy Japanese dramas in Asia arose from the changes of Asian countries from traditional to modern societies. Watching trendy Japanese dramas that portray modern male and female characters, young Asian audiences attempt to reconcile their traditional values with the complexity of modernity. ...
... This reaction is comparable to how Asian viewers react positively to Japanese TV dramas. As Iwabuchi (2004) argued: ...
Article
This paper explores representations of identities and fandom in two Southeast Asia border-crossing films, Myanmar in Love in Bangkok (2014) and From Bangkok to Mandalay (2016). Both films have already been exhibited in Thailand and Myanmar and have gained a huge following in both countries. Myanmar in Love in Bangkok portrays a contemporary migrant situation: It is a love story between a male Burmese migrant worker and a Thai woman played by Kaew Korravee, a Thai leading actress who has become famous in Myanmar because of her portrayal of this modern and unconventional character. Alternatively, From Bangkok to Mandalay, which notably presents Burmese and Siamese cultural heritage, has successfully created a feeling of nostalgia among the Thai audience, resulting in fan tourism to Myanmar. Comparing these two cases, I argue that consuming modernity and nostalgia are the main driving forces of the cross-border representations and their subsequent fandom. This paper also engages with the existing fan studies framework put forward by Koichi Iwabuchi and extends the studies of transnational fans further by considering the Southeast Asian sociocultural context.
... High school settings are vital to this genre and dorama production. Seishun dorama themes revolve around friendship, first loves, and dreams, which many viewers can relate to (Iwabuchi, 2004). Kinpachi-sensei, a famous dorama, has starred members of the Tanokin Trio, Shun-suke Kazama, KAT-TUN, and Hey! Say! JUMP. ...
... Kinpachi-sensei, a famous dorama, has starred members of the Tanokin Trio, Shun-suke Kazama, KAT-TUN, and Hey! Say! JUMP. Seishun doramas cultivate transnational imagination and a self-reñection toward one's own culture and society (Iwabuchi, 2004), and they have successfully transcended across international audiences. Iwabuchi's assertion is reflected in several fans' discovery stories of Janīzu from seishun dorama, as follows: Shiritsu Bakaleya Koukou (Bakaleya) and Nobuta wo Produce are popular seishun doramas starring Johnny's idols. ...
... Tsukasa Domyōji's naivety and his strong feeling for the girl attracts the female audiences to the actor who plays the character (Harris & Ferris, 2011). The young audience also feels an intense sympathy toward another Romeo and Juliet character (Iwabuchi, 2004). This leads to the discovery of his idol group, Arashi. ...
Chapter
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This chapter explores participation and co-production in affective media experiences in Johnny & Associates' online fan communities. Johnny & Associates is a Japanese all-male talent management company established in the 1960s. As a pioneer in the idol industry, Johnny & Associates and artists under its management have been highly influential in the contemporary Japanese entertainment industry. These artists are collectively known as Johnny's idols or Janīzu. Much of the data are collected through participant-experiencer and interviews. The originality of this case study stems mainly from the empirical data for Johnny & Associates, Janīzu, and the global fan base during Johnny & Associates' transition to a social media platform. This chapter analyses marketing strategy, audience awareness, and behaviour in relation to a mass media phenomenon. The complex interaction among Johnny & Associates, Janīzu, and fans generates tensions and contradictions that mirror the modern mediated life.
... This move demonstrates that they do not idolise the Western administration and standardised system, for example, by not imposing English as an important main language, as Malaysia, India, and Singapore have done. Japan even goes so far as to establish their own international standard and instil their own identity in order to represent their culture while projecting an image of superiority among Asian countries (Iwabuchi, 2004;Saito, 2019). They established a standard for political, economic, and cultural sophistication and influenced neighbouring East and Southeast Asian countries, particularly and obviously in the cultural sphere, through the media. ...
... Attempting to build their own identity to portray their own sense of modernity in their culture, Japan had created new form of entertainment products, for example their drama series that does not conform to the conventional soap opera style, which mostly depicting family affairs and love crisis with heavier emotional impact and struggle. In contrary, the newer original version of Japanese drama series or known as "trendy drama" and "Japanese idol drama" in Hong Kong and Taiwan, depict more on the stories of youth urbanised and glamorised lifestyle with modern cities background and trendy fashionable clothes and accessories (Iwabuchi, 2004). These elements accentuate the Japanese ideology of modernised world lived by younger generation and able to attract and persuade audiences into believing that this is the kind of global standard of today's culture. ...
Article
Full-text available
Media and cultural globalisation have progressed to a new level of development and penetration in the age of ubiquitous media technologies and applications. While powerful missionaries of global media culture have penetrated and integrated various media markets, the development of East Asian media cultural production and inter-Asian media production and consumption has become apparent. These developments, on the other hand, enable the disguising of anti-ethnocentric patterns of cultural production, circulation, and connection as globalisation. This eventually invites dialogic connections among people from different regions. In the context of the uneven globalisation process, this article critically reviews the rise of East Asian media culture production and how inter-Asian connectivity plays its role in limiting symmetrical cultural exchange within Asia. The debate spans two of East Asia's most powerful media imperialists: Japan and Korea, as well as their transnational media and culture industries and how they started. The methodology used is literature review and observation, which leads to findings based on secondary data. Arguments on the impact of their advancement also discuss the effects of the media and cultural swapping on their Southeast Asian counterparts based on past research. In future studies, researchers must investigate the unevenness and inequality in the inter-Asian mass culture network, particularly their impact on Southeast Asian countries, where upcoming research can collaborate transnationally with various social actors to advance inter-Asian media culture connections in a more democratic and dialogic manner.
... This move demonstrates that they do not idolise the Western administration and standardised system, for example, by not imposing English as an important main language, as Malaysia, India, and Singapore have done. Japan even goes so far as to establish its own international standard and instill its own identity in order to represent its culture while projecting an image of superiority among Asian countries (Iwabuchi, 2004;Saito, 2019). They established a standard for political, economic, and cultural sophistication and influenced neighbouring East and Southeast Asian countries, particularly and obviously in the cultural sphere, through the media. ...
