DOCSLIB.ORG

Shakespeare and the South Korean Stage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shakespeare and the South Korean Stage University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/67925 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Shakespeare and the South Korean Stage by Seong-kwan Cho A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick, School of Theatre, Performance and Cultural Policy Studies. November 2014 i Contents Acknowledgements ................................................................................................ ⅱ Abstract ................................................................................................................... ⅲ List of Illustrations .................................................................................................. ⅳ Note ......................................................................................................................... ⅶ Introduction .............................................................................................................. 1 Part 1 History of Korean Staging of Shakespeare’s plays Chapter 1 The Early Years of Shakespeare on the Korean Stage ......................... 20 Chapter 2 Contemporary Korean Shakespeare production .................................. 43 Part 2 Reinvention of Traditional Theatre with Shakespeare Chapter 3 King Uru ............................................................................................... 77 Chapter 4 Mokwha’s Romeo and Juliet ................................................................. 93 Chapter 5 Yohangza’s A Midsummer Night’s Dream ........................................... 118 Part 3 Shakespeare and Contemporary Korean Theatre Chapter 6 Political Hamlet on the Korean Stage ................................................. 135 Chapter 7 Popularizing Shakespeare: Trans Sibiya ............................................ 180 Conclusion ............................................................................................................ 196 Bibliography ......................................................................................................... 202 Appendix (1) Chronology of Shakespeare on the Korean Stage ..................... 219 Appendix (2) The Regulation of Performance Arts 1976 .................................. 227 ii Acknowledgements I would like to express my deepest gratitude to my supervisor, Dr Margaret Shewring, for her patience, excellent guidance, generous support and inspiring advices throughout my PhD study. I wish to thank my two examiners, Dr Tim White and Professor Brian Singleton for their constructive criticism. Thanks to Ki Kuk-seo and Kim A-ra for their inspiring discussion about staging Shakespeare on the Seoul stages in the 1980s and the 1990s. I wish to sincerely thank to Professor Kim Jeong Ae and Professor Hong Jae Beom for their encouragements and supports. Many thanks to Choi Won Suk and Choi Jin Yeong for their supports. My greatest debt is to my parents, Tosun and my wife, Jihae. iii Abstract The primary contribution of this thesis is its survey of the history of South Korean Shakespeare performance combined with the specific critical perspective it elaborates. While there have been previous efforts to discuss the subject in the English language, these have not combined such a comprehensive synoptic historical and theoretical approach. This thesis, it is hoped, will therefore serve as an important step in allowing the Anglophone world to understand the varying socio-cultural contexts that have shaped Korea’s reception of Shakespeare. An Introduction explores a method of study (focusing on intraculturalism and ‘gap’) and offers a review of Korean Shakespeare study about performance. Part 1 provides an overview of the history of Korean Shakespeare performance, divided into three periods: the early years (1950-1970), the transitional years (1970-1990) and the contemporary period (1990-present). Part 2 discusses three Shakespeare adaptations, King Uru (The National Theatre of Korea, 2001, directed by Kim Myeong-kon), Romeo and Juliet (Mokwha, 2001, directed by Oh Tae- suk), and A Midsummer Night’s Dream (Yohangza, 2002, directed by Yang Jung-ung). These three productions have taken elements from Korean traditional performance arts (talchum, traditional