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E-book Diasporic Hallyu : The Korean Wave in Korean Canadian Youth Culture

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Penilaian

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The Korean Wave (or Hallyu), which refers to the global circulationof Korean media and popular culture, seems more visible than ever,despite almost two decades of doubt, skepticism, and disapproval aboutits continuation. In particular, the rapid surge of K-pop (Korean idolpop music) in the global mediascape, led by several idol groups andtheir dedicated overseas fans since the mid-2010s, reveals an unprece-dented media phenomenon spotlighting a non-Western, once-peripheral cultural location and signaling a challenge to the Western-centric medi-ascape. This continued rise of Hallyu was not particularly predicted evenamong its longtime, overseas fans. Indeed, some of this book’s early inter-view participants were not certain about the continuation of Korean popculture recognition in North America. In a 2015 interview, 25-year-oldinterviewee Luke in Toronto ascribed the Korean Wave to the enhancedaccessibility of digital media (including illegal streaming sites) and thusdescribed it as an exaggeration.The Korean Wave that people in Korea try to understand is a bit over-exaggerated. Because of globalization, people are more acquainted withother cultures and fanatic about Korean stuff. So, yes, people are moreexposed to Korean cultures, norms, and food, and of course K-pop. But,is that because Korean culture is suddenly more competitive and superiorto other cultures and media? I don’t think so. I think it’s more of, becauseof the Internet, for example, YouTube.Luke considered the Korean Wave as an Internet-driven fad that maydisappear or be replaced with another fad sooner or later. While moreinterviewees were relatively optimistic about the continued rise of Hallyuin Canada, there were still a few interview participants like Luke whowere uncertain. At least until the mid-2010s, the world seemed skepticalabout (if not indifferent to) the destiny of the Korean Wave. In an interna-tional survey conducted by a Korean government-sponsored organizationin 2012, over 60% of the survey respondents predicted that the KoreanWave would fade out within 4 years (Korea Foundation for InternationalCultural Exchange2012).1In stark contrast to this gloomy forecast, the Korean Wave has survivedfor a decade since the survey. Several months after the survey, Psy’s “Gangnam Style” smashed the global mediascape, whereas many K-pop songs, Korean dramas (known as K-drama), and Korean films haveincreasingly been circulated beyond Korean or Asian borders throughoutthe 2010s. The Korean Wave has continued through the 2010s andnow the 2020s. Its scope is not local or regional but certainly global.The continued wave has been supported by the Korean government’sinitiatives and investments in cultural industries (Jin2016and2018),and thus, Hallyu has been branded as “soft power” of Korea—refer-ring to the attractive power of the country’s culture (Nye and Kim2013). More importantly, technology-equipped fans have led the Waveas a cultural trend of grassroots transnationalism. Digital technology hasnot only increased the global availability of and access to Korean culturaltexts but also allowed global audiences to translate and participate in thetranscultural flows (Jin et al.2021;S.Y.Kim2018).

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

306.4 YOO d

Penerbit

Switzerland : Springer Nature., 2022

Deskripsi Fisik

161 hlm

Bahasa

English

ISBN/ISSN

9783030949648

Klasifikasi

306.4

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Specific Aspect of Culture

Info Detail Spesifik

-

Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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