... Attempting to build their own identity to portray their own sense of modernity in their culture, Japan created a new form of entertainment products, for example, their drama series that does not conform to the conventional soap opera style, which mostly depicts family affairs and love crisis with heavier emotional impact and struggle. In the contrary, the newer original version of Japanese drama series or known as "trendy drama" and "Japanese idol drama" in Hong Kong and Taiwan, depict more on the stories of youth urbanised and glamorised lifestyle with modern cities background and trendy fashionable clothes and accessories (Iwabuchi, 2004). These elements accentuate the Japanese ideology of modernised world lived by younger generation and are able to attract and persuade audiences into believing that this is the kind of global standard of today's culture. ...
Article
Full-text available
Media and cultural globalisation have progressed to a new level of development and penetration in the age of ubiquitous media technologies and applications. While powerful missionaries of global media culture have penetrated and integrated various media markets, the development of East Asian media cultural production and inter-Asian media production and consumption has become apparent. These developments, on the other hand, enable the disguising of anti-ethnocentric patterns of cultural production, circulation, and connection as globalisation. This eventually invites dialogic connections among people from different regions. In the context of the uneven globalisation process, this article critically reviews the rise of East Asian media culture production and how inter-Asian connectivity plays its role in limiting symmetrical cultural exchange within Asia. The debate spans two of East Asia's most powerful media imperialists: Japan and Korea, as well as their transnational media and culture industries and how they started. The methodology used is literature review and observation, which leads to findings based on secondary data. Arguments on the impact of their advancement also discuss the effects of the media and cultural swapping on their Southeast Asian counterparts based on past research. In future studies, researchers must investigate the unevenness and inequality in the inter-Asian mass culture network, particularly their impact on Southeast Asian countries, where upcoming research can collaborate transnationally with various social actors to advance inter-Asian media culture connections in a more democratic and dialogic manner.
... di negara ini. Menurut Chua dan Iwabuchi (2008), dan Iwabuchi (2002;2004), konsep kedekatan budaya merupakan antara penyumbang utama kepada kejayaan J-pop pada dekad 1990-an dan pendekatan yang sama telah digunakan untuk menaikkan populariti K-pop di negara ini dalam konteks semasa. Populariti mendadak budaya popular di kebanyakan negara Asia seperti Malaysia, Indonesia dan Thailand telah menyaksikan konsep kedekatan budaya digunapakai dengan berkesan terutamanya dalam proses penggunaan teks budaya. ...
... Namun, persoalan yang sering ditimbulkan oleh para sarjana ialah apakah faktor utama yang menyumbang kepada populariti budaya popular Korea Selatan di kebanyakan negara Asia Tenggara termasuk Malaysia? Antaranya termasuklah elemen kedekatan budaya (Iwabuchi, 2002(Iwabuchi, , 2004 yang menerangkan bahawa khalayak cenderung untuk memilih pemaparan yang mempunyai persamaan yang lebih kurang serupa dan menjarakkan diri mereka terhadap isu yang dirasakan kurang sesuai ketika proses pencernaan teks budaya berlangsung. ...
Article
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ABSTRAK Populariti K-pop dalam kalangan wanita Melayu mendapat kritikan pelbagai pihak yang melihat kecenderungannya untuk menghakis budaya masyarakat Melayu serta menyalahi nilai-nilai Islam-dua elemen penting dalam projek kemodenan Malaysia. Contohnya, penyertaan wanita Melayu meratapi kematian artis K-pop popular Kim Jong-Hyun serta kontroversi perlakuan artis berkumpulan Korea-B1A4, memeluk tiga orang gadis Melayu bertudung di Kuala Lumpur telah menerima kecaman khalayak awam dan pihak berkuasa Islam. Keadaan ini telah menimbulkan suatu polemik mengenai K-pop yang dianggap bertentangan dengan idea kemodenan Malaysia. Justeru, artikel ini berhujah bahawa wanita Melayu menggunakan K-pop sebagai suatu platform untuk menyesuai dan menimbangtara aspirasi kemodenan global dengan amalan ketidakpatuhan strategik yang dipamerkan menerusi kepelbagaian pandangan dalam lingkungan kapasiti peribadi dan sebagai ahli kepada kumpulan peminat tempatan. Misalnya, insiden ini telah mendapat perhatian Jabatan Kemajuan Islam Malaysia (JAKIM) dan Jabatan Agama Wilayah Persekutuan (JAWI) yang menganggap perlakuan tersebut sebagai bertentangan dan menyalahi hukum serta nilai-nilai Islam. Kajian ini menggunakan pendekatan analisis tekstual bertema secara kualitatif dan menumpukan perhatian kepada kepelbagaian pandangan dan tafsiran khalayak mengenai K-pop dalam bentuk komen yang terpapar dalam media sosial seperti Twitter dan YouTube serta dua portal berita popular iaitu The Star dan Free Malaysia Today (FMT). Dapatan kajian akan dianalisis menerusi dua tema penting-pengawalan kendiri dan keterbukaan terpilih-yang menjadi dapatan penting dalam mengukuhkan konsep ketidakpatuhan strategik yang menerangkan populariti K-pop dan penggunaannya dalam kalangan wanita Melayu. Kata kunci: K-pop, wanita melayu, budaya popular, Islam, kemodenan.
... Este formato televisivo fue incorporado y adaptado para satisfacer las necesidades de las redes de televisión de otros países del este y del sudeste asiático, como denota el expresivo caso surcoreano, que hoy es uno de los principales productores de dramas de televisión del mundo, así como uno de los que más exportan. Los países como China, Hong Kong, Taiwán, Filipinas y Tailandia también pasaron a emular el formato, pasando a producir sus propios dramas de televisión nacionales (Dissanayake, 2012;Iwabuchi, 2004;Martel, 2012). La nacionalidad es una característica bastante relevante en los dramas de TV que, a partir de la marca local ganaron nomenclaturas propias (tabla 01). ...
