Kaetrena Davis Kendrick, M.S.L.S. • University of South Carolina Lancaster
This panel session reviews the meaning of Digital Humanities within the Library and Information Science framework, explores how the discipline is being applied in library settings, and demonstrates how DH projects support and serve library users and other stakeholders. Kendrick’s portion of the session will delve into pedagogical applications (information literacy support), research and instruction collaborations with other teaching faculty members, and other opportunities for leadership using DH tools and applications. More here.
Welcome to Part 5 of my ongoing series of bibliographic entries about Hallyu. These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL + F function).
This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directlyat kaetrena@mailbox.sc.edu
NOTE:In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.
GENDER and SEXUALITY
Cho, Eun Sun. (2005). The stray bullet and the crisis of Korean masculinity. In N. Abelmann and K. McHugh (Eds.), South Korean Golden Age Melodrama. pp.99-116. Detroit: Wayne State University Press.
Hilts, Janet Flora. (2006). Seo Taiji 1992-2004: South Korean popular music and masculinity. Thesis, York University.
Lin, Angel & Tong, Avin. (2007). Crossing boundaries: male consumption of Korean TV dramas and negotiation of gender relations in modern day Hong Kong. Journal of Gender Studies, 16(3): 217-232.
Murphree, Hyon Joo Yoo. (2008). Transnational cultural production and the politics of moribund masculinity. East Asia Cultures Critique, 16(3): 661-688.
Saeji, CedarBough T. (2009). Korean pop culture: The border crossing heroines of Hallyu. Presented as part of the University of California, Los Angeles’ International Institute program, “Chew on this: A series of artist, academic and choreographic presentations by world arts and cultures graduate students and faculty. Accessed 28 August 2012 fromhttp://www.international.ucla.edu/calendar/showevent.asp?eventid=7381
Chang, Youngchi. (2009). Singles in Seoul: Korean femininity and western postfeminism in popular media. Thesis, University of Wisconsin-Milwaukee.
Davies, Gloria, Davies, M.E., & Cho, Young-A. (2010). Hallyu ballyhoo and Harisu: Marketing and representing the transgendered in South Korea. In Black, D., Stephen Epstein and Alison Tokita (Eds.) Complicated Currents. Clayton, Victoria, Australia: Monash University ePress. Accessed 24 August 2012 fromhttp://books.publishing.monash.edu/apps/bookworm/view/Complicated+Currents/122/xhtml/chapter9.html
Jung, Eun-Young. (2010). Playing the race and sexuality cards in the transnational pop game: Korean music videos for the U.S. market. Journal of Popular music studies, 22(2): 219-236.
Maliangkay, Roald. (2010). The effeminacy of male beauty in Korea. The Newsletter, no.55 (Autumn/Winter): 6-7. Accessed 22 November 2011 fromhttp://iias.asia/files/iias_nl55_0607.pdf
Manietta, Joseph. (2010). Transnational masculinities: The distributive performativity of gender in Korean boy bands. Thesis, University of Colorado.
Chan, Brenda. (2011). Of prince charming and male chauvinist pigs: Singaporean female viewers and the dream-world of Korean television dramas. International Journal of Cultural Studies, 14(3): 291-305.doi: 10.1177/1367877910391868
Kim, Joo Mee & Shin, Se Yeong. (2011). The study on fashion, beauty, design and emotional image by external image type of Korean male idol stars. Fashion Business, 15(6):71-84. abstract here:http://www.papersearch.net/view/detail.asp?detail_key=1k901120
Kim, Yeran. (2011). Idol republic: the global emergence of girl industries and the commercialization of girl bodies. Journal of Gender Studies, 20(4): 333-345. DOI:10.1080/09589236.2011.617604
Kim, Jeongmee. (2012). My Lovely Sam-Soon: Absent sex and the unbearable lightness of sweet Korean romance. In J. Aston, B. Glynn and B. Johnson (Eds.) Television, Sex and Society: Analyzing Contemporary Representations. pp. 111 – 124. New York: Continuum International Publishing Group.
