The Korean Wave In A Post Pandemic World
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The Korean Wave in a Post-Pandemic World
This book presents an analysis of how the economic Korean Miracle spread into the cultural “Korean Wave” (Hallyu). First only in Asian countries and then around the world, the rising popularity of the Korean Wave continued within the pandemic—despite or even because of policies of digital lockdowns. Partially, this has been by design as Korea for decades has had a very strong fast development drive in telecommunications and that aided the growth of its cultural wave. Partially however, this became exclusively by default how the Korean Wave had to spread increasingly in a digital manner after 2020 globally, in response to many countries’ rules regarding the COVID-19 pandemic in their attempts to enforce a decline in face-to-face content consumption. In retrospect, this has meant only more digital growth and innovation for the Korean Wave in past years compared to other cultures' entertainment complexes that suffered more. Korea's earlier digital readiness combined with later lockdownconditions and pushed the Korean Wave further ahead. Despite the ending of COVID-19 lockdowns in many countries, a greater digital aftermath will continue in the cultural industry and in the economy in general. This is due to changes created in cultural preferences, in organizational investments, and in communication technologies due to those lockdowns. Thus, the authors examine how the Korean Wave coped actively with a pronounced digital shift by default in all aspects of media including production, distribution, and consumption. In turn, they examine how the greater digital shift in the world’s culture and economy influenced the Korean Wave’s entertainment performances, TV dramas, and cosmetics—among other areas. The authors analyze general trends in the Korean Wave’s economics, culture, and technology along with specific strong cases of the K-pop boy group BTS, the cosmetics manufacturer Cosmax, and the television series Squid Game. Since the Korean Wavecontinues to grow in popularity within a more exclusive digital socialization, future implications of such a competitive digital world economy and multi-polar digital world culture are discussed for all countries as well.
Global Development of Asian Cinema in the Film Industry
The global development of Asian cinema has shaped the international film industry, introducing diverse storytelling, unique cultural perspectives, and innovative filmmaking techniques. From the rise of Bollywood in India to the acclaimed cinema of East Asia, Asian filmmakers have made a mark on global audiences. Films from Asia have gained widespread recognition for their artistic merit, critical acclaim, and box-office success, breaking barriers in both content and form. As the industry evolves, the influence of Asian cinema grows, fostering cross-cultural collaborations, expanding global markets, and challenging traditional norms in filmmaking, highlighting the increasing importance of Asian voices in the future of the global film industry. Global Development of Asian Cinema in the Film Industry explores the reception of Asian film aesthetics and consumption behaviors among global audiences. It provides practical guidance for advancing the international development of the Asian film industry. This book covers topics such as digital streaming, political science, and posthumanism, and is a useful resource for filmmakers, business owners, media and communications professionals, sociologists, historians, academicians, and researchers.
Translating and Receiving Korean Media
In recent years, Korean culture has been incredibly successful internationally, from the films of auteur directors like Bong Joon-Ho (Parasite) to shows like Squid Game and K-pop music. At the same time, media from the UK has also been successful in South Korea, with popular shows such as Killing Eve and Life on Mars. Written by scholars working across translation studies, film and media studies, this volume examines the ways in which Korean media has been received and translated in the UK, as well as how British media has fared in South Korea. Case studies explore how Korean media is (re)packaged and categorised for a Western audience, and how paratextual material (trailers, adverts, fan reactions) mediates films and shows for international audiences. The book also examines how the Korean remake of Life on Mars localises the British show, how Squid Game has been audio-described, and how slower media models can suggest more sustainable forms of consumption and distribution. Demonstrating how interdisciplinary research can shed light on different aspects of global media culture, this volume will be essential reading for scholars and students working on the translation and international media circulation. It will especially appeal to readers interested in the interactions between British and Korean media. This work was supported by the Fund for International Collaboration and the Economic and Social Research Council [grant number ES/W01081X/1].