sign in sign up
<<
Home , Love Rain, Monstar, Paradise Ranch, Spring Waltz

Appendix A: Questionnaire Questions*

T his is a preliminary survey for the research project on Asian popular culture. Your response will be used to develop a research plan.

P lease list 5 Korean actors/actresses who are popular now.

1 2 3 4 5

P lease list 5 K-pop musicians/groups who are popular now.

1 2 3 4 5

Please list Korean actors/actresses who you know or you think are popular in . List as many as you want.

Please list K-pop musicians/groups who you know or you think are popular in Japan. List as many as you want. 224 APPENDIX A

W hat do you think about the popularity of Korean TV dramas, K-pop, and Korean food in Japan? Please circle the appropriate answer.

*It is good that the Japanese like Korean culture

Strongly Agree Agree Neutral Disagree Strongly Disagree

*Genera lly speaking, actors, actresses, and musicians who are popular in Korea also become popular in Japan.

Strongly Agree Agree Neutral Disagree Strongly Disagree

*The Japanese are only influenced by the (hallyu). They are not interested in Korean culture.

Strongly Agree Agree Neutral Disagree Strongly Disagree

*How popular are Japanese movies, dramas, popular music, and food in Korea?

Very Popular Popular Not Popular

*S hould the Koreans and the Japanese work together to produce TV dramas, movies, and popular music?

Strongly Agree Agree Neutral Disagree Strongly Disagree

*Do you think Korean culture and Japanese culture are similar? If so, in what way?

Yes N o N o Answer D on’t Know APPENDIX A 225

*Do you know any other countries where Korean TV dramas and K-pop are popular? Please list the countries.

Thank you very much for your participation!

N ote

* Questions were translated into Japanese and Korean when the survey was administered. Appendix B

C o m p a r i s o n between Japanese respondents and Korean respondents

W hat do you think about the popularity of Korean TV dramas, K-pop, and Korean food in Japan? Please circle the appropriate answer.

*It is good that the Japanese like Korean culture.

Strongly Agree Neutral Disagree Strongly No Answer Agree Disagree

Japanese175524003 Korean 31 58 12 000

*Genera lly speaking, actors, actresses, and musicians who are popular in Korea also become popular in Japan.

Strongly Agree Neutral Disagree Strongly No Answer Agree Disagree

Japanese 10 50 26 10 0 3 Korean 15 44 25 15 0 0

*The Japanese are only influenced by the Korean Wave (hallyu). They are not interested in Korean culture.

Strongly Agree Neutral Disagree Strongly No Answer Agree Disagree

Japanese 3 48 40 9 0 0 Korean 8 40 23 29 0 0 228 APPENDIX B

*How popular are Japanese movies, dramas, popular music, and food in Korea?

Very Popular Popular Not Popular

Japanese 19 69 12 Korean 6 75 19

*Should the Koreans and the Japanese work together to produce TV dramas, movies, and popular music?

Strongly Agree Neutral Disagree Strongly No Answer Agree Disagree

Japanese 5 29 55 7 0 2 Korean 0 38 46 15 0 0

*Do you think Korean culture and Japanese culture are similar? If so, in what way?

Yes No No Answer Don’t Know

Japanese 33 17 48 2 Korean 39 45 16 0

Comparison between those who are knowledgeable of Hanryu and those who are not among the Japanese

W hat do you think about the popularity of Korean TV dramas, K-pop, and Korean food in Japan? Please circle the appropriate answer.

*It is good that the Japanese like Korean culture.

Strongly Agree Neutral Disagree Strongly No Answer Agree Disagree

Response 23 60 17 0 0 0 No Response 11 50 32 0 0 7 APPENDIX B 229

*Genera lly speaking, actors, actresses, and musicians who are popular in Korea also become popular in Japan.

Strongly Agree Neutral Disagree Strongly No Answer Agree Disagree

Response 17 47 27 10 0 0 No Response 4 54 25 11 0 7

*The Japanese are only influenced by the Korean Wave (hallyu). They are not interested in Korean culture.

Strongly Agree Neutral Disagree Strongly No Answer Agree Disagree

Response 0 53 40 7 0 0 No Response 7 43 39 11 0 0

*How popular are Japanese movies, dramas, popular music, and food in Korea?

Very Popular Popular Not Popular

Response 20 67 13 No Response 19 71 11

*Should the Koreans and the Japanese work together to produce TV dramas, movies, and popular music?

