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Books on the topic 'Korean new wave'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

Korean cinema: The new Hong Kong : a guidebook for the latest Korean New Wave. Victoria, B.C: Trafford, 2002.

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2

Sinhallyu wa munhwa idong ŭi chihyŏnghak: New Korean wave and cultural topography. Sŏul-si: Nonhyŏng, 2013.

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3

'90-yŏndae chʻaemuk ŭi sae mulkyŏl: New wave in '90 Korean color & inkpinting [i.e. inkpainting] : 21-segi rŭl hyanghan saeroun toyak. Sŏul: Yesul kwa Pipʻyŏngsa, 1991.

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4

Korea (South). Taetʻongnyŏng Chamun Chŏngbu Hyŏksin Chibang Punkwŏn Wiwŏnhoe. A New wave of government innovation in Korea. Seoul]: Presidential Committee on Government Innovation & Decentralization, 2007.

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5

Jin, Dal Yong. The Rise of the New Korean Wave. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0001.

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This chapter first discuses the rise of Korean popular culture and its dissemination in Asian countries, known as the Korean Wave, or Hallyu. It characterizes the Korean Wave into roughly two major historical developments: the Hallyu 1.0 era (approximately between 1997 and 2007) and the Hallyu 2.0, New Korean Wave, era (mainly from 2008 to the present). Although these two periods share some common phenomena, they are dissimilar in their major characteristics, such as the major cultural forms exported, technological developments, fan bases, and government cultural policies. It then sets out the book's purpose, which is to explore the recent evolution of Hallyu in a socioeconomic context alongside its textual meanings. The chapter then discusses the hybridity in Korean popular culture followed by an overview of the subsequent chapters.

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6

Jin, Dal Yong. Cultural Politics in the New Korean Wave Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0002.

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This chapter investigates the role of the nation-state in the cultural industries and the Korean Wave in the context of the broader social structure of society amid neoliberal globalization. It articulates how the Korean government has developed the cultural industries and the ways in which the government has cultivated its cultural policies in global trade, such as export promotion, direct and indirect export subsidies and supports, and the promotion of the nation's cultural image abroad. It especially analyzes whether neoliberal ideologies, emphasizing a small government regime, have completely altered state interventionism, known as developmentalism, in the Korean Wave, leading to further discussion of the role of the nation-state. The chapter historicizes the Korean Wave phenomenon according to major policy shifts surrounding media ecology, driving the change and continuity of Hallyu over the past eighteen years.

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7

The Korean wave: A new pop culture phenomenon. Korea: Korean Culture and Information Service, 2011.

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8

New Korean wave: Transnational cultural power in the age of social media. University of Illinois Press, 2016.

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9

The Korean wave: As viewed through the pages of the New York Times in 2006. New York, NY: Korean Cultural Service, 2007.

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10

Jin, Dal Yong. Transnational Television Programs. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0003.

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This chapter documents recent developments characterizing the New Korean Wave in the realm of the broadcasting sector. It discusses television Hallyu as both transnational cultural production and transnational cultural flow. Admitting the continuing importance of dramas in the Korean Wave, it analyzes the growth of global formats, including audience competition shows, in order to understand the major characteristics of local formats in tandem with hybridity. In the realm of drama, it examines the change from ready-made dramas to format dramas in the New Korean Wave era. Then it investigates the ways in which Koreans consume the image of Hallyu and the way it is represented in Korean audition programs. Unlike the case during the early 2000s, the New Korean Wave has been heavily influenced by transnational participation and audiences. By employing a textual analysis of a few television programs within a historical context, the chapter also maps out whether localized global formats guarantee the creation of new cultural spaces.

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11

Jin, Dal Yong. Global Penetration of Korea’s Smartphones in the Social Media Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0008.

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This chapter analyzes several distinctive elements of the digital Korean Wave with the case of smartphones, compared to the mobile era until 2008. Here, the digital Korean Wave refers to the rapid growth of digital technologies, in particular smartphones, and the export of domestic-made smartphones to the global markets as part of the growth of the New Korean Wave. However, the digital wave also means the convergence of technology and culture in order to boost the rapid penetration of cultural genres, such as animation and K-pop in the global markets. It is connected to the significance of several services, in particular intellectual property rights, which are crucial for capital accumulation. The chapter starts with an examination of the Korean IT policy, which drives the growth of smartphones, in tandem with corporate policies. Through the lens of technological hybridization, it discusses whether the global penetration of Korean smartphones resolves the uneven power logic between Western, in this case the United States, and non-Western, meaning Korea, in the social media era.

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12

Jin, Dal Yong. Cultural Globalization in Korean Cinema. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0004.

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This chapter examines the swift change experienced by the Korean film industry in conjunction with the Korean Wave. It investigates the primary causes of the roller coaster-like shifts within Korean cinema, including government cultural policies due to the significant role of the government in the midst of neoliberal globalization. It then maps out the nature of cultural hybridity in domestic films by comparing hybridized films between the Hallyu 1.0 era and the Hallyu 2.0 era. By textually analyzing film genres and themes of 240 films produced domestically between 1989 and 2012, the chapter explores not only the ways in which Korean cinema develops hybridity in domestic films, but also whether hybridity has generated new possible cultures that are free from Western influence. This eventually leads us to determine the major characteristics of hybrid Korean cinema in the Hallyu 2.0 era and its future direction in the global film market.