dance, and pansori) in order to adapt Shakespeare’s plays. Part 3 discusses productions that focus on reflecting contemporary political and cultural concerns including Ki Koo-Seo’s Hamlet series (1981, 1982, 1985, and 1990, directed by Ki Kook-seo), Seoul Metropolitan Theatre’s Hamlet (2011, directed by Park Geun-hyeong) and Trans Sibiya (Twelfth Night, 2002, directed by Park Jae-wan). In conclusion, I argue that Shakespeare’s plays have provided a tool for examining and establishing selfhood. iv List of Illustrations Figure 1. Poster of the First Korea Shakespeare Awards (2012), taken from the website of The National Theatre of Korea Figure 2. Ssangdua (Caliban, right) cutting wood with a singer (left, non-character), taken from the website of Mokwha Figure 3. Pansori, taken from Donga-ilbo (national newspaper) Figure 4. Talchum, taken from Maeil-ilbo (local newspaper) Figure 5. Macbeth (Sinhyeop in 1951), taken from the National Archives of Korea Figure 6. Othello (Sinhyeop in 1951), taken from the National Archives of Korea Figure 7. Hamlet at the Drama Centre, Seoul, 1962 (dir. Yoo Chi-jin), taken from Chosun- ilbo (national newspaper) Figure 8. Kim Dong-won as Hamlet, taken from Chosun-ilbo Figure 9. Prince Hamyul, taken from Donga-ilbo Figure 10. Gagyo’s The Comedy of Errors (1971), taken from Yoo In-gyeong, Hankookmusicalui Segye (The World of Korean Musicals) (Seoul: Yeongukgwaingan, 2009) Figure 11. Gagyo’s The Comedy of Errors (1979), taken from Yoo In-gyeong, Hankookmusicalui Segye, 2009. Figure 12. The façade of the National Theatre of Korea (founded in 1950 moved to the present location in 1973), taken from Ohmynews (online newspaper) Figure 13. Sejong Centre (founded in 1978), taken from Donga-ilbo Figure 14. Yohangza’s Hamlet (2009), Hamlet in training clothes sits upstage while the shamans perform their gut, taken from Playdb (internet theatre database) Figure 15. Kim Geum-hwa (a Human Cultural Asset, widely known to the Korean public as ‘national shaman’) performs a gut, taken from Ohmynews Figure 16. National Theatre Company of Korea’s Hamlet (2001), taken from Donga-ilbo v Figure 17. Kim Suk-hun played Halmet, taken from Donga-ilbo Figure 18. Titus Andronicus (2011) Hatangse, directed by Yun Si-jung, taken from Kookjeshinmun (local newspaper) Figure 19. King Uru at the National Theatre of Korea (2000), taken from website of The National Theatre of Korea. Figure 20. King Uru at the Roman amphitheatre in Antalya, Turkey (2003), taken from website of The National Theatre of Korea. Figure 21. Mad Uru and the Clowns, taken from the website of The National Theatre of Korea. Figure 22. Romeo (played by Kim Byeong-cheol) and Juliet (played by Kim Mun-jeong), taken from Otr Figure 23. Romeo and Juliet in a popular musical version (2003), taken from Sports Chosun Figure 24. Duduri pair and Ajumi (middle), taken from Financial News (a national newspaper) Figure 25. The stage of A Midsummer Night’s Dream at Myeongdong Theatre, Seoul, August 2011, taken from Otr Figure 26. Dot (Oberon) and two Duduri (Puck), this photo was taken from The Guardian website Figure 27. Hamlet is being tortured by Rosencrantz and Guildenstern in Hamlet and Orestes, taken from Kim, Seong-hee, Hankookhyundaigeukui Hyeongseong (The Forming of Korean Contemporary Theatre) (Seoul: Yeongeukgwa Ingan, 2007) Figure 28. The last scene - Hamlet (centre, played by Kang Sin-gu) is giving his last speech, taken from Donga-ilbo Figure 29. Protesters on the shipping containers in front of the Sejong Centre in 2008, taken from Ohmynews Figure 30. Harisu in a cosmetic advertisement in 2001, taken from a personal internet blog. Harisu was even promoted as ‘Kylie Minogue of the East’ by her Taiwanese record label. vi Figure 31. Vike visited Olly’s court, taken from Ablenews (online newspaper) Figure 32. Poster of Trans Sibiya, taken from a personal internet blog vii Note Most of my quotations are written in the Korean language. The translations of these Korean quotations are my own unless otherwise indicated. I have attempted word-for-word translations of the Korean reviews and interviews in this dissertation. Yet, if I felt a clearer explanation was needed, I have paraphrased them. In writing Korean names I have followed Korean convention so that the family name has been written first, followed by the given name. For example, the most well-known Korean name now (2014) is Kim (surname) Jong-un (given name). This order is currently used in English language newspapers and academic essays. I have used the Revised Romanization of Korean (2000) in representing Korean in English. However, Korean names that are already known in English are spelled as found in English-language publications. For example, ‘Kim Jong-un’ is not altered to ‘Kim Jeong- eun.’ The English names of Korean theatres and organizations are generally spelled in American English so, for the sake of consistency of the style of the thesis, I have