Strongly Agree Neutral Disagree Strongly No Answer Agree Disagree

Response 7 30 50 10 3 0 N o R e s ponse 4 29 61 4 0 4

*Do you think Korean culture and Japanese culture are similar? If so, in what way?

Yes No No AnswerDon’t Know

Response 33 20 47 0 No Response 32 14 50 4

Contributors

Crystal S. An derson i s a s s o c i a t e p r o fessor of English at Elon University. She conducts research in comparative ethnic studies (African American, Asian, Asian American) focusing on literature, visual culture, and pop- ular culture. In addition to her book, Beyond the Chinese Connection: Contemporary Afro-Asian Cultural Production , she has published work in several journals, including African American Revieww, MELUS , Ethnic Studies Revieww , and Extrapolation. Currently, she conducts qualitative and cultural studies research on global fans of Korean popular music (K-pop) and is working on a book project on the impact of rhythm and blues on K-pop. Young Eun Chae i s a K o r e a F o u n dation postdoctoral fellow in the Department of East Asian Languages and Civilizations at the University of Chicago. Her dissertation examines representations of historical trau- mas during the decade of liberal regimes in recent South Korean films. Chae is currently working on a manuscript investigating violence and humor in various genre films in contemporary Korean cinema. Hyejung Ju i s a s s i s t a n t p r o fessor in the Department of Mass Communications at Claflin University, South Carolina. Her research interests include studying popular culture in conjunction with globaliza- tion, Asian media, migration and transnational consumption, and inter- national media industries, audiences and technologies. She has published articles in Communication, Culture & Critique , Asian Women , and also several book chapters. Jennifer Jung-Kim teaches Korean history and East Asian studies at the University of California, Los Angeles. Her dissertation was titled W omen and Modernity in Colonial Korea (UCLA, 2005) and her ongoing research is on Korean women’s history and roles in modern and contemporary Korea. Yasue Kuwa hara is professor of Communication and director of Popular Culture Studies at Northern Kentucky University where she teaches a 232 CONTRIBUTORS variety of courses on American and Asian popular culture. Her ongoing research focuses on the US influence on postwar Japan. She has authored book chapters and published articles in various journals, including the Journal of Popular Culture. Claire Seungeun Lee is a PhD candidate at the Asia Research Institute and the Department of Sociology at the National University of . Her broader research interests include cultural sociology, economic soci- ology, media, globalization, and Asia from a comparative angle. Chuyun Oh i s a PhD student in Performance as Public Practice at the University of Texas at Austin. She has received Fulbright Graduate Study Award for the program. She earned her master’s degree in dance aesthet- ics and bachelor’s degrees in Philosophy and Dance from Ewha Woman’s University in . Her research focuses on race, gender, and class representations in the twenty-first-century Korean pop culture. Her dis- sertation investigates the ways in which the dancing body in K-pop is racialized and gendered, embodying sociopolitical notions of hybridity and cultural authenticity. Myoung-Sun Song g is a doctoral student in Communication at the University of Southern California’s Annenberg School for Communication and Journalism. Her research looks at the intersections of race, gender, and citizenship in Korean media and popular culture. Sherri L. Ter Molen i s a doctoral candidate and 2013–2014 Thomas C. Rumble Fellow in the Department of Communication at Wayne State University in Detroit, Michigan, where she studies the complicated medi- ated relationships between the divided Koreas and the United States. She is also an adjunct instructor at DePaul University in Chicago, Illinois. She is a nearly lifelong Koreanophile who bought her first K-pop CDs in 1995 while she was teaching English in Daejeon, South Korea. She is the organizer of the Metro Detroit Korean Meetup Group. John Walsh i s director of the SIU Research Centre, editor of the SIU Journal of Managementt, and assistant professor at the School of Management, Shinawatra University, . He received his doctorate from the University of Oxford for a thesis related to international man- agement in East Asia. He has lived and worked in Sudan, Greece, Korea, Australia, and Abu Dhabi, in addition to his native United Kingdom. His research mainly focuses on the social and economic development of the Mekong Regi o n . Index