... La diversidad existente en este contraflujo en el contexto de los países del Extremo Oriente puede ser percibida inicialmente a través del cine asiático, especialmente el de Hong Kong en la década de 1970, seguido de las animaciones japonesas que, también se volvieron bastante conocidas internacionalmente en la década de 1990 y por último, acompañada por las producciones del cine surcoreano que, pasaron a tener bastante visibilidad en el mercado global a partir de los años 2000. Más recientemente, los dramas de televisión, formato televisivo compartido entre los países del este y del sudeste asiático(Ang, 2004(Ang, , 2007Dissanayake, 2012;Iwabuchi, 2004), pasaron a figurar en el mainstream del mapa de los flujos de la cultura Además de La Televisión Occidental: una radiografía del circuito de los dramas de TV en Netflix Brasil ...
Chapter
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El objetivo de este apartado, por lo tanto, es presentar un panorama de la producción audiovisual oriental disponible en Netflix BR - a partir del caso de los dramas de TV - buscando discutir los desafíos y las oportunidades que se presentan para la cultura mediática contemporánea en el mundo multipolar. Nuestra apuesta es que la mediación reciente proporcionada por plataformas licenciadas de streaming de películas y series como la de Netflix, promueven una mayor expansión y visibilidad global del contenido audiovisual producido en el contexto de las industrias televisivas de los países del Extremo Oriente, coexistiendo con estrategias tradicionales (e informales) de mediación desarrollada y consolidada por los fans de tener acceso a esas producciones, sobre todo, a través del ambiente de las redes digitales.
... Yet, the increased cross-border flow of capital, media, and people gradually rebuilt and expanded a regional circuit of cultural content. Throughout the 1980s and 1990s, Japanese cultural content-video games, pop music, TV shows, and animation, among others-rapidly expanded its presence across Asia and beyond amid the country's postwar revival and the regional expansion of Japanese MNCs (Craig 2000;Iwabuchi 2004). The pan-Asian popularity of Hong Kong films also grew as the industry actively pursued expansion across Asia in the face of its inability to access the mainland Chinese market (Shim 2020). ...
Article
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This article examines regional cultural flow from a global value chain (GVC) perspective, focusing on South Korea's engagement in cultural flow in East Asia. The article argues that the regional flow of cultural and media content has been complicated as a result of the growing fragmentation of value chain activities and rising emphasis on localization. It allows for varieties of corporate strategic options for regional engagement beyond the traditional mode of exporting finished products. This article presents an analytic framework to examine such varieties, based on the GVC approach. Three emerging modes of regional cultural flow that depart from the export model -- the new international division of cultural labor, format trade and international coproduction -- are illustrated with the examples of Korean firms' engagement in regional cultural flow, mainly with China. The implications of the framework and the case illustrations are discussed in relation to regional cultural flow in East Asia.
... Ergenc claimed that the serials' success was due to Turks and Arabs having a shared history and that Turkish shows represent the East and the West as well as a feeling of being cosmopolitan, which, according to him, resonates with Arab audiences. Iwabuchi (2004) notes that a survey on the reception of Japanese dramas in Hong Kong found that audiences favored these dramas because they were perceived as more "believable, have similar hair color, fashion, and way of life" (p. 102). ...
Article
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This research examines the importance of cultural similarities in the appeal of Turkish drama serials in Qatar. The cultural proximity theory is used as an analytical tool to identify the factors that facilitate the attraction and appeal of Turkish television dramas given the cultural and historical relationship between Arabs and Turks. The study centers on university students from various Arab backgrounds who are being educated at elite American universities within Qatar's Education City Campus and applies a mixed-methods approach of focus group discussions and online surveys.
... For example, while Taiwanese fans feel a sense of "cultural proximity" towards the modern life portrayed in Japanese pop culture (Iwabuchi, 2002, p. 122), Japanese audiences projected a sense of nostalgia when receiving pop culture imported from the rest of Asia (Iwabuchi, 2002, p. 159). Spurred by the popularity of Japanese drama in Asia, Iwabuchi convened arguably the first international conference on East Asian pop culture in 2001, and its outcome was published into a book Feeling Asian Modernities: Transnational Consumption of Japanese TV dramas (Iwabuchi, 2004). ...
... Digital media, and especially social media, are often seen in research as factors that have brought about revolutionary changes -whether as part of media convergence, as a means of connecting the audience, or as a tool for tourism marketing. For example, TV series from Japan are increasingly spreading through Asia and beyond thanks to digital technology -through legal channels, of course, but maybe even more through fan networks that share recordings and create subtitles ( Iwabuchi, 2004 ;Hu, 2005 ) -and it has become easier for fans to connect transnationally. "User-generated content" now has the potential to be received by a large number of people and is often considered more credible than what is distributed via conventional media, making it an important factor in the field of tourism. ...
Chapter
Japanese morning drama series (asadora) are considered one of the “flagships” of Japan’s state broadcaster NHK, because this format has barely changed since its start in the 1960s and still attracts millions of viewers every morning. In this chapter, we investigate the origins of tourism induced by these morning drama series, its first peak in the 1980s, and its development until today, while drawing on the case studies of Oshin (1983/1984) as an example of the analogue age and Amachan (2013) as an example of the digital age, which both are widely regarded as two of the most successful and popular morning drama series. We will show, however, that media convergence and fandom activities were already very common before digitalization. Furthermore, both series transformed their rural filming location into a touristic resource and established a long-lasting connection to the respective media content. Besides their popularity in Japan, the two series were also spread outside of Japan as a means of soft power, and while Oshin gained attention even in the United States, Amachan became very popular in East Asia. Open Access: 10.4324/9781003045359-11
... What is the role of film festivals in this changing context? Academic research on this question has focused mainly on the dissemination, reproduction and consumption of Japanese and South Korean audiovisual production in English-speaking and Intra-Asian contexts (Chua & Iwabuchi, 2008;Iwabuchi 2004;Kim 2008Kim , 2013Kim , 2019, while their reception and impact in the Spanish-speaking world has been largely overlooked. In an effort to shed some light on these questions, in this edition of (Dis)Agreements we turn to the festival directors, whose role we believe to be decisive for the circulation of Japanese and South Korean films in Spain. ...