Lie, John. (2013). Why didn’t “Gangnam Style” go viral in Japan? Gender divide and subcultural heretogenity in contemporary Japan. Cross-Currents: East Asian History and Culture Review, (9): 44-67. Accessed 16 June 2016 from https://cross-currents.berkeley.edu/e-journal/issue-9/lie .
Ahn, Patty. (2014). Aftermarkets of empire: South Korean popular music and global logics of race and gender in the U.S. media industries. Dissertation: University of Southern California.
Oh, Chuyun. (2015). Queering spectatorship in K-pop: The androgynous male dancing body and western female fandom. The Journal of Fandom Studies, 3(1): 59-78.
Oh, David C. (2015). K-popscape: Gender fluidity and racial hybridity in transnational Korean pop dance. Dissertation, The University of Texas at Austin. Accessed 7 April 2020 from https://repositories.lib.utexas.edu/handle/2152/31700.
Park, Michael K. (2015). Psy-Zing up the mainstream of “Gangnam Style”: Embracing Asian masculinity as neo-minstrelsy? Journal of Communication Inquiry, 39(3): 195-212.
Oh, Chuyun. (2016). “Cinderella” in reverse: Eroticizing bodily labor of sympathetic men in K-pop practice video. In X. Lin, C. Haywood, and Mairtin Mac an Ghaill (Eds.) East Asian men: Masculinity, sexuality, and desire, (pp. 123 -141). London: Palgrave.
Praptika, Yanti. (2016). The representation of masculinity in South Korean reality show, “The Return of Superman.” Thesis, Airlangga University. Accessed 7 April 2020 fromhttp://repository.unair.ac.id/56090/.
Ainslie, Mary. J. (2017). Korean soft mascunility vs. Malay hegemony: Malaysian masculinity and Hallyu freedom. Korea Observer, 48(3): 609-638.
Basil, Glynn & Kim, Jeongmee. (2017). Life is beautiful: Gay representation, moral panics, and South Korean television drama beyond hallyu. Quarterly Review of Film & Video, 34(4): 333-347.
Oh, Chuyun & Oh, David C. (2017). Unmasking queerness: Blurring and solidifying queer lines through K-pop cross-dressing. Journal of Popular Culture, 50(1): 9-29.
Strong, Shelby. (2018). Should we pass on ‘passing women’? The stakes of (trans)gender ontologies for South Korean namjangyeoja television dramas. Thesis, Univerity of Illinois. Accessed 7 April 2020 from https://www.ideals.illinois.edu/handle/2142/101061.
Arambam, Teresa Devi. (2019). Transition of the idea of masculinity in K-pop culture within Indian viewers. Navajyoti,4(2). Accessed 7 April 2020 from https://bit.ly/34fi6F2.
Kim, Hyunsook, Kyu, Thick, & Jang, Haeyoung. (2019). Women’s gender role identity and hallyu acceptance in Myanmar. Asian Women, 35(3): 45-68.
Kwon, Seung-ho. (2019). Hallyu and gender I: Women’s identities in transition in southeast Asia. Asian Women, 35(3): i-iii.
Syed, Md, Azaknshah, Md, & Kwon, Seung-ho. (2019). Hallyu and strategic interpretation of Malaysian modernity among young Malay women. Asian Women, 35(3): 1-24.
Song, Kirsten Younghee & Velding, Victoria. (2020). Transnational masculinity in the eyes of local beholders? Young Americans’ perception of K-pop masculinities. The Journal of Men’s Studies, 28(1): 3-21.
During KPK’s early days in 2011, Dr. Anderson and other KPK founders were having quite a difficult time accessing some Kpop entertainment companies’ artist websites. They kept encountering what they called, “the circle of death,” and then timing out. I wasn’t having this problem and had just discovered the Screencast-O-Matic tool, so I decided to record the sites and send the video links to my KPK colleagues.
