The Ministry Of Pop

How can Japanese popular culture gain numerous fans in China, despite pervasive anti-Japanese sentiment? How is it that there’s such a strong anti-Korean sentiment in Chinese online fan communities when the official Sino-Korean relationship is quite stable before 2016? Avid fans in China are raising hundreds of thousands of dollars in funding to make gifts to their idols in foreign countries. Tabloid reports on Japanese and Korean celebrities have been known to trigger nationalist protests in China. So, what is the relationship between Chinese fandom of Japanese and Korean popular culture and nationalist sentiment among Chinese youth? Chen discusses how Chinese fans of Japanese and Korean popular culture have formed their own nationalistic discourse since the 1990s. She argues that, as nationalism is constructed from various entangled ideologies, narratives, myths and collective memories, popular culture simply becomes another resource for the construction of nationalism. Fans thus actively select, interpret and reproduce the content of cultural products to suit their own ends. Unlike existing works, which focus on the content of transnational cultural flows in East Asia, this book focuses on the reception and interpretation of the Chinese audience.

Pop Journalist Mark Elliott has written the ultimate guide to one of the greatest independent success stories in music history, with extensive source material and a foreword written by Mike Stock. The Ministry of Pop is a lavish, full-colour book which tells the amazing story of 10 sensational years, including a year by year hit list, 846 images including every single & album release and many magazine covers & spreads from the period. For anyone who bought the records, the pop magazines or crowded around the TV for Top of The Pops or the Saturday morning shows, this deluxe book will bring back hundreds of memories and is the definitive story behind some of the greatest British pop music ever produced. Stock, Aitken & Waterman dominated the charts for more than a decade with a catalogue of smash-hit songs and a technicolour cast of pop sensations. The trio launched the careers of Kylie Minogue, Rick Astley, Jason Donovan & more, even established artists like Donna Summer, Cliff Richard and Bananarama benefitted from their Midas touch.

Combining global, media, and cultural studies, this book analyzes the success of Hallyu, or the "Korean Wave” in the West, both at a macro and micro level, as an alternative pop culture globalization. This research investigates the capitalist ecosystem (formed by producers, institutions and the state), the soft power of Hallyu, and the reception among young people, using France as a case study, and placing it within the broader framework of the 'consumption of difference.' Seen by French fans as a challenge to Western pop culture, Hallyu constitutes a material of choice for understanding the cosmopolitan apprenticeships linked to the consumption of cultural goods, and the use of these resources to build youth’s biographical trajectories. The book will be relevant to researchers, as well as undergraduate and postgraduate students in sociology, cultural studies, global studies, consumption and youth studies.

The term "soft power" describes a country's ability to get what it wants by attracting rather than coercing others - by engaging hearts and minds through cultural and political values and foreign policies that other countries see as legitimate and conducive to their own interests.This book analyzes the soft power assets of the United States and Japan, and how they contributed to one of the most successful, if unlikely, bilateral relationships of the twentieth century. Sponsored by the U.S. Social Science Research Council and the Japan Foundation's Center for Global Partnership, the book brings together anthropologists, political scientists, historians, economists, diplomats, and others to explore the multiple axes of soft power that operate in the U.S.-Japanese relationship, and between the United States and Japan and other regions of the world.The contributors move beyond an "either-or" concept of hard versus soft power to a more dynamic interpretation, and demonstrate the important role of non-state actors in wielding soft power. They show how public diplomacy on both sides of the Pacific - bolstered by less formal influences such as popular cultural icons, product brands, martial arts, baseball, and educational exchanges - has led to a vibrant U.S.-Japanese relationship since World War II despite formidable challenges. Emphasizing the essentially interactive nature of persuasion, the book highlights an approach to soft power that has many implications for the world today.