Article
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Continuing with the investigation of the monographic about the porosity of our audiovisual regarding its Japanese and South Korean counterpart, in the section of (Dis)agreements we congregate the people in charge of the most relevant festivals for the circulation of these cinemas inside the Spanish territory to monitor the situation from their role as gatekeepers of these cinematographies. Quim Crusellas and Domingo López (director and programmer, respectively, of the Festival Nits Cinema Oriental de Vic), Menene Gras (director of the Asian Film Festival of Barcelona), José Luis Rebordinos (director of the Donostiako Nazioarteko Zinemaldia in Donostia) and Ángel Sala (director of the Sitges Film Festival) answer to the questions posed by Guillermo Martínez Taberner and Antonio Loriguillo-López on facets of the circulation of these films, the evolution of the Spanish audiences, or the irruption of video on-demand platforms.
... ¿Cuál es el papel de los festivales de cine en este cambiante contexto? La investigación académica sobre este tema se ha centrado principalmente en la diseminación, reproducción y consumo en el contexto anglosajón e intrasiático (Chua e Iwabuchi, 2008;Iwabuchi 2004;Kim 2008Kim , 2013Kim , 2019, descuidándose el análisis de su recepción e imbricaciones en el ámbito hispanohablante. Para tratar de arrojar luz sobre estas cuestiones acudimos en este (Des)encuentros a los actuales responsables de festivales, cuyo papel consideramos decisivo para la circulación de los cines de Japón y Corea del Sur en España. ...
Article
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Siguiendo con la indagación del monográfico sobre la porosidad de nuestro audiovisual con respecto a su contraparte japonesa y surcoreana, en la sección de (Des)encuentros congregamos a los responsables de los festivales más relevantes para la circulación de estos cines dentro del territorio español para monitorizar la situación desde su papel como puerta de entrada de dichas cinematografías. Quim Crusellas y Domingo López (director y programador, respectivamente, del Festival Nits Cinema Oriental de Vic), Menene Gras (directora del Asian Film Festival de Barcelona), José Luis Rebordinos (director del Donostiako Nazioarteko Zinemaldia de Donostia) y Ángel Sala (director del Festival Internacional de Cinema Fantàstic de Catalunya de Sitges) responden a las cuestiones planteadas por Guillermo Martínez Taberner y Antonio Loriguillo-López sobre facetas de la circulación de estas películas tan dispares como la evolución del público español o la irrupción de las plataformas de video on-demand.
... Within the Chinese-speaking world, Japan has often been posited as the most proximate "alternative modernity" within East Asia (Iwabuchi, 2004). This perception among Chinese people has ensured that Japanese products, from food to fashion brands, are generally praised as trustworthy, often in contrast to Chinese products. ...
Article
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Trade and consumption of food in the Sino-Japanese context connects the two countries’ tense political relationship to the everyday lives of its citizens. Previous research has shown how food-related incidents have imbued Sino-Japanese relations with political and moral discourse that connects security concerns to everyday fears. This article explores how young Chinese people in Japan navigate multiple moral economies related to food. Through analysis of “products” ( chanpin/shipin) and “cuisine” ( cai/liaoli), this article shows the differing meanings of Chinese moral economies of food from the perspective of young Chinese people living in Japan. In the Sino-Japanese context, products embody more metonymic and nationalised values associated with modernity, whereas the metaphoric possibilities of cuisine afford young Chinese people to negotiate dominant moral economies of food in Japan. Using this example, I argue that greater semiotic attention needs to be paid to the multiple meanings of food and its moral economies.
... Sein umfassendes Forschungsgebiet deckt Musik, Kunst, Medien und soziale Bewegungen ab (Môri 2003). Kôichi Iwabuchi (*1960) arbeitet heute nicht mehr in Japan, sondern in Australien, wo er sich mit dem Kreislauf von Produktion, Verteilung und Konsum populärkultureller Erzeugnisse aus Japan und anderen asiatischen Ländern im gesamtasiatischen Raum auseinandersetzt (Iwabuchi 2002(Iwabuchi , 2004. ...
Chapter
Das reflexive Erkenntnisinteresse an „Kultur“ als Ursprung der Kultursoziologie lässt sich in Japan in der Taishô-Zeit (1911–1925) verorten, in der die modernen massenmedialen und -kulturellen Phänomene entstanden sind. Nach dem Scheitern der völkischen „Soziologie der japanischen Kultur“ mit dem Zusammenbruch des totalitären Regimes – damit ist das Regime nach dem Inkrafttreten des Gesetzes zur nationalen Generalmobilmachung von 1938 bis zur bedingungslosen Kapitulation des Großkaiserreichs Japan von 1945 gemeint – erfolgte die Erforschung der Massenkultur zuerst als „Sozialpsychologie“ nach dem US-amerikanischen Vorbild bis in die 1980er-Jahre. Die gegenwärtige Kultursoziologie in Japan fußt auf Denktraditionen der ersten Generation der Frankfurter Schule in Westdeutschland, dem Kulturmarxismus und den Cultural Studies in Großbritannien sowie dem Poststrukturalismus in Frankreich. Seit der Rezeption der Diskurse zur Postmoderne und Globalisierung sowie angesichts einer immer stärker globalisierten Weltwirtschaft und des damit einhergehenden Kulturwandels haben sich Konsumgesellschaft, Mediengesellschaft und Globalisierung als Leitthemen in der kultursoziologischen Forschung etabliert.