Load more

Recommended publications
  • Perempuan Korea Dalam Film Serial Drama Korea “Jewel in the Palace”
    Perempuan Korea dalam Film Serial Drama Korea “Jewel in The Palace” SKRIPSI Diajukan sebagai Salah Satu Syarat untuk Mendapatkan Gelar Sarjana Ilmu Sosial dalam Bidang Antropologi Oleh : Indri Khairani 130905027 DEPARTEMEN ANTROPOLOGI SOSIAL FAKULTAS ILMU SOSIAL ILMU POLITIK UNIVERSITAS SUMATERA UTARA MEDAN 2018 1 Universitas Sumatera Utara UNIVERSITAS SUMATERA UTARA FAKULTAS ILMU SOSIAL DAN ILMU POLITIK PERNYATAAN ORIGINALITAS Perempuan Korea dalam Film Serial Drama Korea“Jewel in The Palace” SKRIPSI Dengan ini saya menyatakan bahwa dalam skripsi ini tidak terdapat karya yang pernah diajukan untuk memperoleh gelar kesarjanaan di suatu perguruan tinggi, dan sepanjang pengetahuan saya tidak terdapat karya atau pendapat yang pernah ditulis atau diterbitkan oleh orang lain, kecuali yang secara tertulis diacu dalam naskah ini dan disebut dalam daftar pustaka. Apabila dikemudian hari ditemukan adanya kecurangan atau tidak seperti yang saya nyatakan di sini, saya bersedia menerima sanksi sesuai dengan peraturan yang berlaku. Medan, Januari 2018 Penulis Indri Khairani i Universitas Sumatera Utara ABSTRAK Indri Khairani, 2018. Judul skripsi: Perempuan Korea dalam Film Serial Drama Korea “Jewel in The Palace”. Skripsi ini terdiri dari 5 BAB, 113 halaman, 18 daftar gambar, 57 daftar pustaka Tulisan ini berjudul Perempuan Korea dalam Film Serial Drama ―Jewel in The Palace”, yang bertujuan untuk mengetahui bagaimana perjuangan sosok seorang perempuan Korea yang tinggal di dalam istana “Gungnyeo” pada masa Dinasti Joseon di anad 15 dalam sebuah drama seri Jewel in The Palace Penelitian ini bersifat kualitatif. Metode yang digunakan adalah analisis wacana, dan model analisis yang digunakan adalalah analisis wacana dari Sara Mills yang merupakan model analisis wacana yang menaruh titik perhatian utama pada wacana mengenai feminisme.
    [Show full text]
  • An Actor's Life and Backstage Strife During WWII
    Media Release For immediate release June 18, 2021 An actor’s life and backstage strife during WWII INSPIRED by memories of his years working as a dresser for actor-manager Sir Donald Wolfit, Ronald Harwood’s evocative, perceptive and hilarious portrait of backstage life comes to Melville Theatre this July. Directed by Jacob Turner, The Dresser is set in England against the backdrop of World War II as a group of Shakespearean actors tour a seaside town and perform in a shabby provincial theatre. The actor-manager, known as “Sir”, struggles to cast his popular Shakespearean productions while the able-bodied men are away fighting. With his troupe beset with problems, he has become exhausted – and it’s up to his devoted dresser Norman, struggling with his own mortality, and stage manager Madge to hold things together. The Dresser scored playwright Ronald Harwood, also responsible for the screenplays Australia, Being Julia and Quartet, best play nominations at the 1982 Tony and Laurence Olivier Awards. He adapted it into a 1983 film, featuring Albert Finney and Tom Courtenay, and received five Academy Award nominations. Another adaptation, featuring Ian McKellen and Anthony Hopkins, made its debut in 2015. “The Dresser follows a performance and the backstage conversations of Sir, the last of the dying breed of English actor-managers, as he struggles through King Lear with the aid of his dresser,” Jacob said. “The action takes place in the main dressing room, wings, stage and backstage corridors of a provincial English theatre during an air raid. “At its heart, the show is a love letter to theatre and the people who sacrifice so much to make it possible.” Jacob believes The Dresser has a multitude of challenges for it to be successful.
