scholarly journals The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania

2011 ◽  
Vol 12 (1) ◽  
pp. 121-137
Author(s):  
Laima Juknevičiūtė
Keyword(s):  
Popular Culture ◽  
Soft Power ◽  
New South ◽  
Motion Pictures ◽  
Mainland China ◽  
Asian Countries ◽  
Korean Cinema ◽  
South Korean Government ◽  
South Korean ◽  
Korean Wave

Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception, development and spread of South Korean popular culture, while at the same time tracing its underlying soft power implications. I will likewise attempt to discuss the popular reception of the Korean Wave in three East Asian countries, i.e. Mainland China, Taiwan and Japan, and one European country, i.e. Lithuania. The scope of the endeavour has been largely restricted to the cinematic aspect of the Korean Wave, for I consider the creation of motion pictures and drama serials to be by far the most precious, influential and revealing form of art.

scholarly journals The Perception of Cia-Cia Tribe Students in Southeast Sulawesi Toward South Korea: The Case of Education Aid for Cia-Cia Language Preservation

2021 ◽  
Vol 15 (1) ◽  
pp. 187
Author(s):  
Darynaufal Mulyaman ◽  
Asra Virgianita ◽  
Darang Sahdana Candra
Keyword(s):  
South Korea ◽  
Foreign Aid ◽  
Soft Power ◽  
Local Community ◽  
Korean Language ◽  
Language Preservation ◽  
South Korean Government ◽  
South Korean ◽  
Korean Wave ◽  
Questionnaire Surveys

Since the beginning of the "Korean Wave" in the 2010s, Korean language and the Hangeul alphabet are integral parts in the dissemination of South Korea's soft power across the world. For instances, the South Korean government provided support for the preservation of Cia-Cia language of Cia-Cia ethnic group in Bau-Bau, Southeast Sulawesi, Indonesia - a program that was originally initiated by Hunminjeongeum Society Foundation in 2008. This study examines the perception of students with Cia-Cia ethnic background toward South Korea. Questionnaire surveys and interviews are used to further look into their perceptions. This study, that started from a thesis, finds that the students who participated in the program have positive perceptions of South Korea. Furthermore, the demonstration of Korean culture and the use of Korean language become more apparent in the students’ daily life, creating a new social reality in the local community. Such finding suggests that international assistance has effectively become a part of South Korea's soft power expansion strategy.Keywords: Cia-Cia, Language, Foreign Aid, Korea, PerceptionSejak merebaknya "Korean Wave" pada dekade 2010-an, Bahasa Korea dan Aksara Hangeul adalah bagian integral dalam penyebaran soft power Korea Selatan di seluruh dunia. Pemerintah Korea Selatan, misalnya, memberikan dukungan untuk pelestarian bahasa Cia-Cia dari Suku Cia-Cia di Bau-Bau Sulawesi Tenggara, Indonesia - sebuah program yang awalnya diprakarsai oleh Yayasan Hunminjonggeum Society pada tahun 2008. Studi ini mengukur persepsi siswa dengan latar belakang etnis Cia-Cia terhadap Korea Selatan. Survei kuesioner dan wawancara digunakan untuk melihat lebih jauh persepsi mereka. Studi ini berangkat dari tesis yang dilakukan dan menemukan bahwa siswa-siswa yang terlibat dalam program tersebut memiliki persepsi yang positif tentang Korea Selatan. Selain itu, peragaan budaya Korea dan penggunaan Bahasa Korea menjadi lebih jelas dalam kehidupan sehari-hari siswa-siswa tersebut sehingga menciptakan realitas sosial baru di komunitas lokal. Temuan tersebut menunjukkan bahwa bantuan internasional dapat dan telah secara efektif digunakan sebagai strategi ekspansi soft power Korea Selatan. Kata-kata Kunci: Cia-Cia, Bahasa, Bantuan Luar Negeri, Korea, Persepsi

Agenda-setting in the realm of popular culture: The case of the Korean Wave in East Asia

2019 ◽  
Vol 15 (3) ◽  
pp. 361-377
Author(s):  
Hyeri Jung
Keyword(s):  
Popular Culture ◽  
East Asia ◽  
Political Communication ◽  
Agenda Setting ◽  
Soft Power ◽  
Cultural Diplomacy ◽  
News Coverage ◽  
Media Culture ◽  
South Korean ◽  
Korean Wave

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.