... TV, formato televisivo compartilhado entre os países do leste e sudeste asiático (ANG, 2004(ANG, , 2007DISSANAYAKE, 2012;IWABUCHI, 2004), passaram a figurar no mainstream do mapa dos fluxos da cultura midiática global, tendo sua distribuição expandida e potencializada a partir dos serviços de streaming de video e do movimento das comunidades migrantes e de seus fãs, para além do contexto regional (HU, 2005;MARTEL, 2012;CHUNG, 2011 Estamos extremamente felizes por podermos estar envolvidos no fornecimento de dramas originais no Japão com a TV Fuji, que tem uma reputação estabelecida em produzir conteúdos que são especialmente populares entre os jovens. Acreditamos na nossa visão de conectar o mundo através de histórias surpreendentes e vamos continuar a concentrar os nossos esforços na produção de conteúdos incríveis. ...
Conference Paper
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Resumo: O objetivo do artigo é apresentar um panorama da produção audiovisual oriental disponível na Netflix BRa partir do caso dos dramas de TV-buscando discutir os novos modelos de distribuição e consumo desse formato regional, a partir da mediação recente promovida pela referida plataforma, que possui caráter global. Nosso argumento é que a mediação recente proporcionada por plataformas licenciadas de streaming de filmes e séries como a Netflix, promove uma maior expansão e visibilidade global do conteúdo audiovisual produzido no contexto das indústrias televisivas dos países do Extremo Oriente, coexistindo com estratégias tradicionais (e informais) de mediação desenvolvida e consolidada pelos fãs no ambiente das redes digitais. Palavras-chave: Dramas de TV; mediação, consumo, Netflix, redes digitais. Introdução É consensual que a cultura midiática vive um efervescente momento de reconfiguração que atinge todos os espaços de seu circuito comunicativo e que tem como importante mola-propulsora a popularização da cultura digital. A internet, aliada aos avanços em torno da tecnologia televisiva, tem potencializado novos comportamentos por parte dos agentes vinculados à produção, à distribuição e ao consumo de conteúdos midiáticos (JENKINS, 2009; GOMES, 2007; CASTELLANO, 2015) que, todavia, ainda 1Artigo apresentado ao Eixo Temático 13-Arquiteturas digitais de interação, novos modelos de negócios, economia do compartilhamento e colaboração-do X Simpósio Nacional da ABCiber.
... In their watching activity, the informantsidentified themselves to one or several figures with the purpose of reflecting positive values as a reference to build their self-identity. Moreover, the description of figures in the watched show managed to provide reference for the informants to establish their self in future (IWABUCHI, 2004). ...
Article
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Watching television has become a habitual action of human beings.In the context of the relationship between mass media and identity, television is considered as the main source that could help to reshape and develop the identity of audience considering that television is able to provide the image and meaning to the audience in establishing their identity (MORLEY, 1986; SILVERSTONE, 1994). In line with the development of technology, a rapid growth of pay TVs has been observed in Indonesia. Moreover, K-drama series have received a warm welcome from its viewers considering the increasing number of K-drama that appeared on private television and pay television stations. This study is constructed using the reception analysis framework by observing how active the audiences receive text awhich is not separated from their moral viewpoint, either in the phase of observation, interpretation, or conclusion. The qualitative approach applied in this study was conducted in the form of focused group discussion and observation. The findings revealed that self-identity is built based on what is watched by the informants. The activity of watching the K-drama series program is regarded as an effort of exploration which include the process of searching information and gaining a deep understanding. Specifically, the results of informants watching activities are utilised as the method to explore new information and obtain new discovery that can act as reference in building self-identity.
... In an effort to provide more nuanced understandings of cross-regional cultural flows, scholars (e.g., Iwabuchi, 2002Iwabuchi, , 2004Morley, 2006;Straubhaar, 1996) have examined how the new media geography is shaped not only by "nation states" but also by "the larger map of linguistic and cultural affinities between civilizations" (Athique, 2016, p.118). ...
Article
Most research approaches globalization from a top‐down perspective that looks at how past economic, political, and cultural arrangements influence non‐Western cultures. This essay instead uses the concept of the networked audience as an entry point to understand the dynamics of cultural globalization. We first discuss the mass audience in relation to cultural imperialism/homogenization. We then examine the recent shift to the networked audience in the context of digital globalization, computer networking, and social media. Afterwards, we investigate how the conceptualization of global networked audiences contributes to new understandings of global cultures and exchanges. The network perspective suggests that the traditional conceptualization of globalization via the center‐periphery model no longer works, but rather that cultural flows through networks enable individuals to have some, but limited, agency and power to resist corporate and elite controls.
... Di samping itu, kekreatifan isi cerita dan penampilan tokoh yang menawan membuat drama Korea dapat menguasai pasar di Asia termasuk Indonesia yang dikenal dengan hallyu atau korean wave, satu istilah yang menggambarkan ge-lombang kebudayaan populer Korea di Asia menurut Iwabuchi (2004:2) dan Fribadi (2012:21). ...
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Penelitian ini bertujuan mengungkap upaya tokoh perempuan dalam drama seri televisi “Greatest Marriage” menghadapi budaya patriarkat. Masalah yang dibahas adalah upaya tokoh perempuan dalam menghadapi budaya patriarkat; yakni upaya mereka dalam berkompromi atau bernegosiasi dengan patriarkat. Teori yang digunakan dalam penganalisisan data adalah teori feminis liberal. Metode yang digunakan adalah kualitatif dengan teknik penyimakan. Hasil penelitian menggambarkan bahwa perempuan dalam drama yang diteliti telah mendobrak budaya patriarkat di lingkungan keluarga, tempat bekerjanya (kantor), dan di ranah hukum seperti mengkritik undang-undang perkawinan dan hak asuh anak. Simpulan penelitian ini adalah patriarkat diafirmasi oleh kelas atas yang secara ekonomi sudah mapan. Namun, kekuatan itu dapat dilawan dengan liberalisme, pendidikan, dan modernitas. [Title: Woman on Television Drama Series “Greatest Marriage”: Liberal Feminist Perspective]. This research aims to reveal the attempts of female characters in the television drama series "Greatest Marriage" in confronting the partriarchal culture. The problem discussed here is how the efforts of women leaders in the face of patriarchal culture, whether women can compromise or negotiate with the patriarchy. The theory used in analyzing the data is the liberal feminist theory. The method used is qualitative listening technique. The results illustrate that women in the studied drama have to break the patriarchal culture in the family environment, the place of work (office), and in the realm of law such as criticizing the laws of marriage and child custody. The conclusion of the research is that patriarchy is affirmed by the upper class who is economically established. However, that power can be challenged through liberalism, education, and modernity.