Interweb troubles in 2011….DD to the rescue!
And that is how the the KPK Digital Documentation (DD) project was born.
While the original intent of my website recordings was to share the Kpop website love, I quickly realized that recording Kpop websites could be useful in other ways: to track changes in Kpop web design, to understand how Korean entertainment companies use websites to engage Korean and international Kpop fans, and what roles these sites seem to play in the company’s larger business, marketing, and promotional plans – particularly when it comes to attracting new talent and integrating social media channels and tools.
Process
Recording websites can take between 2 to 15 minutes per site- occasionally more if the website is dense. I choose to record the websites without sound in order to avoid copyright infringement and so that visitors may enjoy and engage in unbiased viewing or analysis of the website. In Kpop, many artists and groups release several music projects a year, so I keep up with Kpop news outlets to find out about debuts and comebacks, and I try to record the different websites for each project. In this way, the DD project creates depth not only by seeking out general trends, but also monitoring the evolution of individual groups and artists. Additionally, if artists and groups promote in Japan, I record those websites if they are available.
Recording B1A4’s latest website. See Screencast-O-Matic interface (dotted lines, recording control panel).
Website Differences
One of the first things I noticed is that SM Entertainment was the only company that still gave historical access to websites supporting their early artists (Shinhwa, S.E.S., Yoo Joung Jin, etc.), so I quickly recorded those websites. It’s a good thing that I did, because in 2012, the company completely redesigned their website, removing any content about artists who were not currently on their roster. SM Entertainment continues to allow access to the older websites of groups who are still on their roster (e.g., Girls Generation, SHINee, TVXQ! etc.); additionally this company provides links to modified liner notes (e.g., lyrics, music publishing information, etc.). Those sites have been recorded for posterity, as well.
In contrast, other companies like YG Entertainment or FNC Music Entertainment only offer current editions of artists websites – that is, viewers only have access to the current promotional concept of a group or artist, even if some historical information may be available (see below). Additionally, some companies (Starship Entertainment, TS Entertainment) only offer quick profile information about their artists on their websites. Instead they choose to use Cafe Daum’s “internet cafe” sites, which act as a hybrid website/forum, to promote their artists. Since Cafe Daum Official Kpop artist sites are generally designed to reach Korean Kpop fans, I do not record these sites for KPK.
Website Commonalities
Despite these differences, most Kpop artist websites have common elements:
Artist profiles (member names, birthdays, blood type, hobbies)
Links to online music purchasing and downloading sites (e.g., Melon, Olleh, iTunes)
Message boards (from the artists, their staff, and for fan-to-fan communication)
Official fanclub portals and exclusive content (often password protected)
International language options (default language is Korean with some English)
Links to the company’s business site, which include audition information
From Collection to Curation
B1A4 Kpopiana exhibit with Digital Documentation links.
When this project first began, KPK members were more engaged in collecting information, so DD videos were listed on the KPK website, separately from the artist profiles. As we move on to curation activities, these video links are now included in KPOPIANA artist exhibits. At press time, KPK has a DD library of almost 500 Kpop artist websites, from all kinds of Korean entertainment companies and encompassing all kinds of artists, Kpop choreographers, some international fansites, and even Kdrama actors. Currently we are focused on releasing DD items pertaining to Kpop artists, with plans to include other items in the future.The Library of Congress (n.d.) notes that the average length of a website is about 44 days. Considering the frenetic pace of music production in Kpop, this length may sometimes be shortened, making the DD project a useful tool in the study of Hallyu and its life on the Internet.
Click to learn more about the DD project, or you may contact me anytime.
Welcome to Part 4 of my ongoing series of bibliographic entries about Hallyu. These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).
Satellite photo of Seoul and surrounding area at night. Photo credit: Wikipedia Public Domain.
This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directlyat kaetrena@mailbox.sc.edu
NOTE:In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.