New Korean Wave

2016 ◽  
Author(s):  
Dal Yong Jin
Keyword(s):  
Popular Culture ◽  
Creative Industries ◽  
Government Support ◽  
Global Context ◽  
South Korean ◽  
Korean Wave ◽  
Regional Interest ◽  
The Social ◽  
Hands On ◽  
Music Film

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. This book 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, the book 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. The book 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.

The Rise of the New Korean Wave

2017 ◽  
Author(s):  
Dal Yong Jin
Keyword(s):  
Popular Culture ◽  
Asian Countries ◽  
Cultural Policies ◽  
Socioeconomic Context ◽  
Korean Wave ◽  
Technological Developments ◽  
Cultural Forms ◽  
Historical Developments

This chapter first discuses the rise of Korean popular culture and its dissemination in Asian countries, known as the Korean Wave, or Hallyu. It characterizes the Korean Wave into roughly two major historical developments: the Hallyu 1.0 era (approximately between 1997 and 2007) and the Hallyu 2.0, New Korean Wave, era (mainly from 2008 to the present). Although these two periods share some common phenomena, they are dissimilar in their major characteristics, such as the major cultural forms exported, technological developments, fan bases, and government cultural policies. It then sets out the book's purpose, which is to explore the recent evolution of Hallyu in a socioeconomic context alongside its textual meanings. The chapter then discusses the hybridity in Korean popular culture followed by an overview of the subsequent chapters.

‘If It’s Korean, It Must Be Good’- The Nation Branding of South Korean Popular Culture in the Philippines

2018 ◽  
pp. 85-101
Author(s):  
Sam Pack
Keyword(s):  
Young Adults ◽  
Popular Culture ◽  
Lived Experiences ◽  
The Philippines ◽  
Nation Branding ◽  
South Korean ◽  
Korean Wave ◽  
Teenagers And Young Adults ◽  
The Media ◽  
Conflicting Messages

Filipinos are avid consumers of exported South Korean media products. Teenagers and young adults know the lyrics and dance moves of their favorite K-Pop performers while older viewers are engrossed in the weekly Korean television dramas (known in the Philippines as ‘Koreanovelas’). There exists, however, a fundamental disconnect between the idealised images disseminated in the media and their everyday lived experiences that are characterised by mutual antipathy. My objective in this research project was to examine how Filipino consumers negotiate these conflicting messages by exploring the correlation between the consumption of Korean media products and the consumerism of Korean non-media products by Filipino fans of the Korean Wave.

Constructing a New Image. Hallyu in Taiwan

2010 ◽  
Vol 9 (1) ◽  
pp. 25-45 ◽  
Author(s):  
Sang-Yeon Sung
Keyword(s):  
South Korea ◽  
Mainland China ◽  
Diplomatic Relations ◽  
Pop Music ◽  
South Korean Government ◽  
Negative Image ◽  
South Korean ◽  
The People ◽  
Historical Past

AbstractThis paper discusses how hallyu—the recent influx of Korean popular culture in Taiwan—has transformed the image of South Korea among the people of Taiwan. South Korea and Taiwan share a similar historical past. Nevertheless, the Taiwanese did not have a positive image of South Korea after 1992, when South Korea broke off diplomatic relations with Taiwan in order to establish diplomatic relations with mainland China. This work is based on ethnographic research done in Taiwan and South Korea from 2001–2003 and 2007–2009. It explores how hallyu has contributed to the rebuilding of the image of South Korea in Taiwan. It discusses Taiwanese perceptions of this image and the role of the South Korean government in improving it. It focuses on how a once-held negative image of South Korea has been transformed. The hallyu boom inspired many Taiwanese to remark on the influence of South Korean dramas and pop music in renewing their relationship with South Korea. It has provided an opportunity for Taiwan and South Korea to build positive relationships after the break-up of their diplomatic relations. Through hallyu, South Korea became a country that Taiwanese want to emulate, a model nation for Taiwan today.