A Moment to Rememberr (2004), 156 Asian adaptation, 85, 87, 89, 90, 92, 94–7 body, 54, 66–7 Africa, 191 cultures, 118, 197 African American countries, 5–7, 40–1, 44, 90, 153, culture, 118, 121–2, 128 197, 199, 201, 206 expressive culture, 123–4 fan, 37, 39, 192 male performance, 122–3 masculinity, 5, 58, 127 marching bands, 122 media, 33, 47, 205 musical traditions, 121 men, 118, 127–8 soul music, 121 popular culture, 46, 223 see also under black sexuality, 68 African Americans, 5–6, 58 television, 36–7 Africans, 66 women, 64, 68 Ai Weiwei, 109 Asian Americans, 55 America, 6, 89, 90, 106, 135–7, 141, 144. Asianness, 3, 65–6, 68 See also the United States Asians, 55, 64, 65 American audience, 138–9, 196, 199 audiences, 163, 165 Australia, 37 culture, 3, 5, 89, 90 authenticity, 3, 6, 19, 56, 65–9, 134, folk music, 121 137, 139, 144 influence, 17 Autumn in My Heartt (2000), 193 media, 155, 158, 167 popular culture, 152 Bae, Yong-joon, 6–7, 36–7, 44, 157, popular music, 7 191–2, 199–201, 204–5, 213–16 see also under US see also Yonsama Americanization, 54 Bak, Seung. See DramaFever Americans, 149 Beenzino, 142–3 animation, 14, 18 Big Bang, 6, 214 anime, 1, 165 Big Mama, 121 anti-American sentiment, 152, 164 black Appadurai, Arjun, 33, 56, 149, 158–9, expressive culture, 122 160, 162, 165 male performance, 122–3 artist, 133–42, 144–5, 218 males, 123 Asia, 4, 34–6, 38–9, 42, 46, 53, 85, 93, music, 121 106, 119, 121, 149, 157–8, 164–7, see also under African American 197, 200, 202–3, 105–6 blackness, 136–7, 139, 144 234 INDEX

