Hallyu 2 0

The first scholarly volume to investigate the impact of social media and other communication technologies on the global dissemination of the Korean Wave

The 2012 smash "Gangnam Style" by the Seoul-based rapper Psy capped the triumph of Hallyu , the Korean Wave of music, film, and other cultural forms that have become a worldwide sensation. Dal Yong Jin analyzes the social and technological trends that transformed South Korean entertainment from a mostly regional interest aimed at families into a global powerhouse geared toward tech-crazy youth. Blending analysis with insights from fans and industry insiders, Jin shows how Hallyu exploited a media landscape and dramatically changed with the 2008 emergence of smartphones and social media, designating this new Korean Wave as Hallyu 2.0. Hands-on government support, meanwhile, focused on creative industries as a significant part of the economy and turned intellectual property rights into a significant revenue source. Jin also delves into less-studied forms like animation and online games, the significance of social meaning in the development of local Korean popular culture, and the political economy of Korean popular culture and digital technologies in a global context.

This volume fills a gap in the existing literature and proposes an interdisciplinary and multicultural comparative approach to the impact of Hallyu worldwide. The contributors analyze the spread of South Korean popular products from different perspectives (popular culture, sociology, anthropology, linguistics) and from different geographical locations (Asia, Europe, North America, and South America). The contributors come from a variety of countries (UK, Japan, Argentina, Poland, Bulgaria, Czech Republic, Indonesia, USA, Romania). The volume is divided into three sections and twelve chapters that each bring a new perspective on the main topic. This emphasizes the impact of Hallyu and draws real and imaginary “maps” of the export of South Korean cultural products. Starting from the theoretical backgrounds offered by the existing literature, each chapter presents the impact of Hallyu in a particular country. This applied character does not exclude transnational comparisons or critical interrogations about the future development of the phenomenon. All authors are speaking about their own, native cultures. This inside perspective adds an important value to the understanding of the impact of a different culture on the “national” culture of each respective country. The contributions to this volume illustrate the “globalization” of the cultural products of Hallyu and show the various faces of Hallyu around the world.

While the influence of Western, Anglophone popular culture has continued in the global cultural market, the Korean cultural industry has substantially developed and globally exported its various cultural products, such as television programs, pop music, video games and films. The global circulation of Korean popular culture is known as the Korean wave, or Hallyu. Given its empirical scope and theoretical contributions, this book will be highly appealing to any scholar or student interested in media globalization and contemporary Asia popular culture. These chapters present the evolution of Hallyu as a transnational process and addresses two distinctive aspects of the recent Hallyu phenomenon - digital technology integration and global reach. This book will be the first monograph to comprehensively and comparatively examine the translational flows of Hallyu through extensive field studies conducted in the US, Canada, Chile, Spain and Germany.

Since the Korean Wave phenomenon started in 1997, Hallyu has undergone many changes. Geographically, while Asia has been the largest cultural market for the Korean cultural industries, other parts of society, including North America, Europe, the Middle East, and Latin America have gradually admitted Korean popular culture. The components of the Korean Wave have also greatly expanded. Hallyu originally implied the exports of a few cultural products, such as television dramas, popular music, and films; however, Korea has recently developed and exported K-pop, digital games and smartphone technologies as well as relevant youth culture. Meanwhile, industrial and technological contexts of the Korean Wave have changed significantly during the last 20 years. The role of social media in the Korean Wave’s transnationalization in recent years is especially intriguing because fans around the world can easily access social media to enjoy K-pop, digital games, and films. The changes in the nature and appearance of the Korean Wave, conceptual and theoretical shifts in the studies of the Korean Wave, and the influences of the development of media technologies on the Korean Wave are all very significant. This book aims to provide a better understanding of Hallyu's theoretical and institutional history on one hand, and new features of the Korean Wave on the other hand.

The Korean Wave in Southeast Asia offers fresh details and new perspectives on the globalization of Korean popular culture, better known as ‘Hallyu’. Focusing on the dissemination, localization, consumption and fandom of Korean TV dramas, films, pop music and other forms of youth culture within the cultural geography of Southeast Asia, the chapters in the book offer a compelling analysis of the globalization of Hallyu and detail the various social and cultural mechanisms involved. Deeply accomplished, this book will be a valuable resource for scholars interested in cultural and social change in Southeast Asia, as well as for graduate and undergraduate students learning about popular culture in Asia. Nissim Otmazgin Chair of the Department of Asian Studies, The Hebrew University of Jerusalem and author, Regionalizing Culture: The political economy of Japanese popular culture in Asia (University of Hawai'i Press, 2013). This book proves to be an important addition to the growing scholarship on the Korean Wave and the resulting new pop culture trends in Southeast Asia. In addition to introducing new concepts for further comparative research, the roster of case studies on Hallyu consumption and production in the region (informed by interdisciplinary expertise) offer readers fresh analyses and diverse experiences of the phenomenon. The publication of this collection is timely for our new course elective focusing on the ‘Korean Wave’, in which this book will certainly be a required reading. Sarah Domingo Lipura Associate Director, Ateneo Initiative for Korean Studies, Ateneo De Manila University (Philippines)

In Tourist Distractions Youngmin Choe uses hallyu (Korean-wave) cinema as a lens to examine the relationships among tourism and travel, economics, politics, and history in contemporary East Asia. Focusing on films born of transnational collaboration and its networks, Choe shows how the integration of the tourist imaginary into hallyu cinema points to the region's evolving transnational politics and the ways Korea negotiates its colonial and Cold War past with East Asia's neoliberal present. Hallyu cinema's popularity has inspired scores of international tourists to visit hallyu movie sets, filming sites, and theme parks. This tourism helps ease regional political differences; reimagine South Korea's relationships with North Korea, China, and Japan; and blur the lines between history, memory, affect, and consumerism. It also provides distractions from state-sponsored narratives and forges new emotional and economic bonds that foster community and cooperation throughout East Asia. By attending to the tourist imaginary at work in hallyu cinema, Choe helps us to better understand the complexities, anxieties, and tensions of East Asia's new affective economy as well as Korea's shifting culture industry, its relation to its past, and its role in a rapidly changing region.

Hallyu White Paper 2018 1. Inteoduction to the Hallyu(The Korean Wave) White Paper, 2018 2. Hallyu, Again at the starting Point 1) Hallyu and the social imaginary in the age of digital technology 2) Efficacy of Hallyu:beyond industry, beyond superpower 3) Universality and particularity of K-pop as a glocal culture 4) New media and K-pop 5) Q&A about Hallyu, the Second Story