Global Impact
Dator, Jim. and Yongseok Seo. (2004). Korea as the wave of a future: The emerging dream society of icons and aesthetic experience. Journal of Futures Studies 9(1): 31–44. Accessed 27 March 2012 fromhttp://www.jfs.tku.edu.tw/9-1/04.pdf?referer=www.clickfind.com.au
Shin, Hyunjoon. (2009). Have you ever seen the Rain? And who’ll stop the Rain?: the globalizing project of Korean pop (Kpop). Inter-Asia Cultural Studies, 10(4): 507-523.
Park, Gil-sung. Manufacturing creativity: Production, performance, and the dissemination of K-pop. Korea Journal, 53(4): 14-33.
Globalization
Nederveen Pieterse, Jan. (1995). Globalization as hybridization. In M. Featherstone, S. Lash and R. Robertson (Eds.) Global Modernities. pp.45 – 68. London: Sage.Cho, Uhn. 2005. Positioning the Korean wave in the nexus between globalization and localization. Korea Journal, 45(4): 143-146.
Hyun, Oh-seok. 2004. Taking advantage of the Hallyu wave. Korea Focus, 12(6): 47-49.
Lee, Hee-Eun. (2005). Othering ourselves: identity and globalization in Korean popular music, 1992-2002. Thesis, University of Iowa.(see also, Identity and Nationalism)
Kim, Youna. (2005). Experiencing globalization. International Journal of Cultural Studies, 8(4): 445-463.
Kim, Ju Young. (2007). Rethinking media flow under globalisation: rising Korean wave and Korean TV and film policy since 1980s. PhD thesis, University of Warwick. Accessed 27 March 2014 fromhttp://wrap.warwick.ac.uk/1153/1/WRAP_THESIS_Kim_2007.pdf
Seo, Yongseok. (2006). East Asian response to the globalization of culture: perceptional change and cultural policy. In J. Dator, Dick Pratt and Yongseok Soo (Eds.) Fairness, globalization and public institutions: East Asia and beyond. X: University of Hawai’i Press. pp. 319 – X. (see also, Culture)
Yang, J. (2007). Globalization, nationalism and regionalization: The case of Korean popular culture. Development and Society, 36(2): 177-199.
Sung, Sang Yeon. (2008). Globalization and the regional flow of popular music: the role of the Korean wave (Hanliu) in the construction of Taiwanese identities and Asian values. Thesis, Indiana University, Bloomington.
Le, Lan Xuan. (2009). Imaginaries of the Asian modern: text and context at the juncture of nation and region. Thesis, Massachusetts Institute of Technology.
Ryoo, W. (2009). Globalization, or the logic of cultural hybridization: The case of the Korean wave. Asian Journal of Communication, 19(2), 137 -15I .
Iwabuchi, Koichi. (2010). Globalization, East Asian media cultures and their politics. Asian Journal of Communication, 20(2): 197-212.
Hogarth, Hyun-key Kim. (2013). The Korean wave: An Asian reaction to Western-dominated globalization. Perspectives on Global Development & Technology, 12(1/2): 135-171.
Hong, Soonkwan. (2013). Surfing the Korean wave: A postcolonial critique of the mythologized middlebrow consumer culture in Asia. Qualitative Market Research: An International Journal, 16(1): 53-75.
Oh, Ingyu. (2013). The globalization of K-pop: Korea’s place in the global music industry. Korea Observer, 44(3): 389-409.
Ko, Nusta Carranza, Jeong-nam Kim, Song L. No, and Ronald Gobbi Simoes. (2014). The Korean wave Hallyu in looking at escapism in Peruvian society. Perspectives on Global Development & Technology, 13(3): 332-346.
Lee, Gyu Tag. (2014). De-nationalization and re-nationalization of culture: The globalization of K-pop.Dissertation, George Mason University.
Meza, Xanat Varga & Han Woo Park. (2015). Globalization of cultural products: A webometric analysis of Kpop in Spanish-speaking countries. Quality & Quantity, 49(4): 1345-1360.