BoA, 119 computer games, 14 Bollywood, 91–2, 95, 97 Confucian boy bands, 35, 117 heritage, 197 Boys Over Flowers (2009), 162 patriarchy, 207 brand Korea, 2, 4, 20, 25 tradition, 203 Brazil, 42 values, 192, 218 Britain, 151 Confucianism, 8, 54, 167, 198, 202 Broadcasting Act of Korea, 42 Confucianist Busan, 137 background, 207 socio-cultural values, 166 Canada, 37, 42, 53 conglomerate, 4, 155 Caucasians, 64, 163 conglomerate companies, 145 CCTV (Chinese state television), 35 coproduction, 46, 217 CD, 40, 136, 158 copyright, 3, 38–9, 40–1, 43–4, 46, CGV at Madang, 160 108, 154, 162 Cha, In-Pyo, 36 broadcast, 39–40 chaebols, 4, 20, 155–6, 160 digital content right, 40 Channel V, 14 extra products. services right, 40, 44 Cheongdam-Dong Alice (2012), 103 infringement, 108 Cheongdam-Dong Sarayo (I Live in video-gram right, 40, 44 Cheongdam-Dom) (2011), 103 critical race theory, 55 Chicago, 144, 159, 165 cultural Chile, 42 flow, 34 China, 2, 4, 13, 17–18, 24, 35, 38, 42, 44, hegemony, 19 53, 92, 109, 151–2, 157, 162, 167, hybridity, 166 205–6 hybridity theory, 150, 165 Chinese hybridization, 93, 144 culture, 218 imperialism, 6, 150, 168 fans, 37, 192 industries, 149, 154–5 immigrants, 127 production, 13, 15, 25 men, 127 Cultural Industry Bureau, 155 viewers, 201 culture, 1, 4–7, 15, 21, 34, 45, 47, 59, youth, 204 65–7, 69, 93–4, 96–7, 118–20, chogukjeok, 120 124, 128, 134–6, 144, 155, Choi, Ji-woo, 193, 216 161, 166 choreography, 55, 57, 68, 117–18, cuteness, 56, 63, 68 121–3, 137 Chosen Nippo, 217 Dae Jang Geum (Jewel of the Palace) Chosun Ilbo, 205 (2003), 22, 37–40, 156–7, 165–6 Chosun dynasty, 22, 156 , 137, 141 CNN, 149 dance, 13, 55, 57 Cold War, 17, 21 DC Inside, 105 colonial Deepflow, 140 history, 207 Democratic People’s Republic of memory, 191, 204–6 Korea (DPPK), 151 past, 192, 205, 207 see also North Korea INDEX 235 digital film, 53, 119, 137, 154, 157, 160, 162, age, 1, 5 191, 201 music, 121 financescapes, 158, 160 streaming service, 41 food, 13, 14, 153, 165 technology, 7–8, 110 foreign Digital Mobile Broadcasting (DMB), 40 content, 14, 34, 36 Dok, 2, 139–40 control, 34, 36 Dong Bang Shin Gi, 213, 215–6, 218. cultures, 157 See also TVXQ film, 4, 96–7, 163 drama, 7, 53, 156, 165, 199, 202 investors, 43–4 DramaFever, 162–3, 165 market, 45–6 Bak, Seung, 162 media, 149–50, 167 Park, Suk, 162, 165 media firm, 43 DVD, 38–40, 44, 85–6, 97, 158–9 product, 6, 150 D-War (2007), 163 programs, 37 television networks, 39 East Asia, 13, 15, 17, 20, 39, 45–6, 53, 59, television station, 37, 39 67, 150, 157, 191–2, 195, 201, 206 formats, 104–5, 107–8, 110 East Asian France, 53, 155, 167, 194–5, 218 countries, 24, 207 Fuji television network, 36, 213, 218 culture, 54 Full House (2004), 39 East Asians, 59 East Europe, 108 Gangbuk, 101–2 East, the, 205–6 Gangnam, 4, 101–3, 109 E-Sens, 144 Gangnam Omma Ddarajapgi ethnoscapes, 158, 160 (Cathcing Up with Gangnam Europe, 5, 34, 42, 102, 106, 119, 191 Moms) (2007), 103 export, 36, 38, 42, 46, 153, 167 “Gangnam Style”, 1, 4–5, 67, 101–2, exporter, 3 104–11, 164–6 genba, 134, 138 The 1st Shop of Coffee Prince (2007), gender, 1, 53, 55, 62–4, 68–9, 90 36, 162 ideology, 3, 57, 68 Facebook, 137–8, 161 roles, 87 Fana, 133, 143 stereotypes, 91 Far East, 152 The Gift, 166 fashion, 14, 53, 118, 126, 191 Girls’ Generation, 3, 5, 23–4, 53–65, femininity, 54–6, 58–61, 63, 68–9, 90, 67–9, 119, 161, 214–16, 218 127, 207 “The Boys”, 53–7, 59, 61, 64, 68 feminism, 63 Genie, 60 filial “Genie”, 61 duty, 198, 203 “Run Devil Run”, 60 piety, 127, 166, 197 “I Got a Boy”, 65 financial crisis Glandale (CA), 159 Asian, 34 global 1997, 20 Asian communities, 5, 102 of 1998, 2, 216 audience, 3, 45, 69, 102, 106, 118, 128 236 INDEX global—Continued band, 218 capitalism, 66, 153 clubs, 140 cultural flow, 7, 110, 149–50, 158 concerts, 138 cultural hegemony, 62 culture, 6, 135, 137, 142 culture, 46, 119–20, 128, 165, 167 groups, 136 fans, 118–9, 121 music, 5, 136 influence, 120 see also Korean hip-hop, Korean market, 4, 62 hip-hop artists, Korean hip-hop marketing system, 46 scene, Korean rap phenomenon, 5, 102 Hollywood, 19, 94, 96, 150, 154, 160, pop market, 65 163–5, 168 race consciousness, 137 films, 7, 154, 167 globalization, 47, 87, 93, 102, 144, 164 movies, 4 glocalization, 1, 4, 7–8, 34, 45–7, 62–3, star system, 38 87, 90–3, 95–7 stars, 36, 154 Gnyeodeul Ooe Wanbyokhan Haru system, 38 (Their Perfect Day) (2013), 103 homogenization, 54 Gong, Yu, 36 , 4, 37, 44, 85, 92, 167, The Good, the Bad, the Weirdd (2008), 204–5, 207, 213, 216 166 Hongdae, 133–5 Gwangju, 138 hip-hop clubs, 138 Hongik University, 133 Hallyu, 2, 13–4, 18, 21–5, 53, 85, 93, The Hostt (2006), 163 118–21, 128, 149–50, 154, Hulu, 163 157–8, 160–8, 191, 216, 224, hybridity, 4, 6, 53–6, 62–3, 67–9, 93–4, 227, 229 120, 150, 166–7 anti-Hallyu, 25 hybridization, 95, 136, 144 see also the Korean Wave Hyun Bin, 213 Han River, 4, 101–3, 140 Hyuna, 139 Hangyure, 205 Hyundai, 19, 160 Hanryu, 7, 213–8, 228 boom, 213–5, 218 identity, 6, 53, 65, 67, 133–5, 137, fans, 215 139–45, 155, 198 Happy Togetherr, 121 hybrid, 67, 168 Haru: An Unforgettable Day in Korea, Japanese, 165 161 Korean, 20, 55, 65, 155 Hawaii, 159 Korean national identity, 192 hegemonic national identity, 7 Eurocentric racial discourse, 56 ideoscapes, 158, 165 ideology, 195 Il Mare (2000), 163 US culture, 161 Illionaire Records, 139 hegemony, 7, 18, 68, 134 import, 153 heterogeneity, 94 importer, 3, 38 heterogenization, 54 Incheon, 151 hip-hop, 5, 134, 139, 144–5 independent production companies, artist, 6, 135, 141 43–6 INDEX 237

