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Ready for Prime Time 27/142
www.li.com www.prosperity.com PROSPERITY IN DEPTH: SOUTH KOREA Ready for Prime Time By Mark Russell 2012 LEGATUM PROSPERITY INDEX™ RANKING: SOUTH KOREA 27/142 GLOBAL TRANSITIONS PROSPERITY STUDIES THE LEGATUM INSTITUTE Based in London, the Legatum Institute (LI) is an independent non-partisan public policy organisation whose research, publications, and programmes advance ideas and policies in support of free and prosperous societies around the world. LI’s signature annual publication is the Legatum Prosperity Index™, a unique global assessment of national prosperity based on both wealth and wellbeing. LI is the co-publisher of Democracy Lab, a journalistic joint-venture with Foreign Policy Magazine dedicated to covering political and economic transitions around the world. PROSPERITY IN DEPTH To complement the annual Legatum Prosperity Index, we regularly commission specialists—economists, political scientists, journalists— to provide additional analysis of selected countries. In each case they represent highly original work by distinguished experts that adds depth and insight to the statistical analysis of the index. THE LEGATUM INSTITUTE FOREWORD South Korea’s modern history is one of extremes: harsh colonial occupation, near-total destruction by war, crony capitalism, brutal dictatorship, episodic sabre-rattling by its heavily armed neighbour—and, of course, the triumph of democracy and lightning rise to a level of affluence approaching that of Japan. It shouldn’t be surprising, then, that South Koreans continue to struggle with their past and worry much about their future, realities reflected in the country’s mixed rankings on the 2012 Legatum Prosperity Index. While it gets high marks on sub-indices for entrepreneurship and opportunity (19th out of 142 countries), education (7th), and health (24th), it ranking surprisingly low for a rich democracy on safety and security (40th), personal freedom (56th), and social capital (51st). -
“PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju
TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan. -
The Korean Wave As a Localizing Process: Nation As a Global Actor in Cultural Production
THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Ju Oak Kim May 2016 Examining Committee Members: Fabienne Darling-Wolf, Advisory Chair, Department of Journalism Nancy Morris, Professor, Department of Media Studies and Production Patrick Murphy, Associate Professor, Department of Media Studies and Production Dal Yong Jin, Associate Professor, School of Communication, Simon Fraser University © Copyright 2016 by Ju Oak Kim All Rights Reserved ii ABSTRACT This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices. -
Sociology of Sport International Review For
International Review for the Sociology of Sport http://irs.sagepub.com Sport Star Vs Rock Star in Globalizing Popular Culture: Similarities, Difference and Paradox in Discussion of Celebrities Heejoon Chung International Review for the Sociology of Sport 2003; 38; 99 DOI: 10.1177/10126902030381006 The online version of this article can be found at: http://irs.sagepub.com/cgi/content/abstract/38/1/99 Published by: http://www.sagepublications.com On behalf of: International Sociology of Sport Association Additional services and information for International Review for the Sociology of Sport can be found at: Email Alerts: http://irs.sagepub.com/cgi/alerts Subscriptions: http://irs.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.co.uk/journalsPermissions.nav Citations http://irs.sagepub.com/cgi/content/refs/38/1/99 Downloaded from http://irs.sagepub.com at GLASGOW CALEDONIAN UNIVERSITY on November 13, 2009 03_IRS 38/1 articles 24/2/03 10:32 am Page 99 INTERNATIONAL REVIEW FOR THE SOCIOLOGY OF SPORT 38/1(2003) 99–108 99 © Copyright ISSA and SAGE Publications (London, Thousand Oaks, CA, New Delhi) www.sagepublications.com [1012–6902 (200303) 38:1;99–108; 031731] SHORT COMMUNICATION SPORT STAR VS ROCK STAR IN GLOBALIZING POPULAR CULTURE Similarities, Difference and Paradox in Discussion of Celebrities Heejoon Chung Dong-A University, South Korea Abstract This paper investigates the multiplex and complex nature of popular culture in develop- ing nations in the midst of globalization by comparatively analyzing two cultural icons of Korean society: a Texas Ranger pitcher, Chanho Park, and a rock musician, Taiji Seo. -