As you know, iFans: Mapping Kpop’s International Fandom is a study seeking to understand the attitudes of global fans of K-pop’s most successful groups. You can now view the results of the analysis of the survey data and an email interview with a fan of SNSD! Click here to view the What Fans Think section of the digital exhibit. Sad that you aren’t included? You can always take the email survey online here! C’mon, SONES, you are one of the biggest K-pop fandoms out there! Click the link and represent!
Welcome to Part 3 of my ongoing series of bibliographic entries about Hallyu. These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).
This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu
NOTE:In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.
Culture
Iwabuchi, Koichi, Stephen Muecke, & Mandy Thomas. (2004). Rogue Flows: Trans-Asian Cultural Traffic. Hong Kong: Hong Kong University Press.
Kim, J.H. (2004). Korean wave in Japanese culture. Journal of Human Subjectivity, 4(1): 85-95.
Park, Jung-sun. (2004). Korean American youth and transnational flows of popular culture across the Pacific. Amerasia Journal, 30(1): 147-169.
Fu Su Yin, Kelly, and Kai Khiun Liew. (2005). “Hallyu in Singapore: Korean Cosmopolitanism or the Consumption of Chineseness?” Korean Journal 45.4: 206-32.
Iwabuchi, Koichi. (2005). Discrepant intimacy: Popular culture flows in East Asia. In J.N. Erni and S.K. Chua (Eds.) Asian Media Studies: Politics of Subjectivities. Hong Kong: Hong Kong University Press.
Jeon, G. and T. Yoon. (2005). Realizing the Korean wave into an Asiatic flow. Korean Journal of Broadcasting
Kwon, Haesoo and Chai Wonho. (2005). The diffusion of Korean Wave (Hallyu) as a cultural exchange. In 2005 Proceedings of the International Conference of Seoul Association for Public Administration (SAPA). pp. 1 -20.
Lee, Keehyeung. (2005). Assessing and Situating ‘the Korean Wave’ (Hallyu) through a Cultural Studies Lens. Asian Communication Research, 2(2): 5-22. Abstract assessed 2 November 2011. http://www.dbpia.co.kr/view/ar_view.asp?arid=1030476
Park, J.S. (2005). The Korean Wave: Transnational cultural flows in Northeast Asia. In C.K. Armstrong, G. Rozman, S.S. Kim & S. Kotkin (Eds.), Korea at the Center: Dynamics of Regionalism in Northeast Asia. London: M.E. Sharpe, Inc.
Lee, Heejae. (2005). The Korean wave on the viewpoint of Hwa-Yi (China-Barbarism). First International Conference of the Asian Philosophical Association. pp.117 – 124. Accessed 22 August 2012 fromhttp://www.icapa2005.fatih.edu.tr/icapa2005.pdf#page=125
Lee, Jamie Shinhee. (2005). Discourses of fusion and crossing: Pop culture in Korea and Japan. Thesis, University of Illinois at Urbana-Champaign.
Seo, Yongseok. (2006). East Asian response to the globalization of culture: perceptional change and cultural policy. In J. Dator, Dick Pratt and Yongseok Soo (Eds.) Fairness, globalization and public institutions: East Asia and beyond. X: University of Hawai’i Press. pp. 319 – X.
Kim, Jeongmee. (2007). Why does hallyu matter? The significance of the Korean wave in South Korea. Critical Studies in television: scholarly studies in small screen fictions, 2(2): 47-59.
Choi, Jaz Hee-jeong (2008). The New Korean Wave of U. In Anheier, Helmut K. & Isar, Yudhishthir Raj (Eds.) Cultures and Globalization : The cultural economy. Sage Publications, Thousand Oaks, CA
Leung, L.Y. M. (2009). Daejanggeum as ‘affective mobilization’: Lessons for (transnational) popular culture and civil society. Inter-Asia Cultural Studies, 10(1): 51-66.
Park, Sora. (2010). The impact of media use and cultural exposure on the mutual perception of Koreans and Japanese. Asian Journal of Communication, 15(2): 173-187.
