
Contents
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Singapore: Signifier of East Asian Pop Culture Singapore: Signifier of East Asian Pop Culture
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Japanese and Korean Pop Culture: Similar Trajectories Japanese and Korean Pop Culture: Similar Trajectories
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The Transnational Audience of Transnational Television The Transnational Audience of Transnational Television
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Pop Culture and Soft Power Pop Culture and Soft Power
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Conclusion Conclusion
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Cite
Extract
The emergence of an East Asian Pop Culture stands significantly in the way of complete hegemony of US media culture, which undoubtedly continues to dominate the entertainment media globally. Indeed, at the beginning of the twenty-first century, discussions on media in East Asia have displaced concern with the “cultural imperialism” of the West, namely of the US, to focus instead on the celebration of the “arrival” of East Asian pop cultures in the global entertainment market; however, traces of this debate, albeit reconfigured in terms of the hegemony of multinational media corporations rather than nation-states, continue (Shi 2008). Several achievements mark this sense of “arrival.” The earliest East Asian entries into the global pop culture entertainment markets were probably Japanese animation, manga and video games. According to Iwabuchi (2002: 257), these products were “culturally odorless” because they contain little explicit Japanese content; animation and manga figures have always been intentionally devoid of Japanese features and resemble no particular ethnic group. Nevertheless, they were recognizably “Japanese” because of the highly stylized renderings of the characters; the term anime refers exclusively to either Japanese or Japanese-inspired animation. These products continue to be the mainstays of Japanese pop culture export to the world. Since the 1990s, Chinese and Korean cinemas have entered global circulation, in both art house film festivals and commercial markets, and are juxtaposed against Hollywood’s global dominance. Beneath the global scale, since the mid-1990s, the most significant pop culture genre to circulate transnationally within East Asia is serialized television dramas, streaming routinely into homes throughout the region—Japanese television dramas throughout the 1990s, followed by Korean television dramas in the early 2000s. The commercial success of these television dramas is, practically, an exclusively regional phenomenon as they have no market in the West, except among East Asian diasporas watching DVDs or licensed cable channels in their adopted land.
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