    [Show full text]
  • A PARTNER for CHANGE the Asia Foundation in Korea 1954-2017 a PARTNER Characterizing 60 Years of Continuous Operations of Any Organization Is an Ambitious Task
    SIX DECADES OF THE ASIA FOUNDATION IN KOREA SIX DECADES OF THE ASIA FOUNDATION A PARTNER FOR CHANGE A PARTNER The AsiA Foundation in Korea 1954-2017 A PARTNER Characterizing 60 years of continuous operations of any organization is an ambitious task. Attempting to do so in a nation that has witnessed fundamental and dynamic change is even more challenging. The Asia Foundation is unique among FOR foreign private organizations in Korea in that it has maintained a presence here for more than 60 years, and, throughout, has responded to the tumultuous and vibrant times by adapting to Korea’s own transformation. The achievement of this balance, CHANGE adapting to changing needs and assisting in the preservation of Korean identity while simultaneously responding to regional and global trends, has made The Asia Foundation’s work in SIX DECADES of Korea singular. The AsiA Foundation David Steinberg, Korea Representative 1963-68, 1994-98 in Korea www.asiafoundation.org 서적-표지.indd 1 17. 6. 8. 오전 10:42 서적152X225-2.indd 4 17. 6. 8. 오전 10:37 서적152X225-2.indd 1 17. 6. 8. 오전 10:37 서적152X225-2.indd 2 17. 6. 8. 오전 10:37 A PARTNER FOR CHANGE Six Decades of The Asia Foundation in Korea 1954–2017 Written by Cho Tong-jae Park Tae-jin Edward Reed Edited by Meredith Sumpter John Rieger © 2017 by The Asia Foundation All rights reserved. No part of this book may be reproduced without written permission by The Asia Foundation. 서적152X225-2.indd 1 17. 6. 8. 오전 10:37 서적152X225-2.indd 2 17.
    [Show full text]
  • The Korean Internet Freak Community and Its Cultural Politics, 2002–2011
    The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 by Sunyoung Yang A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Anthropology University of Toronto © Copyright by Sunyoung Yang Year of 2015 The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 Sunyoung Yang Doctor of Philosophy Department of Anthropology University of Toronto 2015 Abstract In this dissertation I will shed light on the interwoven process between Internet development and neoliberalization in South Korea, and I will also examine the formation of new subjectivities of Internet users who are also becoming neoliberal subjects. In particular, I examine the culture of the South Korean Internet freak community of DCinside.com and the phenomenon I have dubbed “loser aesthetics.” Throughout the dissertation, I elaborate on the meaning-making process of self-reflexive mockery including the labels “Internet freak” and “surplus (human)” and gender politics based on sexuality focusing on gender ambiguous characters, called Nunhwa, as a means of collective identity-making, and I explore the exploitation of unpaid immaterial labor through a collective project making a review book of a TV drama Painter of the Wind. The youth of South Korea emerge as the backbone of these creative endeavors as they try to find their place in a precarious labor market that has changed so rapidly since the 1990s that only the very best succeed, leaving a large group of disenfranchised and disillusioned youth. I go on to explore the impact of late industrialization and the Asian financial crisis, and the nationalistic desire not be left behind in the age of informatization, but to be ahead of the curve.