... Sein umfassendes Forschungsgebiet deckt Musik, Kunst, Medien und soziale Bewegungen ab (Môri 2003). Kôichi Iwabuchi (*1960) arbeitet heute nicht mehr in Japan, sondern in Australien, wo er sich mit dem Kreislauf von Produktion, Verteilung und Konsum populärkultureller Erzeugnisse aus Japan und anderen asiatischen Ländern im gesamtasiatischen Raum auseinandersetzt (Iwabuchi 2002(Iwabuchi , 2004. ...
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Das reflexive Erkenntnisinteresse an „Kultur“ als Ursprung der Kultursoziologie lässt sich in Japan in der Taishô-Zeit (1911–1925) verorten, in der die modernen massenmedialen und -kulturellen Phänomene entstanden sind. Nach dem Scheitern der völkischen „Soziologie der japanischen Kultur“ mit dem Zusammenbruch des totalitalischen Regimes – Hiermit ist das Regime nach dem Inkrafttreten des Gesetzes zur nationalen Generalmobilmachung von 1938 bis zur bedingungslosen Kapitulation des Großkaiserreich Japans von 1945 gemeint – erfolgte die Erforschung der Massenkultur zuerst als „Sozialpsychologie“ nach dem US-amerikanischen Vorbild bis in die 1980er-Jahre. Die gegenwärtige Kultursoziologie in Japan fußt auf Denktraditionen der ersten Generation der Frankfurter Schule in Westdeutschland, den Kulturmarxismus und die Cultural Studies in Großbritannien sowie den Poststrukturalismus in Frankreich. Seit der Rezeption der Diskurse zur Postmoderne und Globalisierung sowie angesichts einer immer stärker globalisierten Weltwirtschaft und des damit einhergehenden Kulturwandels haben sich Konsumgesellschaft, Mediengesellschaft und Globalisierung als Leitthemen in der kultursoziologischen Forschung etabliert.
... Undoubtedly, constructing the East and Southeast Asian regions as culturally similar is both convenient and appealing in the challenge it presents to the traditional dominance of Euro-American popular culture since the postwar era. Hallyu products offer new models of Asian identity that can challenge previous Western cultural hegemony and which scholars note can be successful for this reason (Iwabuchi 2004). Certainly, evidence suggests that Southeast Asian consumers are very keen to construct such cultural similarities and are drawn to the Asian cultural traits represented in Korean TV dramas and pop music (Ainslie 2015;Chung 2013;Park 2014). ...
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Accounts of Hallyu ("Korean Wave") exports in Southeast Asia often construct this phenomenon as a benevolent cultural force based upon a mutually beneficial arrangement designed to bring increased development and opportunity to the consumer. Such conclusions ignore the nature of Hallyu as soft power for Korean economic interests and also gloss over the complicated cultural differences that scholars understand have problematized its success in Southeast Asia. This article addresses the position of Hallyu in Laos, the poorest and least developed country in Southeast Asia and one of significant strategic importance to current Western and Eastern powers given its raw materials, geographical position, and current cultivation of overseas investment. While Hallyu in Laos may be constructed as part of a mutual exchange and beneficial arrangement, close analysis of the situation in Laos indicates a highly problematic situation in which Hallyu becomes part of a wider system of exploitation that is perhaps of little benefit to the ordinary Laotian consumer. Furthermore, close analysis of the few Korean cultural representations of Laos indicates that far from an equal partner, the nation is constructed as inferior, childlike, and in need of Korean assistance, in a discourse that is reminiscent of previous European-based Orientalism.
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Bu çalışmada, Çin sinema tarihi ile paralel olarak Çin sinemasının bir endüstri olarak gelişimi aktarılmıştır. Bu ikili bakış açısı ile hem filmlerin içerik olarak değerlendirmesi hem de Çin sinema sektörünün Hollywood endüstrisi ile karşılaştırmalı incelemesi yapılmıştır. Çin sinemasının devlet desteği almasına rağmen neden istenen ivmeyi yakalayamadığı sorusu ise yumuşak güç ve kültür indirimi kavramları ile açıklanmıştır. Bütün bunların sonucunda çalışma okuyuculara sinemanın bir propaganda aracı olarak kullanılması, kültür endüstrisi içerisindeki mücadelesi ve uluslararasılaşması konularında Çin örneği üzerinden açılımlar sunmaktadır. Anahtar kelimeler: Çin sineması, Yumuşak güç, Sinema endüstrisi, Sinema tarihi, Kültür indirimi.
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Turkey and Japan have comparable histories of modernization beginning in the nineteenth century. They have since then produced modernities that are considered a mix of “Eastern” and “Western.” Over recent decades, both faced the question of what comes after modernity and began manufacturing their versions of authenticities and cultural exports. This paper comparatively locates two symptoms of this process. “Neo-Ottomanism” refers to the increasing cultural consumption of Turkey’s imperial past while “Cool Japan” emphasizes popular products in entertainment, fashion, youth culture, and food, intending to shift Japan’s image to a “cool” place. Both projects, in different ways, are sponsored by the state; yet their reception in popular culture illustrates the vexed relationship between the state and culture: while states endeavor to colonize culture for their own interests, popular culture provides avenues to outwit the state’s attempts. Popular culture’s autonomy in both contexts has to do with the collapse of traditional hierarchies, which has paved the ways for the promotion and export of new identity claims. Local and global representations of neo-Ottomanism and Cool Japan differ. Internally, they are fragmented; externally, they are linked to international “soft power,” and offer alternatives modernities in Turkey and Japan’s regional areas of influence.
