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304c61e16e71a91061e258d53d2f5cae
Dublin Core
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Title
A name given to the resource
Inter-Asia Cultural Studies
Dublin Core
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Title
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Have You Ever Seen The Rain? And Who’ll Stop the Rain?: The Globalizing Project of Korean Pop (K-pop)
Description
An account of the resource
<p>Using the Korean artist Rain as a case study, the article examines the Korean music industry and its development into “multi-purpose star management” that creates transnational stars by de-emphasizing their national identity. It also examines the reaction by media and fans.</p>
<p>“Border-crossing Korean pop culture” is part of a larger phenomenon describe as “trans-Asia cultural traffic” (Iwabuchi) or “East Asian pop culture” (Chua). Yet previous studies confine Korean pop culture to the Asia region while K-pop is engaged in a globalizing mission.</p>
<p>Rain functions as a case study because he seeks to transform from a star in Asia into a global star. The means by which this could be achieved is the “star manufacturing system,” where Korean entertainment agencies incorporate production and management within the agency, and includes a training system. This system developed in the wake of the 1997 economic crises and shifts in the production in idol groups in the wake of the decline of music show programs. In order to achieve global star status, the article argues that Rain de-emphasized his Asian identity to embrace a global one in terms of marketing.</p>
Creator
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Shin Hyunjoon
Source
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<i>Inter-Asia Cultural Studies</i>, vol. 10, no. 4, 2009, pp. 507-523.
Relation
A related resource
<p>Howard, Keith. “Exploding Ballads: the Transformation of Korean Pop Music.” <i>Global Goes Local</i>, edited by J. Craig and Richard King, UBC Press, 2002, pp. 80-95.</p>
<p>Lee, Jamie Shin Lee. “Linguistic Hybridization in K-pop: Discourse of Self-Assertion and Resistance.” <i>World Englishes</i>, 2004, vol. 23, no. 3, pp. 429-450.</p>
<p>Lee, Jung-yup. “Contesting Digital Economy and Culture: Digital Technologies and the Transformation of Popular Music in Korea.” <i>Inter-Asia Cultural Studies</i>, 2009, vol. 10, no. 4, pp. 489-506.</p>
<p>Shin, Hyunjoon. “K-pop (music) in the Emerging Cultural Economy of Asian pop.” <i>Journal of Communication Arts</i>, vol. 25, no. 4, 2007, pp. 1-11.</p>
<p>Siriyuvasak, Ubonrat and Shin, Hyunjoon.” “’Asianizing K-pop: Production, Consumption and Identification Patterns among Thai Youth.” <i>Inter-Asia Cultural Studies</i>, vol. 8, no. 1, 2007, pp. 109-136.</p>
Asian pop
globalization
Inter-Asia Cultural Studies
K-pop
Korean music industry
Korean Wave
regionalization
Shin Hyunjoon
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577c9a53a4b2f498ad7202702f2e4f7b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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ejcjs
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Conflicting Desires: K-pop Idol Girl Groups Flows in Japan in the Era of Web 2.0
Description
An account of the resource
<p>This article uses the experience of the female K-pop group Girls’ Generation (SNSD) in Japan as a case study to examine how K-pop represents a different kind of transcultural flows and consumption. It focuses on how the promotion and production strategies of SNSD differ from previous K-pop groups. It explores the “idol” and marketing strategies of Korean agencies in Japan. It reveals the conflicting responses to such strategies by the female fandom and critics of the Korean cultural movement, <em>Hallyu</em>. Within the context of a definition of K-pop limited to “idol” music, K-pop groups such as BoA and TVXQ that achieved a measure of success in Japan prior to SNSD did so by engaging in localization, speaking and singing in Japanese and collaborating with Japanese producers. Conversely, SNSD did not engage in such localization processes: they cannot speak Japanese and spend considerably less time promoting in Japan. K-pop marketing strategies mirror Japanese <em>aidoru</em> (idol) system, with the training of individuals who sing and dance. Korean agencies modeled early Korean idols on Japanese idols, and go further by “adopting globally popular cultural elements form Japan and the US, then repackaging and manufacturing culturally hybridized products. Finally, they resell these repackaged products overseas, sometimes even back to its point of origin” (5). Using the idol management technique of “K-pop traineeship,” SM Entertainment, SNSD’s Korean agency, creates a wide range of images associated with the group and uses online strategies, especially social media such as YouTube, to promote the group. In part, they foster fan participating by encouraging filming at concerts and uploading of fan content. Such promotion is made even more effective by branding by the Big Three Korean agencies.</p>
<p>While such promotion strategies encourage the female fandom, it has also generated an anti-<em>Hallyu</em> backlash led by Japanese men. Such critiques “see all practices relevant to consumption and distribution of Korean popular culture as anti-Japanese” and “signifies Korea’s potential threat to Japan’s entertainment industry” (7). Like the promotion of K-pop, such critique uses the Internet to spread its views. Female fans also use the Internet to show their perceptions of K-pop groups. SNSD allows young girls to “represent their sexualized desires” through cosplay, cover dancing and the emulation of fashion and hairstyles. At the same time, the Japanese media exhibits a male gaze by objectifying SNSD through its coverage. </p>
Creator
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Sun Jung and Yukie Hirata
Source
A related resource from which the described resource is derived
ejcjs 12.2 (2012): 1-14
anti-Hallyu
girl groups
Girls' Generation
idol pop
Japanese fandom
K-pop
SNSD