Combining global, media, and cultural studies, this book analyzes the success of Hallyu, or the "Korean Wave” in the West, both at a macro and micro level, as an alternative pop culture globalization. This research investigates the capitalist ecosystem (formed by producers, institutions and the state), the soft power of Hallyu, and the reception among young people, using France as a case study, and placing it within the broader framework of the 'consumption of difference.' Seen by French fans as a challenge to Western pop culture, Hallyu constitutes a material of choice for understanding the cosmopolitan apprenticeships linked to the consumption of cultural goods, and the use of these resources to build youth’s biographical trajectories. The book will be relevant to researchers, as well as undergraduate and postgraduate students in sociology, cultural studies, global studies, consumption and youth studies.
This volume fills a gap in the existing literature and proposes an interdisciplinary and multicultural comparative approach to the impact of Hallyu worldwide. The contributors analyze the spread of South Korean popular products from different perspectives (popular culture, sociology, anthropology, linguistics) and from different geographical locations (Asia, Europe, North America, and South America). The contributors come from a variety of countries (UK, Japan, Argentina, Poland, Bulgaria, Czech Republic, Indonesia, USA, Romania). The volume is divided into three sections and twelve chapters that each bring a new perspective on the main topic. This emphasizes the impact of Hallyu and draws real and imaginary “maps” of the export of South Korean cultural products. Starting from the theoretical backgrounds offered by the existing literature, each chapter presents the impact of Hallyu in a particular country. This applied character does not exclude transnational comparisons or critical interrogations about the future development of the phenomenon. All authors are speaking about their own, native cultures. This inside perspective adds an important value to the understanding of the impact of a different culture on the “national” culture of each respective country. The contributions to this volume illustrate the “globalization” of the cultural products of Hallyu and show the various faces of Hallyu around the world.
"This book gives fresh insights into how transnational flows of East Asian media culture have been organized by various social actors and industries, generated alternative media globalization, engendered cross-border dialogues, and fostered a cosmopolitan outlook. It is essential reading for anyone interested in the study of the "Korean Wave," cultural globalization and mediated dialogue." -Koichi Iwabuchi, Professor of Media and Cultural Studies, Monash University, Australia. "This is an exceptional work about the "Korean Wave" (Hallyu) and multi-polar globalization of culture. While providing the context surrounding the emergence, promotion, and global diffusion of Hallyu, the authors also address it theoretically, tackling such emerging concepts as aesthetic capitalism, sweet power, and the theory of cosmopolitan elective affinities. A must-read book for understanding the past, present, and future of Hallyu!" -Wonho Jang, Professor of Urban Sociology, University of Seoul, South Korea Combining global, media, and cultural studies, this book analyzes the success of Hallyu, or the "Korean Wave" in the West, both at a macro and micro level, as an alternative pop culture globalization. This research investigates the capitalist ecosystem (formed by producers, institutions and the state), the soft power of Hallyu, and the reception among young people, using France as a case study, and placing it within the broader framework of the 'consumption of difference.' Seen by French fans as a challenge to Western pop culture, Hallyu constitutes a material of choice for understanding the cosmopolitan apprenticeships linked to the consumption of cultural goods, and the use of these resources to build youth's biographical trajectories. The book will be relevant to researchers, as well as undergraduate and postgraduate students in sociology, cultural studies, global studies, consumption and youth studies. Vincenzo Cicchelli is Associate Professor at Université de Paris and Research Fellow at Centre Population et Développement (Université de Paris / IRD), France. Sylvie Octobre is Researcher at Département des études, de la prospective et des statistiques, French Ministry of Culture, and Research Fellow at Centre Max Weber, France.
The first scholarly volume to investigate the impact of social media and other communication technologies on the global dissemination of the Korean Wave
Pop City examines the use of Korean television dramas and K-pop music to promote urban and rural places in South Korea. Building on the phenomenon of Korean pop culture, Youjeong Oh argues that pop culture–featured place selling mediates two separate domains: political decentralization and the globalization of Korean popular culture. By analyzing the process of culture-featured place marketing, Pop City shows that urban spaces are produced and sold just like TV dramas and pop idols by promoting spectacular images rather than substantial physical and cultural qualities. Oh demonstrates how the speculative, image-based, and consumer-exploitive nature of popular culture shapes the commodification of urban space and ultimately argues that pop culture–mediated place promotion entails the domination of urban space by capital in more sophisticated and fetishized ways.