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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
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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.
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This paper analyzes the political implications of aesthetic mimicry in the popular mobile game, Onmyoji. Created by the Chinese company, NetEase, Onmyoji takes advantage of the expansive network of signifiers revolving around the historical Japanese figure, Abe-no-Seimei, and co-opts this network to display a recognizable Japanese popular aesthetic. By remixing elements of Japanese culture, Onmyoji presents a commodifiable and mediated image of Japanese cultural authenticity that is recognizable globally. Mimicry and the co-opting of another nation’s cultural signifiers initiates a negotiated process of ambivalent national self-empowerment that has since resulted in shifting labor flows within the digital entertainment industries in East Asia. The malleability of cultural signifiers allows for the purposeful framing of global media texts. Such multivalent encodings of recognizable symbols emerge from the provocative slippages between media boundaries. This, in turn, engages with the dialectical processes of nation branding within the framework of transnational co-production models.
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The story of Hong Kong’s broadcasting industry starts from 1928. Straddling at the juncture of the centennial anniversary of Hong Kong broadcasting service, we trace the steps and re-discover the role that Hong Kong broadcasting industry (radio broadcast and later television) has ever played beyond its home territory: how Hong Kong’s broadcasting industry has connected with the global Sinophone community and with the world.
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This essay explores the mediation of ideas and values of Taiwanese film and TV producer-director Tsai Yueh-hsun’s regionally oriented productions, in particular, White Tower and Black & White. Tsai’s career has been conditioned by the globalization and regionalization of film and TV consumption and production in Taiwan. His films and TV productions are not related to Taiwan’s national politics. They are set in non-discernible, hence, denationalized urban societies. They appeal to audiences in both the Taiwanese and East Asian markets, with their post-Confucian presentation of personal and social issues of urban subjects. These productions stage the problems of Confucian patriarchal authority and highlight the significance of democracy in modern capitalistic East Asia. They make use of star power and take advantage of specific national markets at different times (in particular, Taiwan, Japan and China).
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‘Cool Japan’ has been a cross-departmental policy agenda for Japanese government that has gained prominence over the last 10 years or so. Although the government has been reticent about cultural policy in general and particularly to East and Southeast Asia in post-war decades, attention has recently been given to the international popularity of Japanese popular culture such as manga and anime with policies aiming to cash in on what is named ‘Cool Japan’ phenomenon. Policy has been, however, patchy and disjointed. This paper will examine the background and emergence of this policy with industrial and economic aims, its recent transformation and impact on cultural flows in Asia. It will argue that whilst the government’s policy for popular culture industries may not have led to significant results, it has done what it could legitimately do without riding on the bandwagon of the creative industries discourse that has swept across the rest of the world. The chapter will also stress the importance of the industries to broaden their regional perspectives.
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The colonial domination of Taiwan by China and Japan has crucially influenced the shaping of modern Taiwan and its political and cultural identity struggle. The anticipation of both political and social liberation and economic prosperity defined Taiwan in the post‐martial‐law era, and it also stimulated a spirit for independent filmmaking. This sentiment is embodied in the 1987 Taiwan Cinema Manifesto that was issued and signed by numerous emerging but influential filmmakers and cultural figures, including renowned directors Hou Hsiao‐hsien and Edward Yang. The new wave of Taiwanese gangster films in the 1990s was an important manifestation of Taiwan Alternative Cinema and was influenced by the anticipation of absolute freedom in post‐martial‐law Taiwan. Dust of Angels deals with the plight of a second‐generation mainlander living in a grassroots Taiwanese society without the protection and sense of belonging that is gained from a military dependents’ community.
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This essay investigates the East Asia-oriented TV and film productions of Taiwanese producer-director Tsai Yueh-hsun. His productions have made wide use of the transnational bankability of Taiwanese TV stars. Set in nationally non-specific urban societies, they are categorized as post-Confucian TV dramas, adopting liberal Western values and presenting problems in the authoritative patriarchal culture of the modern yet Confucian East Asia. They have competed in this market with neo-Confucian Korean and mainl and Chinese TV dramas that follow Confucian patriarchal values. His productions in the 2000s entered many East Asian markets, including Southeast Asian countries, Japan, and mainland China, with the latter airing censored versions. In the 2010s, his productions have prioritized the rapidly increasing mainland Chinese market among all East Asian markets and adopted Taiwanese-mainland Chinese cooperation. The productions maintain the post-Confucian style of presentation, but remove the political viewpoint commonly perceived in Taiwan. Confronted with Taiwanese skepticism toward the Taiwanese-mainland Chinese cooperation, Tsai argues that this strategy will contribute to the development of Taiwan's film and TV industry. The presentation of Taiwan's modern places in the productions will help promote its tourism.
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This book provides a complex and intricate portrayal of Asian American high school girls – which has been an under-researched population – as cultural meditators, diasporic agents, and community builders who negotiate displacement and attachment in challenging worlds of the in-between. Based on two years of ethnographic fieldwork, Tomoko Tokunaga presents a portrait of the girls’ hardships, dilemmas, and dreams while growing up in an interconnected world. This book contributes a new understanding of the roles of immigrant children and youth as agents of globalization and sophisticated border-crossers who have the power and agency to construct belonging and identity across multiple contexts, spaces, times, activities, and relationships. It has much to offer to the construction of educative communities and spaces where immigrant youth, specifically immigrant girls, can thrive.