Understanding Korean Society Through Popular Music
Situations Vol. 5 (Winter 2011) © 2011 by Yonsei University Hannah N. Bergen (Yonsei University, Seoul) Understanding Korean Society through Popular Music Today one of the most unique aspects of inter-Asian cultural sharing is the hallyu wave. This social phenomenon began in Seoul, South Korea and today accounts for the all pervasive nature of Korean popular entertainment dominating the airwaves of nearly every Asian country. From Japan to Thailand, “K-pop” has conquered the Asian market, and is now turning its attention to the rest of the world. In order to illustrate this current social phenomenon, I have found many sources that all point to the same aspects in K-pop which have allowed one small country to make their entertainment business one of its most lucrative exports. The hallyu wave as a whole has become a blending of uniquely Korean culture with aspects of Western and other Asian cultures which has created a style unique to this particular moment of history. In the words of Sun Jung, author of the article “Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols,” “Transcultural hybridity is one of the most significant aspects of contemporary South Korean popular culture in the postmodern era and is the main driving force behind its overseas popularity” (Jung 166). This combination has allowed the music and film from Korea to be extremely accessible to a wide audience of various nationalities and languages. In order to clearly illustrate the international success of hallyu, I will focus on one specific aspect of current Korean popular culture: music. -
Navigating the Hyphen
NAVIGATING THE HYPHEN Korean-American college students' processes of identification through practice Kyungchan Min Swarthmore College Sociology & Anthropology Department 2018 1 Philadelphia Zoo Wt'$! C Havertown WEST o ~l!srerPike PHllAOElPHIA Delaware Philadelphia Museum of Art 9 co~~~t~itY Broomall ~ College ... 0) Millbourne ~ Barnes Foundation 0) , Han Dynasty _ , sanChon Chicken Upper Darby V Korean fried chicken specialist Su Xing House East ~ef>.'1e • Upper )ro"idence Lansdowne ~~\ :a~:~~!~~~a~: ~ Township lansdowne Yeadon '<3) Springfield <; Clifton Heights GIRARD ESTATES Darby Media Swarthmore College Collingdale ~ Morton lincoln Financial Field ~ Swarthmore CSX Rail Yard Glenolden SOUTHWEST Philadelphia PHILAOELPHIA Rose Valley Folcroft Folsom John Heinz National Philadelphia Wildlife International Ridley Park Refuge at. ~ Airport ~ Q Brookhaven Westvil National Park Parkside Tinicum Township Eddystone Upland t<r-'(\"'''' l ip PENNSYLVANIA Chester NEW JERSEY Map of the Greater Philadelphia Area Swarthmore College and Bonchon Chicken, the geographic areas of research, are marked 2 Table of Contents TABLE OF CONTENTS ....................................................................................................................................... 2 ACKNOWLEDG EM ENTS ...................................................................................................................................3 CHAPTER 1: "AN URGENT NECESSITY ... TO WRITE OURSELVES INTO EXISTENCE" ............................. .4 CHAPTER 2: TO BECOME AN -
One Direction Infection: Media Representations of Boy Bands and Their Fans
One Direction Infection: Media Representations of Boy Bands and their Fans Annie Lyons TC 660H Plan II Honors Program The University of Texas at Austin December 2020 __________________________________________ Renita Coleman Department of Journalism Supervising Professor __________________________________________ Hannah Lewis Department of Musicology Second Reader 2 ABSTRACT Author: Annie Lyons Title: One Direction Infection: Media Representations of Boy Bands and their Fans Supervising Professors: Renita Coleman, Ph.D. Hannah Lewis, Ph.D. Boy bands have long been disparaged in music journalism settings, largely in part to their close association with hordes of screaming teenage and prepubescent girls. As rock journalism evolved in the 1960s and 1970s, so did two dismissive and misogynistic stereotypes about female fans: groupies and teenyboppers (Coates, 2003). While groupies were scorned in rock circles for their perceived hypersexuality, teenyboppers, who we can consider an umbrella term including boy band fanbases, were defined by a lack of sexuality