Lee, Dong-Yeon. (2011). “What Is Idol Pop?” In IDOL: From H.O.T. to SNSD, Idol Culture Report, edited by Lee Dong-Yeon, 14–48. Seoul: Imagine.
Ravikesh. (2011). A Cross-Cultural Perspective on Korean Wave (Hallyu) in South Asia. Presented at the The 3rd International Conference on Language and Communication, Bangkok Thailand.
Ramesh, Bharadwaj. A Hallyu Story: Behind the origins and success of the Korean wave in China & the future of content in a broadband world. Accessed 17 June 2016 fromhttp://bit.ly/23ggIuk
Ju, Hyejung & Soobum Lee. (2015). The Korean wave and Asian Americans: the ethnic meanings of transnational Korean pop culture in the USA. Journal of Media & Cultural Studies, 29(3): 323-338.
Cultural Industry
Otmazgin, Nissim Kadosh. (2005). Cultural commodities and regionalization in East Asia. Contemporary Southeast Asia, 3: 499-523.
Park, J. B. (2005). Expanding and sustaining ‘Korean Wave’: by the way of developing killer contents. Korean Wave 2005! – Opportunities and Challenges, Seoul, Korea, Korean Wave Promotions & Policies Foundation.
Kim, Youna. (2006). ‘Rising East Asia ‘Wave’: Korean media go global’, in Thussu, Daya (ed.). Media on the Move: Global Flow and Contra Flow, London: Routledge, pp. 135-152.
Shin, Seung-il. (2006). Opening the second stage of Hallyu. Korea Focus, 14(2):65-66.
Arcodia, C., X Zhiang, D. Sohn & T. Lee. (2008). The sustainable development of the Korean cultural entertainment industry with the Korean wave (Hallyu). Sun Yat-Sen University. (more information: http://espace.library.uq.edu.au/view/UQ:160019)
Park, Kang Ah. (2008). The growth of the cultural industry and the role of government: the case of Korea. Thesis, Massachusetts Institute of Technology. Accessed 2 November 2011 fromhttp://dspace.mit.edu/handle/1721.1/45761
Shim, Doobo. (2008). The growth of Korean cultural industries and the Korean wave. In C.B. Huat and K. Iwabuchi (Eds.) East Asian Pop Culture: Analyzing the Korean Wave. pp. 15 – 32. Aberdeen: Hong Kong University Press.
Otmazgin, Nissim. (2011). A tail that wags the dog? Cultural industry and cultural policy in Japan and South Korea. Journal of Comparative Policy Analysis: Research and Practice, 13(3): 307-325. doi: 10.1080/13876988.2011.565916
Seabrook, John. (2012). Factory girls. New Yorker, 88(31): 88-97.
Jang, Wonho & Youngsun Kim. (2013). Envisaging the sociocultural dynamics of K-pop: Time/space hybridity, Red Queen’s race, and cosmopolitan striving. Korea Journal, 53(4): 83-106.
Dal, Yong Jin. (2014). The power of the nation-state amid Net-liberal reform: Shifting cultural policies in the new Korean wave. Pacific Affairs, 87(1): 71-92.
Kim, Yeojin. (2014). A possibility of the Korean wave Renaissance construction through K-pop: Sustainable development of the Korean wave as a cultural industry. Hastings Communications & Entertainment Law Journal, 36(1): 59-88.
Kwon, Seung-ho & Joseph Kim. (2014). The cultural industry policies of the Korean government and the Korean wave. International Journal of Cultural Policy, 20(4): 422-439.
Baek, Young Min. (2016). Relationship between cultural distance and cross-cultural music video consumption on YouTube. Social Science Computer Review, 33(6): 730-748.
Chen, Steven. (2016). Cultural technology. International Marketing Review, 33(1): 25-50.
