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K-pop, described by Time Magazine in 2012 as "South Korea's
greatest export", has rapidly achieved a large worldwide audience
of devoted fans largely through distribution over the Internet.
This book examines the phenomenon, and discusses the reasons for
its success. It considers the national and transnational conditions
that have played a role in K-pop's ascendancy, and explores how
they relate to post-colonial modernisation, post-Cold War politics
in East Asia, connections with the Korean diaspora, and the
state-initiated campaign to accumulate soft power. As it is
particularly concerned with fandom and cultural agency, it analyses
fan practices, discourses, and underlying psychologies within their
local habitus as well as in expanding topographies of online
networks. Overall, the book addresses the question of how far
"Asian culture" can be global in a truly meaningful way, and how
popular culture from a "marginal" nation has become a global
phenomenon.
K-pop, described by Time Magazine in 2012 as "South Korea's
greatest export", has rapidly achieved a large worldwide audience
of devoted fans largely through distribution over the Internet.
This book examines the phenomenon, and discusses the reasons for
its success. It considers the national and transnational conditions
that have played a role in K-pop's ascendancy, and explores how
they relate to post-colonial modernisation, post-Cold War politics
in East Asia, connections with the Korean diaspora, and the
state-initiated campaign to accumulate soft power. As it is
particularly concerned with fandom and cultural agency, it analyses
fan practices, discourses, and underlying psychologies within their
local habitus as well as in expanding topographies of online
networks. Overall, the book addresses the question of how far
"Asian culture" can be global in a truly meaningful way, and how
popular culture from a "marginal" nation has become a global
phenomenon.
JungBong Choi characterizes Japan's introduction of digital
broadcasting as a political, cultural and economic endeavor
orchestrated by the Japanese state and other para-state
institutions. In so doing the author employs a concept of
"digitalization," as opposed to "digitization," defined as a
social, institutional, and discursive making of digital television.
With the analytic framework established, the author observes how
the identity of television in Japan was renewed as an apparatus
conducive to the acceleration of an informational capitalism. An
innovative study in the political economy of media, the book brings
to light ways in which digital technologies are engineered as a key
device for socio-economic reordering. A stimulating appraisal of
the contemorary state, furthermore, it offers a perspective on the
progressive conflation between state and market, technology and
institution, and cultural discourse and economic planning.
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