    [Show full text]
  • A Study of the Diaspora Problem in Japanese and Korean
    Article A Study of the Diaspora Problem in Japanese and Korean Performing Arts Based on Joseon Tongsinsa 朝鮮通信使: Focusing on Cross-Cultural Examination of Musical Tsubame つばぬ (2002) and Changgeuk Jebi 春燕 (2004)* KIM Hyang The Review of Korean Studies Volume 20 Number 1 (June 2017): 117-144 ©2017 by the Academy of Korean Studies. All rights reserved. 1articles.indd 117 2017. 5. 29. 오후 5:09 118 The Review of Korean Studies Introduction This paper aims to study the musical Tsubame つばぬ (2002),1 performed by Japanese Warabi-za (theater company), and its recreation in changgeuk (Korean opera based on traditional pansori)2 titled Jebi 春燕 (2004),3 performed by National Changgeuk Company of Korea, based on Joseon tongsinsa using a cross-cultural methodology. These performances were promoted internationally with a story of Joseon tongsinsa 朝鮮通信使 (Korean delegation),4 a diplomatic delegation that also took a role on cultural exchange between Joseon and Japan.5 One of their missions was to repatriate Joseon war prisoners during which they had to confront the tragic reality of war. James Miki6 took notice of this and * This work was supported by the National Research Foundation of Korea Grant funded by the Korean Government (NRF-2014S 1A5A2A01015442). 1. It was first performed at the Warabi Theater in August 2002 with script and lyrics by James Miki 山下淸泉. At the National Theater of Korea, the drama was performed at Small Hall Dal from Saturday, May 8 to Sunday, May 9, 2004. Chon Hwang took charge of the translations. 2. Changgeuk is a Korean performing arts based on pansori, a Korean traditional art recognized as one of UNESCO’s “Masterpieces of the Oral and Intangible Heritage of Humanity” on November 7, 2003.
    [Show full text]
  • The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
    The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex.
    [Show full text]
  • Korean Dance and Pansori in D.C.: Interactions with Others, the Body, and Collective Memory at a Korean Performing Arts Studio
    ABSTRACT Title of Document: KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO Lauren Rebecca Ash-Morgan, M.A., 2009 Directed By: Professor Robert C. Provine School of Music This thesis is the result of seventeen months’ field work as a dance and pansori student at the Washington Korean Dance Company studio. It examines the studio experience, focusing on three levels of interaction. First, I describe participants’ interactions with each other, which create a strong studio community and a women’s “Korean space” at the intersection of culturally hybrid lives. Second, I examine interactions with the physical challenges presented by these arts and explain the satisfaction that these challenges can generate using Csikszentmihalyi’s theory of “optimal experience” or “flow.” Third, I examine interactions with discourse on the meanings and histories of these arts. I suggest that participants can find deeper significance in performing these arts as a result of this discourse, forming intellectual and emotional bonds to imagined people of the past and present. Finally, I explain how all these levels of interaction can foster in the participant an increasingly rich and complex identity. KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO By Lauren Rebecca Ash-Morgan Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2009 Advisory Committee: Dr. Robert C. Provine, Chair Dr.
    [Show full text]
  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
    [Show full text]
  • Behind the Scenes: What It Takes to Mount A
    Number 4, 2017 Behind the Scenes: What It Takes to Mount a MUSICAL THIS 1 ISSUE Walter Ware III, “Hey kids, let’s put on a show!” When NATIONAL COUNCIL Resident Casting Director Mickey Rooney rallied his gang to show ON THE ARTS Finding the Right People biz in the 1939 filmBabes in Arms, he and Jane Chu, BY JOSEPHINE REED AND DON BALL his friends embarked upon a theatrical Chairman lark. A couple of kids, a few costumes— Bruce Carter what else do you need? Aaron Dworkin Turns out, a lot. In 2014, according Lee Greenwood to Bureau of Economic Analysis data, Deepa Gupta 4 Paul W. Hodes performing arts presenters contributed Tristan Raines, Maria Rosario Jackson $8.7 billion in value to the U.S. economy, Emil Kang Costume Designer but it isn’t all due to the people onstage. Charlotte Kessler Clothing the Characters For actors, musicians, and dancers to María López De León BY REBECCA SUTTON succeed, there are multitudes behind the Rick Lowe curtain that make it happen. In fact, in David “Mas” Masumoto all the arts this is true: from the people Barbara Ernst Prey mounting the artwork at a museum to the Ranee Ramaswamy publishers and editors behind a literary Diane Rodriguez 8 Tom Rothman work, the workers behind the scenes Olga Viso Denis Jones, contribute to an artwork’s success. Choreographer In this issue of NEA Arts, we go Dancing the Narrative EX-OFFICIO backstage at the Signature Theatre’s BY MORGAN MENTZER production of The Gershwins®’ & Ken Sen. Tammy Baldwin (D-WI) Ludwig’s Crazy for You®, which will run Rep.
