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Diplomarbeit DIPLOMARBEIT Titel der Diplomarbeit „Auf der koreanischen Welle – Kulturelle Hybridität als Erklärungsmodell für den pan-asiatischen Erfolg der südkoreanischen Populärkultur“ Verfasserin Valentina Resetarits, Bakk. phil. angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Univ.-Prof. Mag. Dr. habil. Ramón Reichert Für Rina, ohne die ich nie nach Japan gegangen und auf dieses Thema gekommen wäre Inhaltsverzeichnis 1 Einleitung ................................................................................................................... 7 2 Hybridität – ein Begriff oder viele Begriffe ................................................. 10 2.1 Homi Bhabha und die Hybridität post-kolonialer Kulturen ....................... 14 2.2 Nestor Garcia Canclini und die Deterritorialisierung von symbolischen Gütern ............................................................................................................................. 17 2.3 Jan Nederveen Pieterse und die Hybridisierung in der Globalisierung .. 20 2.4 Technische Hybridität .............................................................................................. 21 2.5 Marwan M. Kraidy und die Hybridität internationaler Medientexte ....... 23 2.6 Differenzen oder Das Fremde, das Eigene und das Dazwischen ............... 28 2.7 Homogenisierung oder Heterogenisierung - Hybridität als Logik des Kapitalismus? ............................................................................................................... 30 2.8 Hybridkultur zwischen Tradition, Moderne und Postmoderne ................ 32 2.9 Nationalismus in der Hybridkultur ..................................................................... 35 2.10 Die nie endende Diskussion um Massen- und Hochkultur ....................... 37 2.11 Zur Brauchbarkeit der Theorie für die Fragestellung ................................ 39 3 Einführung in Südkoreas Geschichte des 20. Jahrhunderts .................. 41 4 Die Hallyu ................................................................................................................ 45 4.1 Aus Kultur wird Kulturindustrie .......................................................................... 46 4.2 Der Glücksfall Hallyu ................................................................................................ 48 4.3 Die Hallyu als „soft power“ ..................................................................................... 50 4.4 Wissenschaftlicher Diskurs zur Hallyu .............................................................. 52 4.4.1 Kulturell-nationalistischer Diskurs ........................................................................... 52 4.4.2 Neoliberaler Diskurs ........................................................................................................ 54 4.4.3 Post-kolonialistischer Diskurs ..................................................................................... 55 4.5 Die Hallyu als Hybridkultur ................................................................................... 56 4.5.1 Kulturelle Medientexte der Hallyu: hybrid oder kopiert? ............................... 57 4.5.2 Hallyu als Beweis Für asiatische Regionalisierung .............................................. 59 4.6 Anti-Hallyu ................................................................................................................... 64 4.7 Kann die Hallyu auch Europa und Amerika erfassen? .................................. 66 5 Das Korean Drama – Motor der Hallyu ......................................................... 67 5.1 Die Fernsehgeschichte des Korean Dramas ..................................................... 67 5.2 Das Korean Drama wird zum pan-asiatischen Erfolg ................................... 71 5.3 Korean Drama als Agent der Hallyu .................................................................... 73 5.3.1 Die Hallyu in Hong Kong ................................................................................................. 74 5.3.2 Die Hallyu in China ............................................................................................................ 75 5.3.3 Die Hallyu in Japan ............................................................................................................ 76 5.3.4 Die Hallyu in Taiwan ........................................................................................................ 80 5.3.5 Die Hallyu in Singapur ..................................................................................................... 81 5.3.6 Die Hallyu in Südostasien ............................................................................................... 82 5.4 Korean Drama als Hybrid ....................................................................................... 84 6 Südkoreanische Popmusik ................................................................................ 87 6.1 Musik unter Kontrolle: Von t’uroto zum norae undong ............................... 87 6.2 Die Geburt des K-Pop ............................................................................................... 91 6.3 K-Pop und Hallyu ....................................................................................................... 95 6.4 K-Pop als Hybrid ........................................................................................................ 98 7 Das südkoreanische Kino als Ursprung und Profiteur der Hallyu .... 102 7.1 Das Kino nach dem Koreakrieg .......................................................................... 102 7.2 Die magische Zahl 386: Arthouse als Grundstein für den Blockbuster 105 7.2.1 Was blieb von der New Korean Wave? ................................................................. 107 7.3 Das Kino wird zur Industrie ................................................................................ 108 7.4 „Shiri“ und die Geburt des südkoreanischen Blockbusters ..................... 111 7.5 Klingelnde Kinokassen im In- und Ausland ................................................... 115 7.6 Südkoreanische Filmtexte als Hybride ........................................................... 116 7.6.1 Gangster Film (koreanisch kkangpae) .................................................................. 118 7.6.2 RomantikFilme .................................................................................................................. 119 7.6.3 Coming-of-Age-Filme .................................................................................................... 120 7.7 Die Hallyu und der südkoreanische Film ....................................................... 120 8 Wie weit geht die Hallyu? Animation, Manhwa und Online Gaming . 124 9 Exkurs: Hallyu-Stars .......................................................................................... 127 9.1 Hallyu-Fans ............................................................................................................... 131 10 Zusammenfassung und Ausblick auf die Analyse ................................. 134 11 Filmanalyse der Pilotfolgen der Korean Dramas „Dae Jang Geum“ und „Winter Sonata“ ....................................................................................... 136 11.1 Pilotfolge aus „Winter Sonata“ ........................................................................ 137 11.2 Pilotfolge aus „Dae Jang Geum“ ....................................................................... 137 11.3 Analyse .................................................................................................................... 138 11.4 „Dae Jang Geum“ und „Winter Sonata“ als hybride Serien ..................... 145 12 Analyse der Musikvideos zu SHINees „Ring Ding Dong“ und Girls’ Generations (SNSD) „Oh!“ ....................................................................................... 147 12.1 Textanalyse: „Ring Ding Dong“ von SHINee ................................................ 148 12.2 Musikvideoanalyse zu SHINees „Ring Ding Dong“ .................................... 151 12.3 Textanalyse: „Oh!“ von Girls’ Generation ..................................................... 155 12.4 Musikvideoanalyse zu Girls’ Generations „Oh“ .......................................... 158 12.5 Zusammenfassung: Hybride Musikvideos? ................................................. 162 13 Filmanalyse von „The Host“ ......................................................................... 165 13.1 Sequenzanalyse .................................................................................................... 166 13.2 „The Host“ als asiatischer Blockbuster ......................................................... 169 13.3 Kritische Auseinandersetzung oder purer Nationalismus? .................. 173 13.4 „The Host“ als Hybrid .......................................................................................... 176 14 Exkurs: Gangnam Style - Phänomen und Ausnahme ........................... 179 15 Zusammenfassung und zentrale Erkenntnisse der Analyse ............. 187 16 Fazit ...................................................................................................................... 192 17 Literaturverzeichnis ....................................................................................... 196 17.1 Internetquellen ..................................................................................................... 200 17.2 Videoquellen
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