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This chapter examines how Asian American girls construct imagined homes through their use of media and popular culture. I describe the ways in which they envision a future home in another location, form virtual communities with youth in diaspora, and develop a pan-Asian consciousness. Despite common images of young people as passive consumers of messages created in the media, the girls were sophisticated in appropriating, producing, and disseminating it to construct imagined homes. They imagined a possible home, often a country that they had never been, as a place where they could envision a bright future. They also formed diasporic communities which consisted of Asian youth dispersed in the world and fashioned a pan-Asian consciousness that transcended the boundaries of countries and ethnicities. This chapter depicts the girls as diasporic agents and suggests the power of their imagination as they metaphorically bridge America, Asia, and the world.
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Chinese-speaking popular cultures have never been so queer in this digital, globalist age. The title of this pioneering volume, Boys' Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan already gives an idea of the colorful, multifaceted realms the fans inhabit today. Contributors to this collection situate the proliferation of (often online) queer representations, productions, fantasies, and desires as a reaction against the norms in discourses surrounding nation-states, linguistics, geopolitics, genders, and sexualities. Moving beyond the easy polarities between general resistance and capitulation, Queer Fan Cultures explores the fans' diverse strategies in negotiating with cultural strictures and media censorship. It further outlines the performance of subjectivity, identity, and agency that cyberspace offers to female fans. Presenting a wide array of concrete case studies of queer fandoms in Chinese-speaking contexts, the essays in this volume challenge long-established Western-centric and Japanese-focused fan scholarship by highlighting the significance and specificities of Sinophone queer fan cultures and practices in a globalized world. The geographic organization of the chapters illuminates cultural differences and the other competing forces shaping geocultural intersections among fandoms based in Mainland China, Hong Kong, and Taiwan.
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Este trabalho pretende situar a minissérie Haru e Natsu – as cartas que não chegaram, produzida pela emissora japonesa NHK e transmitida no país pela Rede Bandeirantes, no empreendimento narrativo da saga da imigração japonesa no Brasil, postulando que a ficção televisiva, ao compartilhar versões e saberes acerca de determinada sociedade e época, torna-se ela própria “memória documental e histórica” (Motter 2000/2001). Aborda também a minissérie como uma narrativa sobre a nação, vista não como território, mas como um acervo de recursos identitários. Explora ainda a relação entre o gênero epistolar utilizado como recurso narrativo central nesta minissérie e o ponto de vista feminino que a autora constrói sobre os fatos da imigração japonesa ao Brasil.
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Asia has some of the largest, most dynamic, diversified, and complicated media industries in the world (McKinsey & Company, 2015). Entering the 21st Century, the rapid economic and political developments of Asia further energize the growth of media locally and globally (for general discussion, see, e.g., Keane [2006]; Thussu [2006], specific discussions on the cases of Korea [Kim, 2013], Japan [Iwabuchi, 2004], China [Sun, 2009]). In a reflection on the increasing importance of Asian players in global communication industry, Keane describes that “Asianness is colonizing international communications markets” (2006: 839-840) with the impacts ranging from the production of hardware (i.e., East Asian technology) to content (e.g., Japanese manga, anime and TV formats and South Korean popular culture) and from the cross-over of directors and actors from Asia to Hollywood and the world. Yet, a lack of timely understanding of media and communication in a fast-changing Asia is hindering not only our interpretation of the significance of media in social transformation in Asia, but also the efforts to de-westernize (e.g., Park & Curran, 2000; Wang, 2010) or internationalize communication studies (Lee, 2014).
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Korean cultural products (known as Hallyu) are now the dominant incarnation of East Asian culture throughout Southeast Asia and have introduced consumers to Korean industry, cosmetics, and culture. Recent work has concentrated heavily upon this region and the new dynamics Southeast Asian countries can offer to the study of inter-Asian cultural links, particularly during the political amalgamation of the ASEAN economic community. Yet in the more developed Southeast Asian nations of Thailand, Malaysia, and the Philippines, there is some evidence of a rejection of and animosity towards Hallyu products from consumers who are beginning to question and disapprove of the high number of Korean products in their countries. Through interviews with over 70 consumers dissatisfied with Hallyu across these three nations, this project identifies three main areas under which this potential for a Hallyu “backlash” occurs: perceptions of colonial-esque attitudes and cultural imperialism from Korea; the movement of Hallyu from an innovative new “high culture” to a static and out-of-date “low culture”; and the increasing availability of new and different international products that threaten to usurp Hallyu. Such evidence represents a potential change in East and Southeast Asian relations, as well as the long term difficulties inherent in using Hallyu as a vehicle to maintain Korean influence.
Chapter
Das reflexive Erkenntnisinteresse an „Kultur“ als Ursprung der Kultursoziologie lässt sich in Japan in der Taishô-Zeit (1911–1925) verorten, in der die modernen massenmedialen und -kulturellen Phänomene entstanden sind. Nach dem Scheitern der völkischen „Soziologie der japanischen Kultur“ mit dem Zusammenbruch des totalitalischen Regimes (Hiermit ist das Regime nach dem Inkrafttreten des Gesetzes zur nationalen Generalmobilmachung von 1938 bis zur bedingungslosen Kapitulation des Großkaiserreich Japans von 1945 gemeint.) erfolgte die Erforschung der Massenkultur zuerst als „Sozialpsychologie“ nach dem US-amerikanischen Vorbild bis in die 1980er-Jahre. Die gegenwärtige Kultursoziologie in Japan fußt auf Denktraditionen der ersten Generation der Frankfurter Schule in Westdeutschland, den Kulturmarxismus und die Cultural Studies in Großbritannien sowie den Poststrukturalismus in Frankreich. Seit der Rezeption der Diskurse zur Postmoderne und Globalisierung sowie angesichts einer immer stärker globalisierten Weltwirtschaft und des damit einhergehenden Kulturwandels haben sich Konsumgesellschaft, Mediengesellschaft und Globalisierung als Leitthemen in der kultursoziologischen Forschung etabliert.
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