scholarly journals Reflecting on Japan-Korea relations through the Korean wave: Fan desires, nationalist fears, and transcultural fandom

2021 ◽  
Vol 36 ◽  
Author(s):  
Thomas Baudinette
Keyword(s):  
Popular Culture ◽  
Longitudinal Study ◽  
Soft Power ◽  
Korean Wave ◽  
Current State

The reception of K-pop in Japan must be contextualized within the postcolonial relationship between Japan and Korea. Studying fan discourse and discourse about fans reveals that the Korean Wave (that is, fandom around Korean popular culture) has produced various desires and fears among the Japanese public, suggesting that persistent Korea-phobia among conservatives stymies K-pop's soft-power potential. A longitudinal study of K-pop fans in Japan and an ethnographic investigation of Tokyo's Koreatown, Shin-Ōkubo, indicate that these fans' activities reflect the current state of Japan-Korea relations. Consuming K-pop instills attraction among fans, but this must be weighed against the potential dismissal of Korean Wave fandom by conservatives as being too feminized. This case study shows the usefulness of transcultural approaches to analyses of fans.

scholarly journals Hallyu (Korean Wave) as Part of South Korea�s Cultural Diplomacy and Its Impact on Cultural Hybridity in Indonesia

2016 ◽  
Vol 1 (01) ◽  
pp. 87-116
Author(s):  
Teguh Puja Pramadya ◽  
Jusmalia Oktaviani
Keyword(s):  
South Korea ◽  
Cultural Diplomacy ◽  
Cultural Hybridity ◽  
Korean Culture ◽  
South Korean Government ◽  
South Korean ◽  
Korean Wave ◽  
Foreign Culture ◽  
Language Courses ◽  
The Government

Korean Wave or �hallyu� is a phenomenon of the spread of South Korean culture, which is very interesting to learn. Some influences in the entertainment industry this year, especially in Indonesia is pronounced, with many types of Korean cultural products that can be found in various forms, such as music, movies, culinary, fashion, language courses, and so on. As part of the strategy of cultural diplomacy, by the South Korean government, 'hallyu' is used optimally by the government, to promote South Korean culture. However, the spread of 'hallyu' now is not only an indicator of the success of cultural diplomacy on the part of South Korea�s government alone. The cultural hybridity also helps' hallyu' widespread, where the international community would accept the foreign culture, like Korean culture as part of their lifestyle.

scholarly journals The New Zombie Apocalypse and Social Crisis in South Korean Cinema (translation into Russian)

Corpus Mundi ◽  
2021 ◽  
Vol 2 (4) ◽  
pp. 40-59
Author(s):  
Sung-Ae Lee
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Korean Cinema ◽  
Conceptual Metaphors ◽  
Social Crisis ◽  
South Korean ◽  
Cognitive Studies ◽  
Costume Drama ◽  
Korean Film

The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines four zombie films released between 2012 and 2018: “Ambulance”, the fourth film in Horror Stories (2012), a popular horror portmanteau film; Train to Busan (2016) (directed by Yeon Sang-Ho), the first South Korean blockbuster film in the “zombie apocalypse” sub-genre; Seoul Station (2016), an animation prequel to Train to Busan (also directed by Yeon Sang-Ho); and Rampant (2018, directed by Kim Seong-Hun ), a costume drama set in Korea’s Joseon era. Based on a cognitive studies approach, this article examines two conceptual metaphors which underlie these films: the very common metaphor, LIFE IS A JOURNEY, and the endemically Korean metaphor THE NATION IS A FAMILY.

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