India, 4, 90, 95 society, 192 Indian audience, 91–2 television, 213, 215, 218 , 41, 157 television drama, 203 industry policy, 14–5 television network, 37–8 intellectual property, 16, 20, 105, 108, viewers, 38 153 women, 206, 214, 218 international Japanese, the, 7, 17, 150, 152, 192, 213, audience, 1, 3 215–7, 224, 228–9 fan, 5 Ji, Jin-Hee, 37 markets, 25, 43, 105 jimseungdol, 124, 126–7 relations, 20, 25 joint venture, 42–3, 45–6 International Monetary Fund, 153 Joong Ang Ilbo, 159 internationalization, 18 J-pop, 121, 218 Internet, 1, 15, 40–1, 105, 162 Jurassic Park Syndrome, 155 censorship, 109 JYP Entertainment, 53, 161, 164 drama, 161 Park, Jin Young, 161, 164 novel, 85, 92, 96 IP TV, 40 Kanryu, 213 Iran, 37 KARA, 119, 214, 215, 216, 218 Iris (2009), 36, 44, 215 KBS (Korean Broadcasting System), Israel, 37 39, 41–2, 58, 156–7, 162, “Itaewon Freedom”, 103 199–200, 217 Iwabuchi, Koichi, 3, 90, 92, 204–7 K-dramas, 120, 156–8, 160–3, 165–7, 218 Jan, Keun-suk, 58 Kim, Dae-jung, 2, 93, 158, 216 Jang, Dong-geon, 214 Kim, Ho-sik, 85, 92 Jang, Geun-suk, 213–16 Kim, Ji-woon, 163 Japan, 2–4, 7, 18, 20, 24, 34, 37, 40, 42, Kim, Tae-hee, 214–5 44–6, 85, 87–8, 120, 144, 151, Kim, Young-sam, 155 157, 162, 167, 191–3, 199–201, KJH Production, 44 203–7, 213–14, 216–18, 223–4, kkonminam, 124–8 227–9 knowledge-based society, 34–5 Japanese Korea, 4, 6, 17–23, 34, 67, 85–6, 88, audience, 205 90, 92, 95–6, 106, 118, 120, 135, culture, 165, 204, 217, 224, 228–9 137–8, 141–2, 144–5, 149–57, drama, 166, 224, 228–9 160, 162, 166–8, 192–6, 198–201, fans, 7, 39, 192, 204–5 204–6, 214–15, 217, 224, 227–9 hip-hop, 144 Korea Creative Agency Japan Office, identity. See identity 215 media, 157 Korea Creative Content Agency, 216 media industry, 45 Korea Daily, 159 media market, 40 Korea Times, The, 163, 165 media marketing, 38 Korean networks, 46 actor, 157, 164, 306 popular culture, 1, 3, 7, 24, 45, 213 actors and actresses, 36, 223 popular culture products, 217 see also under individual names 238 INDEX

