“…Trying to become like the Hallyu stars often results in attempts to transform the body through plastic surgery. Indeed, Eun advocates capitalising on the regional popularity of Hallyu to turn Korea into a hub for aesthetic surgery (Eun 2013(Eun , 1561. Others have argued that dramas reproduce traditional gender stereotypes 'reinforcing Korea's "unfailing" patriarchal culture' (Lin and Rudolf 2017, 49).…”
Section: Notes Towards a Typology Of Korean Dramamentioning
English-language studies of Korean drama (Korean TV serials) have tended to focus on the transnational consumption of drama in the context of the ‘Korean Wave’ (Hallyu). Analysing the classification and reception of Korean drama and its interaction with Korean audiences, this paper argues that there has been a significant shift both in the dramas produced and in the audience expectations and interactions with these texts. Building on twenty-one in-depth interviews and ethnographic data, the authors analyse the gendered structures of identification with the characters of dramas. Korean dramas are increasingly held to a standard of realism wherein audiences expect them to represent ‘reality’ rather than a fantastical escape from it. The authors argue, therefore, that dramas are also fulfilling a social function in being able to represent and generate dialogue over social problems in contemporary Korean society.
“…Trying to become like the Hallyu stars often results in attempts to transform the body through plastic surgery. Indeed, Eun advocates capitalising on the regional popularity of Hallyu to turn Korea into a hub for aesthetic surgery (Eun 2013(Eun , 1561. Others have argued that dramas reproduce traditional gender stereotypes 'reinforcing Korea's "unfailing" patriarchal culture' (Lin and Rudolf 2017, 49).…”
Section: Notes Towards a Typology Of Korean Dramamentioning
English-language studies of Korean drama (Korean TV serials) have tended to focus on the transnational consumption of drama in the context of the ‘Korean Wave’ (Hallyu). Analysing the classification and reception of Korean drama and its interaction with Korean audiences, this paper argues that there has been a significant shift both in the dramas produced and in the audience expectations and interactions with these texts. Building on twenty-one in-depth interviews and ethnographic data, the authors analyse the gendered structures of identification with the characters of dramas. Korean dramas are increasingly held to a standard of realism wherein audiences expect them to represent ‘reality’ rather than a fantastical escape from it. The authors argue, therefore, that dramas are also fulfilling a social function in being able to represent and generate dialogue over social problems in contemporary Korean society.
“…Some commentators frame this period of growth as the ‘ Hallyu economy’ – an economy including ‘medical Hallyu ’ alongside other cultural forms and practices – and have identified ‘K‐beauty’ or ‘Gangnam beauty’ as a distinctive and desirable new aesthetic, achievable by accessing cosmetic procedures in its homeland (Cheung ; Wen ). And cosmetic surgeons have ridden this Korean wave, writing in professional journals about ‘Gangnam style’ and urging their profession to capitalise on the global spotlight (Eun ): Just as the ‘Korean Wave’ of Korean pop culture has brought songs like Gangnam Style to an international audience, the Gangnam Conference has long been the birthplace of truly cutting‐edge aesthetic surgery techniques now used throughout the world. … Like the Bloomsbury group of English intellectuals who met regularly to advance the thought in their respective fields of expertise, it is my wish that the Gangnam Conference continues to serve as the equivalent meeting of the minds for plastic surgeons, a place where they can share their art and their intellect, contributing clinical advances that spread internationally like the hit song Gangnam Style.…”
Section: Cosmetic Surgery Tourism and Korean Medical Nationalismmentioning
confidence: 99%
“…Seen as a distinctively Asian cultural flow, Hallyu has helped to produce ‘a wide variety of vernacular and multiple modernities’ (Ryoo : 143) that facilitate new regional identities and imaginaries and ‘new kinds of relations across borders’ (p. 149) – one manifestation of which is the movement of people across borders, whether to visit key sites associated with Hallyu (Kim et al ) or on a more general pilgrimage to the home of the Korean Wave, hoping to experience (and maybe embody) the Koreanness symbolised in Hallyu . One key group now visiting Korea for both Hallyu tourism and medical tourism is Chinese outbound tourists, who often acknowledge the Hallyu effect in promoting Korea as an attractive destination, and in promoting Korean cosmetic surgery (Cheung ; Eun ). So the export of Korean cosmetic surgery is connected to the Korean Wave as a powerful contributor to the national economy, and a key market for such exports is China.…”
Section: Cosmetic Surgery Tourism and Korean Medical Nationalismmentioning
This paper addresses the growing phenomenon of cosmetic surgery tourism through a focus on the development of this industry in South Korea. Unlike many discussions of this topic, the paper decentres dominant narratives based on west‐goes‐east or north‐goes‐south journeys. Instead, we look at regional flows by exploring the experiences of Chinese patients travelling to South Korea in search of facial cosmetic surgery – procedures often referred to as the ‘Korean Look’ and associated with exported Korean popular culture. We focus on the contested understandings of the motives for and outcomes of this surgery between Korean surgeons and Chinese patients, documenting one example of the cultural investments and (mis)understandings that can impact on the experiences of medical tourists as they travel across national borders in search of treatment. We situate the development of cosmetic surgery tourism in Korea in the context of a discourse we call ‘medical nationalism’, showing how surgeons in particular reproduce this discourse in terms of pride in their contribution to the economic and reputational success of South Korea on a world stage. However, we demonstrate finally that, as a privatised, feminised and trivialised form of medicine, cosmetic surgery will always fail to deliver in this respect.
“…Commenting on the role of soft power in the book The Korean Wave: Korean Media Go Global (2013), which features Psy on the cover, Nye and Kim (2013) describe elements of Korean popular culture as "resources," explaining that globalizing market forces in the digital age have transfigured productions such as Gangnam Style into "cool" cultural brands (Nye & Kim, 2013, p. 34). Globally, the alluring soft power of popular cultural brands has manifested increasing interest in not only Korean language, culture, and food, but also cosmetics and medical tourism (Eun, 2013).…”
Section: Gangnam Style: a Viral Lote Successmentioning
Language education faculty face myriad challenges in finding teaching resources that are suitable, of high quality, and allow for the modifications needed to meet the requirements of their course contexts and their learners. The article elaborates the grassroots model of “produsage” (a portmanteau of “production” and “usage”) as a way of imagining a movement toward the use and creation of open educational resources (OER) for language learning. Through a set of examples of video resources that fill a need for authentically compelling language learning materials, the authors demonstrate the potential of produsage to engage teachers and learners around digital resources, to the benefit of language teaching and learning. In support of this grassroots model, the authors propose practices and policies to address challenges involved in engaging teachers and learners around OER in higher education.
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