and viewed as shallow, immature and prone to hysteria, and ridiculed as hall markers of bad taste, despite being driving forces in commercial markets (Ewens, 2020; Sherman, 2020). Similarly, boy bands have been disdained for their perceived femininity and viewed as inauthentic compared to “real” artists— namely, hypermasculine male rock artists. While the boy band genre has evolved and experienced different eras, depictions of both the bands and their fans have stagnated in media, relying on these old stereotypes (Duffett, 2012). This paper aimed to investigate to what extent modern boy bands are portrayed differently from non-boy bands in music journalism through a quantitative content analysis coding articles for certain tropes and themes. -
Global Audience Participation in the Production and Consumption of Gangnam Style
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 5-10-2014 Global Audience Participation in the Production and Consumption of Gangnam Style Soo keung Jung Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Recommended Citation Jung, Soo keung, "Global Audience Participation in the Production and Consumption of Gangnam Style." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/communication_theses/106 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. GLOBAL AUDIENCE PARTICIPATION IN THE PRUDUCTION AND CONSUMPTION OF GANGNAM STYLE by SOOKEUNG JUNG Under the Direction of Professor Hongmei Li ABSTRACT This thesis examines the cultural consumption of the Korean music video Gangnam Style in the broader context of the increasing popularity of Korean popular content, often called the Korean Wave, and of complex conditions of transnational consumption. Specifically, it in- vestigates why the music video Gangnam Style gained popularity not only in East Asia but also over the world, how it is circulated, and what conditions contribute to its success. It focuses on the role of the networked audiences and the interactions between the networked audiences and mainstream media through a chronological analysis on the distribution and reproduction process of Gangnam Style on YouTube. Through the case study of Gangman Style, this thesis attempts to rethink the established globalization theories and to suggest new perspective of cultural circula- tion in the globalized and digitalized media environment. -
THE GLOBALIZATION of K-POP by Gyu Tag
DE-NATIONALIZATION AND RE-NATIONALIZATION OF CULTURE: THE GLOBALIZATION OF K-POP by Gyu Tag Lee A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2013 George Mason University Fairfax, VA De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University By Gyu Tag Lee Master of Arts Seoul National University, 2007 Director: Paul Smith, Professor Department of Cultural Studies Spring Semester 2013 George Mason University Fairfax, VA Copyright 2013 Gyu Tag Lee All Rights Reserved ii DEDICATION This is dedicated to my wife, Eunjoo Lee, my little daughter, Hemin Lee, and my parents, Sung-Sook Choi and Jong-Yeol Lee, who have always been supported me with all their hearts. iii ACKNOWLEDGEMENTS This dissertation cannot be written without a number of people who helped me at the right moment when I needed them. Professors, friends, colleagues, and family all supported me and believed me doing this project. Without them, this dissertation is hardly can be done. Above all, I would like to thank my dissertation committee for their help throughout this process. I owe my deepest gratitude to Dr. Paul Smith. Despite all my immaturity, he has been an excellent director since my first year of the Cultural Studies program. -
Korea Wave Foundation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SOAS Research Online The Foundations Of Hallyu – K-Pop’s Coming Of Age Keith Howard We are, collectively, still struggling to come to terms with Hallyu, Korean Wave. This is seen in the multitude of contrasting perspectives that have been applied by journalists and academics alike since the turn of the new millennium. There is a lack of consensus, and perspectives run from fear and criticism by what Cho Hae-joang calls the postcolonial camp, through pride and celebration in what is happening (Cho’s nationalist camp), to economic planning (the neoliberal camp; Cho Hae-joang 2005).1 The three camps seem to trend chronologically in the order given here,2 but are no longer sufficient now that Korean Wave has