Korean—Continued pop music, 35, 150 artists, 6, 144, 152, 157, 164 pop songs, 6, 149 audience, 90, 92, 96, 135 popular culture, 1–3, 5–8, 14, beauty products, 36 23, 33, 42, 46, 85, 93–4, 119, broadcast industry, 39 157–8, 160, 162, 204–5, 207, broadcast system, 45 213–15, 217 community, 159, 162 popular culture product, 4–5, 102, cosmetics industry 120 culture, 15, 18, 102, 118–21, 128, popular music, 101, 117, 213 165, 168, 204, 207, 214, 217–18, popular songs, 103 224, 227, 228–9 products, 13, 17, 53, 149, 162 culture industries, 149–50, 154, rap, 133, 144 156–7, 161 R&B groups, 121 domestic audience, 201 star system, 39 drama, 36–7, 39–41, 43, 45–6, television, 156 53, 102, 156, 158, 162, 203, television and music industry, 39 213 television drama, 2–3, 5, 7, 35, 38, economy, 153, 155, 216 42, 44, 196, 199, 204, 224–5, ethnicity, 163 227–8 fans, 193 television industry, 2–3, 145 female, 62, 64 television networks, 36 film, 4, 6, 149, 155–6, 160, 163, television programs, 35, 38 165, 167 values, 121 film industry, 154, 160 viewers, 91 food, 157–8, 224, 227–8 Wave, 1–8, 13, 53–4, 85, 87, 93, government, 1, 15–6, 18–20, 34, 102, 118–9, 149–50, 157–8, 149, 154, 160–1 167–8, 191, 205, 207, 224, hip-hop, 134–6, 144, 145 227, 229 hip-hop artists, 137–8 women, 62 hip-hop scene, 139 youth, 5–6, 145 identity See identity Korean American, 136, 159, 160 language, 19, 58, 60, 121, 136, 158, rappers, 136 159, 168, 192, 205 Korean Broadcast Act of 2000, masculinity, 5, 58, 206 39, 42 media, 149, 157–160, 206–7 Korean Culture and Information media industry, 33–4, 39–40, 42–3, Service (KOCIS), 15 45–7 Korean Tourism Organization, 158, media system, 45 161 men, 58, 59, 64, 68, 204, 206 Korean War, 152 music, 35 Koreanness, 3, 46, 54–6, 68, 204 national brand, 160 see also multinational mutant network station, 41, 46 Koreanness network television, 38, 42 Koreans, the, 7, 15, 22, 55, 103, 106, peninsula, 151 109, 121, 155, 158, 159, 162, people, 151, 155, 158 167, 192, 206, 213–15, 217, pop culture, 54, 192, 205 224, 228–9 INDEX 239

Korea-US Free Trade Agreement manga, 18 (KORUS-FTA), 6, 150, 153–4, masculinity, 5, 58, 90, 117–20, 123–4, 159, 161 126–8, 191–3, 201–2, 204, 206, K-pop, 3, 5, 7, 21, 53–6, 62–3, 67–9, 207 101–3, 105–6, 117–21, 124, 150, hegemonic masculinity, 127 156–8, 161, 164, 167, 191, 213, hybrid masculinity, 5 215, 217–8, 224–5, 228 metrosexual masculinity, 126 band, 3, 161 overlapping masculinity, 5 boy idols, 58 sartorial masculinity, 126 groups, 118, 126, 128, 218 transnational hybrid masculinity, 5 idol groups, 137 white masculinity, 58 idols, 139 see also Korean masculinity industry, 61, 63 mass media, 8, 59, 103 singer, 39, 164 Massively Multiplayer Online Kwon, Sang Woo, 14 Role Playing Games (MMORPGs), 16 The Lake House, 95, 163 MBC (Munhwa Broadcasting The Last Godfatherr, 163 Corporation), 36–8, 42, 44, The Last Stand, 163 157, 162 Latin America, 46 media, 6, 21, 34, 45, 126, 149 Latin American countries, 153 mediascapes, 158, 162 Lee, Byun-Hun, 36, 44, 215 , 6, 92, 192, 194–7, 204, 206 Lee, Myung-bak, 216 Asian, 197 Lee, Roy, 95 Western, 197 Lee, Young-Ae, 36–7 Mexico, 37, 42 LG, 18, 160 Middle East, 106, 191 local, the, 6, 34, 47, 87, 93, 94 military force, 21 audience, 3, 34, 36, 40, 87, 89, 90, Minos, 141–2 94, 95, 96 modernity, 7, 205 culture, 54, 150, 165 modernization, 62, 205 customs, 46 Monstar (2013), 22 market, 4, 42 moral legibility, 194–5 media, 45 Motion Picture Association of Korea, promotion, 36, 46 154 taste, 7, 105 Motown, 5, 166 television industry, 41 movies, 162, 224, 228–9 television market, 41 MTV, 19, 67, 90, 164 Los Angeles, 144, 159, 160, 163 multinational Love (2012), 58, 193 elements, 65 lyrics, 134–7, 139–44, 166 mutant Koreanness, 3, 65, 69 mugukjeak, 120 Mainichi Shinbun, 217 music, 3, 5–6, 53, 121, 134, 136, 137–8, Malay, 108 144–5, 154, 157, 162, 168 Malaysian music video, 3, 4, 53, 55–6, 59–60, 65, boyfriend, 157 118, 121, 124, 134,-5, 140–1, pop song, 157 163, 166 240 INDEX