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13

Jin, Dal Yong. Critical Discourse of K-pop within Globalization. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0006.

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This chapter examines the transformation of K-pop in the early twenty-first century in a broader sociocultural context. It maps out whether hybridity has generated new creative cultures, ones that are free from Western dominance, or whether this trend eventually oppresses local music. The aim is therefore to investigate the different cultural stages and transition of popular music in Korea occurring within the unfolding logic of globalization and to interrogate the adequacy of cultural hybridity as a plausible framework to explain cultural phenomena currently under way. In particular, it analyzes the development of English mixed into the lyrics of Korean popular music in order to identify and examine several key factors involved in the rapid growth of K-pop and its influence in the New Korean Wave. From the perspective gained from the combined angles of critical cultural studies and textual analysis, new insights are generated into the emerging discourse of cultural hybridization in Korean popular music.

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14

Jin, Dal Yong. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0009.

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This chapter first summarizes the major characteristics of the New Korean Wave. It then considers whether we need to develop non-Western media theories to explain the rapid growth of local popular culture in the global markets or whether we have to apply and utilize current forms of these theories. It also discusses what we have to keep in mind in further studies on the Hallyu phenomenon in the midst of globalization, which will be a good case study for several other emerging local markets. It argues that producers in the Korean cultural industries need to develop the unique culture through the hybridization process. The Korean government and cultural industry corporations also play a key role in developing cultural policies and cultural products. By doing so, Korea will be able to make a compelling case for the growth of local popular culture and digital technologies in the global markets.

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15

New Korean Cinema Breaking The Waves. Wallflower Press, 2010.

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16

Paquet, Darcy. New Korean Cinema: Breaking the Waves. Columbia University Press, 2010.

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17

Jin, Dal Yong. Digital Hallyu 2.0: Transnationalization of Local Digital Games. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0007.

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This chapter maps out the growth of locally based digital games. In the twenty-first century, the New Korean Wave has been expanding with the rapid growth of digital culture, in particular with online gaming. The rapid growth of the Korean digital game industry, including online gaming, and its export into the Western market have raised a fundamental question of whether digital culture has changed the nature of the Korean Wave, from a regionally focused intracultural flow to include a Western-focused contraflow. The chapter attempts to discuss the ways in which local online games, in particular massively multiplayer online role-playing games (MMORPGs), have advanced contraflow. In addition, it discusses a changing trend in the digital game sector, which has been occurring due to both the increasing role of China's game industries and the emergence of mobile gaming in the smartphone era. It also maps out the process by which Korean online games are appropriated for Western game users in a form of “glocalization”in both content and structure. Finally, the chapter articulates whether this new trend can diminish an asymmetrical cultural flow between the West and the East.

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18

Dancing Korea : New Waves of Choreographers and Dance Companies: New Waves of Choreographers and Dance Companies. KONG & PARK, Incorporated, 2012.

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19

Conway-Lanz, Sahr. The Struggle to Fight a Humane War. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199379774.003.0003.

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The Korean War demonstrated the serious problems that the United States had adhering to the new 1949 Geneva Conventions and the severely limited protections that these new treaties provided. The protections for war victims were undermined both by serious gaps in the treaties that failed to provide much safety from bombing to civilians and by US deviations from the agreements in the handling of refugees and prisoners of war. However, Americans did not discard the agreements in the wake of their troubled Korean War experiences. Instead, the war helped to legitimize and lay the foundation for the further internalization of the new laws through their formal implementation, the public controversy they generated, and a boomerang effect of atrocity accusations. Despite failing to provide much protection for Korean War victims, the treaties were part of a broader international consensus-building process that helped to spread humanitarian norms.

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20

Peng, Handie. Economic Theories and Empirics on the Sex Market. Edited by Scott Cunningham and Manisha Shah. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199915248.013.2.

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This article presents a number of testable predictions from Edlund and Korn’s (2002) theoretical model. In their seminal study, Edlund and Korn propose a model that sees prostitution as an alternative to marriage. According to the them, women can only choose between marriage and prostitution, and “prostitution is low-skill, labor intensive, female, and well paid.” Because prostitution has such an unusual combination of attributes, traditional labor theories might not be able to explain the wage differential of this profession. The Edlund and Korn (EK) model offers “a marriage market explanation to this puzzle.” The critical assumption is that prostitutes need to be compensated for the forgone marriage market opportunities. This chapter tests three unique predictions from the EK model: (1) that there exists a wage differential for the sex worker, (2) that prostitution falls with female wage and male income, and (3) that foreign prostitutes should have a lower wage, ceteris paribus. These predictions are examined using two new datasets of Internet-mediated prostitution. The chapter finds evidence for the first two predictions but not for the third.

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21

Contemporary musicians: Profiles of the people in music. Vol. 48. Farmington Hills, MI: Thomson Gale, 2004.

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