spread to the world beyond Asia. Indeed, recent foreign commentaries about the economy of Korean Wave have diverged, often markedly, from Korean accounts of its global popularity. New models are needed, one of which, Ingyu Oh and Gil-Sung Park’s supply chain model (2012), seems to have considerable utility.3 Their theory throws out existing, albeit dated, accounts of the music industry, and demonstrates how the internationalization of Korean Wave moves the industry from a fan-oriented service business (B2C) to business servicing (B2B). Our accounts do, though, agree on key moments in Korean Wave: 1999, when the term, hallyu, began to be used; 2003 when “Winter Sonata” reached Japan; 2008 or shortly after when Korean pop again moved into a global frame; and 2012 as the date when Psy conquered YouTube. -
Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1
ACTA KOR ANA VOL. 16, NO. 2, DECEMBER 2013: 329–365 JUVENILE PROTECTION AND SEXUAL OBJECTIFICATION: ANALYSIS OF THE PERFORMANCE FRAME IN KOREAN 1 MUSIC TELEVISION BROADCASTS By CEDARBOUGH T. SAEJI2 The wide-spread sexual objectification of women in Korean popular music performance subconsciously teaches men and boys that women and girls are sexual objects that exist to please them. Simultaneously sexual objectification disempowers girls and women by emphasizing superficial beauty. Although many decisions related to K- pop choreography, costumes, or lyrics may be attributed to music management companies, this article analyzes how music television programs Inkigayo (Seoul Broadcasting System) and Music Core (Munhwa Broadcasting Company) contribute to the sexual objectification of women through the ways that emcees frame performances and the ways the camera draws attention to sexualized body parts. In August 2012 racy performances by the girl group Kara raised public debate and spurred calls for amendments to the Juvenile Protection Law. At that time commentary focused on the impact of sexually provocative performances on young people. The law places responsibility for monitoring content onto the content producers and broadcasters, yet frame analysis of Kara’s performances, compared with performances in early 2013, demonstrated that neither Inkigayo nor Music Core had changed the sexually objectifying performance frame on their shows. The final version of the revised law, 1 This research was supported by Hankuk University of Foreign Studies Research Fund of 2013. 2 Author’s Note: Thank you to the editor and enormously helpful anonymous reviewers at Acta Koreana as well as friends and colleagues with whom I discussed aspects of this paper: my gratitude to Logan Clark, Timothy Gitzen, Meredith Perry, Jungwon Kim, Jisoo Hyun, Thea Suh, Go Gwanyeong, and the audience for my presentation at the 2013 International Association for the Study of Popular Music conference. -
V. 60, No. 4, February 13, 1992
Basketball Player Reaches Milestone Valentine's Classifieds Page 16 Pages 8 &9 THURSDAY, FEBRUARY 13, 1992 BRYANT COLLEGE BOX7 SMITHFIELD, R.I. 02917 VOLUME 60 NUMBER 4 Mich&f J. Boyd Arckwoy Sto.jJWn'ltr A fimcss trail. to be construCted Mark Ptihcik Jowc.red me prime rate to 4.5~, on the campus grounds, was an Archway S,ajJ Writer banks shou1d be more willing 10 nounced as me senior class gift lend to businesses. during II " lUek-off Party" held by Bryant Professor and local busi "'There are plenty of opportuni· lhe senior class last Tbursday ness man Jack Keigwin appeared ties for jobs to be created. We're evening in the Papiuo Dining Room. onWJARChannellO'sLtt'sTalk asking for funds 10 build manufac "This [fitness traill will besome Busifll:sJ Olis past Sunday. turing facilities and create jobs - to thing that everyone can benefit The show, hosted by former bring new companies into the Slate from," remarked lntram ural Coach Providence mayor Joseph Paolino, and support businesses that are aJ Raben Reali during the annOWlce Jr. addressed the topic of the effecl ready here." ment ceremony. But, Keigwin says, the money Real1 nOloo that the concept of a just isn't there. ''The foct is that J fitness lmil was not a new idea. He don't see the availability of funds showed a newspaper ankle, dated yet." 1981. depicting a fitness trail al Thomas SIcala, president of Fleet Bentley. The an.icle conlained a Bank, dlsagreed with Keigwin. handwrillcn note from then-presi- 'Those bonowers who are credit dent Dr.