Featuring quirky horse-riding dance moves and an infectious electronic beat, an unlikely music video and its leading man made history in 2012. In December of that year, "Gangnam Style" reached one billion hits on YouTube--the most views ever. Seemingly overnight, the South Korean pop star behind the hit--Psy (Park Jae-sang)--became a household name.But Psy is just part of the story. Other South Korean pop sensations such as Girls' Generation, 2NE1, and BigBang are part of a global sensation called Hallyu, or the Korean Wave. South Korean bands are performing to sold out arenas all over the world, and fans can't get enough of South Korean music, films, television, food, and manhwa (cartoons).K-Pop: Korea's Musical Explosion traces the journey of South Korean pop music, from the early influences of American rock 'n' roll in the 1950s to the success of a tiger-eyed sensation called Rain, who wowed American audiences in the early 2000s. Discover how this Korean Justin Timberlake, and those who came after him, rose through South Korea's star-making system through grueling hard work to seduce international audiences with their tight choreographies, irresistible beats, outrageous outfits, and exciting stage shows. You'll become part of the K-Pop fandom world too!

East Asian pop culture can be seen as an integrated cultural economy emerging from the rise of Japanese and Korean pop culture as an influential force in the distribution and reception networks of Chinese language pop culture embedded in the ethnic Chinese diaspora. Taking Singapore as a locus of pan-Asian Chineseness, Chua Beng Huat provides detailed analysis of the fragmented reception process of transcultural audiences and the processes of audiences’ formation and exercise of consumer power and engagement with national politics. In an era where exercise of military power is increasingly restrained, pop culture has become an important component of soft power diplomacy and transcultural collaborations in a region that is still haunted by colonization and violence. The author notes that the aspirations behind national governments' efforts to use popular culture is limited by the fragmented nature of audiences who respond differently to the same products; by the danger of backlash from other members of the importing country's population that do not consume the popular culture products in question; and by the efforts of the primary consuming country, the People's Republic of China to shape products through co-production strategies and other indirect modes of intervention.

This is an open access book. With the progress of social civilization, social science and its research are becoming more and more important. Theoretically and practically, the study of social phenomena and social problems and the development of prosperous social sciences are the eternal themes of human beings. At present, social science research and its results can hardly meet the needs of social development, especially the unscientific evaluation of social science results, which has aroused great concern from all walks of life, and has produced dirt and questions on social science, thus affecting the proper development of social science. Max Weber once said that "the most important function of social science in modern times is to keep people "clear-headed" and to resist the delusions of "prophetic legislators". " Humanities and arts are the process of perceiving, realizing, thinking, manipulating, and expressing objective or subjective objects through capturing and excavating, feeling and analyzing, integrating and applying, or displaying the stage results in the form obtained through feeling (seeing, hearing, smelling, touching). The social sciences and humanities and arts contain content that will directly affect our lives and the way society functions. And by reacting to today's increasingly intricate problems and situations through systematic and professional discussions, they will further contribute to the improvement of institutions and the development of society. By thinking about issues and looking at problems and the world from different perspectives by putting the two together, it may be possible to have more comprehensive, appropriate, and better responses; for example, the development of laws requires a deeper understanding of the environment in which they are implemented; international trade requires a certain understanding of the customs of different countries; and the development of tax and economic policies requires a certain understanding of the population, consumer demand, etc.

At the start of the twenty-first century challenges to the global hegemony of U.S. culture are more apparent than ever. Two of the contenders vying for the hearts, minds, bandwidths, and pocketbooks of the world’s consumers of culture (principally, popular culture) are India and South Korea. “Bollywood” and “Hallyu” are increasingly competing with “Hollywood”—either replacing it or filling a void in places where it never held sway. This critical multidisciplinary anthology places the mediascapes of India (the site of Bollywood), South Korea (fountainhead of Hallyu, aka the Korean Wave), and the United States (the site of Hollywood) in comparative dialogue to explore the transnational flows of technology, capital, and labor. It asks what sorts of political and economic shifts have occurred to make India and South Korea important alternative nodes of techno-cultural production, consumption, and contestation. By adopting comparative perspectives and mobile methodologies and linking popular culture to the industries that produce it as well as the industries it supports, Pop Empires connects films, music, television serials, stardom, and fandom to nation-building, diasporic identity formation, and transnational capital and labor. Additionally, via the juxtaposition of Bollywood and Hallyu, as not only synecdoches of national affiliation but also discursive case studies, the contributors examine how popular culture intersects with race, gender, and empire in relation to the global movement of peoples, goods, and ideas.