My Lovely Kim Sam Soon (2005), 162 Park, Yong-ha, 193, 216 My Sassy Girl, 4, 85–92, 94–7, 156 parody, 5, 8, 86, 105–11 Gyeon-u, 86–7, 94 patriarchal Ma, Joe, 86, 92 desire, 61 see also Ryokiteki na kanojo, fantasy, 55, 59, 60, 68 Ugly Aur Pagli femininity, 68 My Sassy Girl, 2, 86, 92, 96 gender ideology, 61 Myanmar, 41 gender representation, 54 hegemony, 66 netizen funds, 156 ideology, 56–7, 59, 207 New Millennium Vision, 35 institution, 61 New York, 135, 144, 159, 161–2 society, 57, 61 NHK, 38–40, 44, 199–200, 217 patriarchy, 60 Ninja Assassin, 39, 164 performance, 3, 55–7, 134–6, 138–9, 144 North America, 5, 34, 42, 102, 119, Philadelphia, 159 162, 165 , The, 41, 162, 167 North Korea, 61, 151 plastic surgery, 60, 65 Northeast Asia, 151–2 platform, 5, 16, 53, 55, 102, 107, 110, 160 nostalgia, 7, 201, 205, 218 Poetryy (2010), 156 nostalgic pop music, 14, 191 consumption, 206 popular culture, 1, 3, 7, 15, 21, 25, 34, desire, 191, 204 45–7, 93, 103, 149–50, 158, 166, images, 204 168, 216 longing, 205 popular music, 101, 119, 151, 224, 228–9 memories, 192 postcolonial critique, 63 Oldboyy (2003), 156, 163 discourse, 55 online computer game industry, 16, 22 global cultural flow, 8 Organization of Economic hybridity and mimicry, 93 Cooperation and Development identity, 68 (OECD), 13 mimicry, 3, 62, 67–8 Orient woman, 63–4 relationship, 3 Oriental, 3 world, 6 cultures, 66 PSY, 1, 4, 67, 101, 103, 105, 107–9, 111, Orientalism, 205 164–5 sexual fantasies, 64 stereotype, 66, 68 Queen of Ambition (2013), 120 womanhood, 62 Orientalness, 55 race, 1, 54–5, 62–6, 68–9, 134, 144 racial pal-ship-pal-man-won-sae-dae, 145 ethnic passing, 65 Paradise Ranch (2011), 120 hybridity, 55 Park, Jin Young. See JYP hierarchy, 63, 66, 67–8 Entertainment markers, 65 Park, Seung. See DramaFever passing, 56, 63, 65 Park, Sol-mi, 193 stereotypes, 55, 67 INDEX 241 racialization, 54 S.M. Entertainment, 53–4, 60–2, Radio Hankook, 159 119, 121 Rain (Jung, Ji-hoon), 39, 161, 164, Lee, Soo Man, 119, 121 166–7 So, Ji-Sub, 36 rap, 5, 134, 137, 120, 142–5, 157, 166 soap opera, 19, 206 dance, 135 American, 197 music, 135 Korean, 23 see also hip-hop Thai, 19 RCA, 156 social media, 1, 5, 8, 22, 67, 102, 105, remake, 4, 6, 85–7, 89–90, 94–7, 163 110, 138, 144 republic of Korea (ROK), 151 soft power, 13, 18, 20–1, 54, 93 Riley, Teddy, 58, 61 Solid, 121 rock, 121, 134, 157, 166 Song, Seung-heon, 157 music, 166 Sorry and Love You (2004), 36 rock’n’roll, 156 South America, 34, 42 ROH, Moo-hyun, 93 South Asia, 46 Romania, 37 South Korea, 1–7, 24, 33, 101–2, romantic comedy, 86–8, 90, 94, 96 1–5, 1–8, 110, 121, 133–4, 141, Russia, 37, 191 145, 151–3, 167, 195, 204–5, Ryokiteki na kanojo, 85, 87–8 214, 217 South Korean Said, Edward, 68 government, 93 Samsung, 19, 155–6, 160, 161 popular culture, 93–4, 149, 168, 191 Samuel, Yan, 85, 89–90 Southeast Asia, 15, 18, 21, 39, 216 SBS ( Broadcasting System), 42, Soviet Union, 151 103, 162 Sparks, 36 Scent of Summerr (2003), 193 Speed Racerr, 39, 164 Second Wave, The, 3, 53 Spring Waltzz (2006), 193 Secret Sunshine (2007), 156 Stairway to Heaven (2003), 14 Seo Taeji (and the Boys), 135, 157, star marketing system, 2, 34, 36, 38 166 star training system, 119 Seopyeonje (1993), 155 Stars in My Heartt (1997), 14 Seoul, 4, 101–3, 109, 133, 135, 140–1, stereotype, 63–4, 68–9, 87, 108–9, 145, 151, 156, 163–4, 195, 198, 127–8 200, 214 gender, 90 Seoul Olympics of 1988, 20 Strong Heart, 121 sexiness, 63, 68 Stuart Hall, 46 sexuality, 54–5, 62, 69, 119 sub-Saharan African countries, 153 Shim, Doobo, 93, 119, 121, 144 Sunshine Policy, 93 Shim, Hyung-rae, 163 Super, 7, 59 Shin, Joong-hyun, 157, 166 Super Junior, 5, 121, 161 Shin, Nak-yun, 155 Swings, 141 SHINee, 119, 121, 161 Shinhwa, 121 2002 FIFA World Cup, 20, 217 Shiri (1999), 167 2NE1, 218 Singapore, 44, 109, 157, 167, 204 2PM, 119, 161, 214 242 INDEX