    [Show full text]
  • Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
    International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world.
    [Show full text]
  • Stories of Minjung Theology
    International Voices in Biblical Studies STORIES OF MINJUNG THEOLOGY STORIES This translation of Asian theologian Ahn Byung-Mu’s autobiography combines his personal story with the history of the Korean nation in light of the dramatic social, political, and cultural upheavals of the STORIES OF 1970s. The book records the history of minjung (the people’s) theology that emerged in Asia and Ahn’s involvement in it. Conversations MINJUNG THEOLOGY between Ahn and his students reveal his interpretations of major Christian doctrines such as God, sin, Jesus, and the Holy Spirit from The Theological Journey of Ahn Byung‑Mu the minjung perspective. The volume also contains an introductory essay that situates Ahn’s work in its context and discusses the place in His Own Words and purpose of minjung hermeneutics in a vastly different Korea. (1922–1996) was professor at Hanshin University, South Korea, and one of the pioneers of minjung theology. He was imprisonedAHN BYUNG-MU twice for his political views by the Korean military government. He published more than twenty books and contributed more than a thousand articles and essays in Korean. His extended work in English is Jesus of Galilee (2004). In/Park Electronic open access edition (ISBN 978-0-88414-410-6) available at http://ivbs.sbl-site.org/home.aspx Translated and edited by Hanna In and Wongi Park STORIES OF MINJUNG THEOLOGY INTERNATIONAL VOICES IN BIBLICAL STUDIES Jione Havea, General Editor Editorial Board: Jin Young Choi Musa W. Dube David Joy Aliou C. Niang Nasili Vaka’uta Gerald O. West Number 11 STORIES OF MINJUNG THEOLOGY The Theological Journey of Ahn Byung-Mu in His Own Words Translated by Hanna In.
    [Show full text]
  • 9:30–10:40Am
    THE RUHLMAN R C O N F E R E N C E 9:30–10:40am guage, and disability. With a focus on four Cross-cultural Research Literature and the Arts discourse variables—question-and-answer sequences, expletives (profanity), honorif- Construction of Gender: ics, and indirection—the study aims to Why There Are Indirect Speech Insight into Japan and Korea (panel) identify stereotypes associated with female Acts: A Response to Bertolet (panel) Science Center 396 vs. male speech and explores the role Pendleton West 117 of disability in their perpetuation. The Gender is a social construct expressed by Shan Shan Tam ’10, Philosophy and each individual in accordance with a social major questions addressed by this film- based linguistic analysis are as follows: Architecture, Kimberly Goyzueta ’11, standard. This panel examines native Cognitive and Linguistic Sciences, and 1) Are the disabled subject to the same portrayals of gender in creative outlets, Margaret Hall ’11, Psychology language-related gender stereotypes that and the use of language and other social ADVISOR: Mary Kate McGowan, Philosophy behavior, to examine the expression of characterize the speech of nondisabled Suppose a diner asks, “Can you pass the gender in modern Japan and Korea. men and women (e.g., women’s speech is “powerless” and/or “cooperative”)? and salt?” Although her utterance is literally a Real Men Wear Sequins: Performing 2) can physical disability, both in Oasis question (about the physical abilities of Gender on the Takarazuka Stage and more generally, in Korean society and the addressee), most would take it as a elsewhere, be a hyperbolized expression of request (that the addressee pass the salt).
    [Show full text]