"A representative book of contemporary Korean cultural studies!" This book introduces one remarkable media trend related to the influence of Korean media products in Asian countries and Western countries. Since the early 1990s, the popularity of Korean media products, including television dramas, songs, and movies has skyrocketed in Asian countries and beyond. The enormous wave of popularity of Korean pop culture is referred to as Hallyu, the Korean Wave. According to earlier studies, the influence of Hallyu has been unprecedented, affecting the domestic culture and international relations of Asian countries and reducing the dominance of Hollywood in the Asian media market. Furthermore, it has been constructing a cross-national identity of ready consumers of Korean popular culture. Investigating this remarkable media phenomenon, this book examines the influence of Hallyu from its origin to the present and attempts to predict its future. Many scholars of communication, sociology, history, and international relations have produced a growing amount of literature and research on the subject of Hallyu over the last several years. However, so far, few efforts have synthesized the Hallyu phenomenon comprehensively or traced the influence of Hallyu for the last decade. Having observed the influence of Hallyu across national borders and the need to synthesize Hallyu research from diverse perspectives, the editors designed this book with two main purposes: the first purpose was to analyze Hallyu from as many diverse perspectives as possible, and the second purpose was to present Korean perspectives on the Hallyu phenomenon by providing international readers with analyses by Korean scholars.
The contributors analyse the subject of Asian pop culture arranged under three headings: 'Television Industry in East Asia', 'Transnational-Crosscultural Receptions of TV Dramas' and 'Nationalistic reactions'.
While the influence of Western, Anglophone popular culture has continued in the global cultural market, the Korean cultural industry has substantially developed and globally exported its various cultural products, such as television programs, pop music, video games and films. The global circulation of Korean popular culture is known as the Korean wave, or Hallyu. Given its empirical scope and theoretical contributions, this book will be highly appealing to any scholar or student interested in media globalization and contemporary Asia popular culture. These chapters present the evolution of Hallyu as a transnational process and addresses two distinctive aspects of the recent Hallyu phenomenon - digital technology integration and global reach. This book will be the first monograph to comprehensively and comparatively examine the translational flows of Hallyu through extensive field studies conducted in the US, Canada, Chile, Spain and Germany.
The 2012 smash "Gangnam Style" by the Seoul-based rapper Psy capped the triumph of Hallyu , the Korean Wave of music, film, and other cultural forms that have become a worldwide sensation. Dal Yong Jin analyzes the social and technological trends that transformed South Korean entertainment from a mostly regional interest aimed at families into a global powerhouse geared toward tech-crazy youth. Blending analysis with insights from fans and industry insiders, Jin shows how Hallyu exploited a media landscape and dramatically changed with the 2008 emergence of smartphones and social media, designating this new Korean Wave as Hallyu 2.0. Hands-on government support, meanwhile, focused on creative industries as a significant part of the economy and turned intellectual property rights into a significant revenue source. Jin also delves into less-studied forms like animation and online games, the significance of social meaning in the development of local Korean popular culture, and the political economy of Korean popular culture and digital technologies in a global context.
This book observes and analyzes transnational interactions of East Asian pop culture and current cultural practices, comparing them to the production and consumption of Western popular culture and providing a theoretical discussion regarding the specific paradigm of East Asian pop culture. Drawing on innovative theoretical perspectives and grounded empirical research, an international team of authors consider the history of transnational flows within pop culture and then systematically address pop culture,digital technologies, and the media industry. Chapters cover the Hallyu—or Korean Wave—phenomenon, as well as Japanese and Chinese cultural industries. Throughout the book, the authors address the convergence of the once-separated practical, industrial, and business aspects of popular culture under the influence of digital culture. They further coherently synthesize a vast collection of research to examine the specific realities and practices of consumers that exist beyond regional boundaries, shared cultural identities, and historical constructs. This book will be of interest to academic researchers, undergraduates, and graduate students of Asian media, media studies, communication studies, cultural studies, transcultural communication, or sociology.