Tae Wang Sa Sin Gi (The Legend) government, 154 (2007), 36, 44 Korean population, 159 Tae Won Entertainment, 44 media, 64, 150, 160, 165–6 Takaoka, Sosuke, 24, 213, 218 military, 152–3, 166 , 4, 17, 24, 36–8, 42, 44, 59, 157, military bases, 156 165, 203, 205, 216 pop, 67 Taxi, 121 pop culture, 64, 66 technoscapes, 158–60, 162 pop market, 54, 150, 154 television drama, 8, 14, 21, 119, 137, pop stars, 166 149, 157, 199, 200–1, 206, 224, popular culture, 157 228–9 troops, 150–2, 158 television formats, 104–5 viewers, 67 television production companies, 36 see also underr American Thailand, 23, 24, 41, 44 ting, 23 video, 154, 161, 165 Tokyo, 203 video games, 1, 13, 16 transculturalism, 94 video-gram copyright, 40, 44 transculturality, 93 video-on-demand (VOD), 40 transculturation, 94 Vietnam, 41, 44, 158, 167 transnationalism, 120 TVXQ (DBSK, Tohoshinki), 5, 117–28, Wall Street Journal, The, 67 213, 215–6, 218 WaWWa, 135 All About DBSKK, 120 West, the, 7, 63–4, 66, 68–9, 87, 127, Jung, Yunho, 117, 120, 122–5 205–6 Shim, , 117, 120, 122–5 Western , 117, 121–2, audience, 55, 64 134–5, 128 beauty, 63 “Keep Your Head Down”, 121 countries, 53 see also Dong Bang Shin Gi culture, 204 Twitter, 137–8, 161 dance beats, 165 hegemony, 7 Ugly Aur Pagli, 85, 91–2, 95 music, 156 Khot, Sachin, 85 pop, 119 United States, 4, 6, 39, 42, 45–6, 53–5, pop icons, 36 62, 64, 89, 90, 127, 149–54, 156, society, 63–4 158–68, 191, 194–6, 198–9, women, 63 202, 218 What is Love All About, 14, 35 see also America white Uptown and Drunken Tiger, 136 beauty, 65, 68 US music, 67 Asian population, 163 supremacist patriarchy, 69 audience, 6, 67, 160, 166–8 supremacy, 3, 66–8 brand, 160 viewers, 63 cultural imperialism, 149–50, 167 whiteness, 65–6, 69 entertainment industries, 154 whites, 62, 64, 66–7 INDEX 243 whore-virgin , 161, 164, 166 dichotomy, 60 “2 Different Tears”, 164 identity, 61 “Nobody”, 164, 166 “windowing”, 3, 38–9 The Wonder Girls Movie, 164 (2002), 2, 6–7, 37–40, World War II, 5, 6, 150–2, 217 44, 157, 191–207, 213, 215–6 Chuncheon, 195, 200, 203 YG Entertainment, 53, 107 Jung, Yu-jin, 193–8, 200–3 yin and yang, 197 Kang, Jun-Sang, 192–201, 203 Yonsama, 157, 191–3, 200–7 Lee, Min-Hyung, 192–6, 198–9, syndrome, 192, 204, 206 201, 3, 207 see also Bae, Yong-joon Namiseom, 200 Yoon, Seok-ho. See Winter Sonata Oh, Chae-lin, 193, 195–7 Yoona, 58–9 Yoon, Seok-ho, 193, 200 YouTube, 5, 25, 56, 64, 102, 105, 107, Won Bin, 214 110, 119, 121, 137–8, 162, 165