Critical Interpretation of Hybrid K-Pop: The Global-Local Paradigm of English Mixing in Lyrics

Jin, Dal Yong; Ryoo, Woongjae

doi:10.1080/03007766.2012.731721

Cited by 56 publications

(25 citation statements)

References 17 publications

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“…Its familiarity facilitates consumption, and its difference creates space to distinguish the nation's media for audiences. Although Korean media are more profoundly shaped by the West, especially the US (Jin and Ryoo, 2014), we argue the desiring gaze has weakened in relation to the nation's growing economic, geopolitical, and cultural power as it self-assuredly forges its own intra- and inter-regional flows (Wilson, 2007).…”

Section: Korean–us Hybridity and Counter-flowsmentioning

confidence: 98%

Imag(in)ing the post-national television fan: Counter-flows and hybrid ambivalence in Dramaworld

Nishime

2018

International Communication Gazette

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In 2016, Viki.com and Netflix added the web drama Dramaworld to their libraries. The move represents a digital and transnational shift in programming and production. Co-produced by China's Jetavana Entertainment, South Korea's EnterMedia, and the US's Third Culture Content, Dramaworld signals the escalation of post-national television production. The show emerges where the splash of the ‘Korean Wave’ has flowed apart from and against flows of US-mediated domination, creating new possibilities for hybrid media. It simultaneously challenges cultural imperialism with the force of Korean soft power while also constructing the White female fan as the desired audience. This example of transnational co-production uses the global fan to mediate and reconfigure the shifting power relations between the US and Korea, thus providing a window into the ideological work performed by global media.

show abstract

Section: Korean–us Hybridity and Counter-flowsmentioning

confidence: 98%

Imag(in)ing the post-national television fan: Counter-flows and hybrid ambivalence in Dramaworld

Nishime

2018

International Communication Gazette

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“…Although the primary theoretical question among postcolonial Korea scholars is whether media are hybrid (see D. Y. Jin and Ryoo 2014; Jung 2011; Shim 2006), it is my contention that cosmopolitanism is a preferable theoretical lens in damunhwa representations.…”

Section: Constructing the Ideal Cosmopolitan Subjectmentioning

confidence: 99%

Representing the Western Super-minority: Desirable Cosmopolitanism and Homosocial Multiculturalism on a South Korean Talk Show

2018

Television & New Media

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Airing on Joongang Tongyang Broadcasting Company (JTBC), a South Korean television network, Non Summit represents multiculturalism on the small screen through light-hearted, loosely structured debates between eleven men from different nations that is moderated by three Korean hosts. This study approaches the show’s representation of multinational, homosocial masculine friendship and commentary as a text that advances the goals of damunhwa, a locally specific articulation of multiculturalism. Non Summit does this by constructing a normative ideal of a cosmopolitan citizen who espouses liberal progressive values and appreciation for superficial multicultural difference. The ideal, which the show associates with the West, is occasionally ruptured through fleeting moments when non-Western members challenge Western superiority and Koreanness, however, the ruptures are patched through the show’s policing of difference through shared, heteronormative masculinity and homosocial friendship.

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“…Nothing is better positioned to exemplify the quotidian exchanges than the influence of Korean musical television programs, through which Chinese audiences' lives cross linguistic and ideological boundaries via a screen media form. Scholars have discussed the cultural hybridisation thesis in the context of the globalisation of K-pop and of Korean popular culture in general (Shim 2006;Ryoo 2009;Jin and Ryoo 2014;Lee 2017;Yoon 2018). Scholarship has also foregrounded how K-pop is institutionalised to serve national branding in the interest of building Korea's soft power (Lie 2014;Choi 2015).…”

Section: Conceptual Frameworkmentioning

confidence: 99%

“Bang Bang Bang” – Nonsense or an Alternative Language? The Lingualscape in the Chinese Remake of I Am a Singer

Li¹

2019

chinaperspectives

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Through examining the Chinese remake of the Korean television program I Am a Singer, I explore the questions of how a Chinese musical television reality show performs and represents the newly rising aesthetic demands for de-territorialising what I term the "lingualscape," the shifting landscape of languages intermingled with and liberated from standardised national languages; and how it interplays with affective negotiation in the practices of translation or transplantation within the context of cultural de-territorialisation. This Sino-Korean musical TV program demonstrates nonethnic-centred imaginings across national and state-sanctioned ideological boundaries. The lingualscape performs affective negotiation and rises above the official lingual system, a process through which sincere communication becomes possible in a digital time.

show abstract

Critical Interpretation of Hybrid K-Pop: The Global-Local Paradigm of English Mixing in Lyrics

Cited by 56 publications

References 17 publications

Imag(in)ing the post-national television fan: Counter-flows and hybrid ambivalence in Dramaworld

Imag(in)ing the post-national television fan: Counter-flows and hybrid ambivalence in Dramaworld

Representing the Western Super-minority: Desirable Cosmopolitanism and Homosocial Multiculturalism on a South Korean Talk Show

“Bang Bang Bang” – Nonsense or an Alternative Language? The Lingualscape in the Chinese Remake of I Am a Singer

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