Keeping the ‘L’ in digital: Applying LIS Core Competencies to Digital Humanities Work
Kaetrena Davis Kendrick, M.S.L.S. • University of South Carolina Lancaster
ABSTRACT:Digital Humanities (DH) has struggled with an identity since its contemporary emergence in the early 2000s; however, a succinct definition exists, placing many core activities of the field squarely in the domain of modern librarianship. This article briefly reviews American Library Association’s Core Competencies for Librarianship and summarizes the continuing development and characteristics of DH projects. The author also reveals how LIS competencies have been applied to a Korean popular culture DH project at Elon University. Positive implications for DH’s impact on professional development for librarians, information literacy integration, and opportunities for librarian/faculty or community collaborations are also included.
This special issue responds to the well-established and global subculture of fans of Korean popular music (K-pop) and Korean television drama (K-drama). K-pop and K-drama are the products of Hallyu, a cultural movement from Korea directed towards the global stage that originated in the late 1990s. Recent global successes of Korean artists such as Psy, Girls Generation, 2NE1 and BigBang as well as K-drama actors such as Lee Min Ho and Jang Geun Suk represent only a portion of the vibrant and diverse fandom. This special issue seeks to examine the uniqueness of K-pop and K-drama fandoms and their contribution to global fandom scholarship.
Welcome to Part 2 of my ongoing series of bibliographic entries about Hallyu. From here on, entries will be arranged by SUBJECT rather than format (e.g., books). These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).
This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly atkaetrena@mailbox.sc.edu
NOTE: In order to make it easier to locate authors (and where possible), I’m modifying these APA Style citations by adding full author names where possible.
Business
Ha, Y. G. (2006). The plans for Korean entertainment businesses concerning with the Korean Wave. KBI Focus, 6(17), 6-17
Lee, Jong-ho and Ok, Jung-won and Woo, Do-kang. (2007). The Study on relationship of structure among brand equity factors of hallyu. Business and Economy Studies, 25: 73-96.
Yoon, Jung Keun. (2009). A case of slavery contract between singers and agency in Korea: 2009 KaHap2869. The Asian Business Lawyer, 5(123): 123-? Accessed 4 April 2012 from http://210.101.116.28/W_kiss61/1f501057_pv.pdf(partial scan).
Wenqing, Ji. (2009). Referring Korean experiences to enable the Chinese wind to outdo the “Korean Wave.”
Tsai, Patricia. (2013). Discovering the full potential of the 360 deal: An analysis of the Korean pop industry, Seven-Year Statute, and Talent Agencies Act. UCLA Entertainment Law Review, 20(2): 323-349.
Kim, Su-jeong. (2013). A second ‘Dae Jang Geum’ unlikely with export strategies alone. Korea Focus, December: 1-4.
Ha, Bongjoon. (2006). Developing research framework and scales for the Korean Wave’s effects: An application in Malaysia. Broadcast International Seminar on Southeast Asia and Korea, 7:1-87.)
Jung, H. (2006). The effects of consumer’s perception of Korean wave (Hallyu) on Korean product purchase and country image in Chinese market. Journal of Consumer Studies, 17(3): 79-101. (see also, Culture)
Lee, J-Y. (2009). Contesting the digital economy and culture: digital technologies and the transformation of popular music in Korea. Inter-Asia Cultural Studies, 10(4): 489-506.
Oh, I. (2009). Hallyu: the rise of transnational cultural consumers in China and Japan. Korea Observer, 40(3): 425-459.
Kim, Hun Shik. (2018). When public diplomacy faces trade barriers and diplomatic frictions: The case of the Korean wave. Place Branding & Public Diplomacy, 14(4): 234-244.
Ochieng, Haggai Kennedy & Kim, Sungsoo. (2019). Cultural exchange and its externalities on Korea- Africa relations: How does the Korean wave affect the perception and purchasing behavior of African consumers? East Asian Economic Review, 23(4): 381-407.
Manse in the USA!: What K-pop Means in the United States
April 12, 2013 ♦ Binghamton University
Crystal S. Anderson, PhD ♦ Elon University
Despite its status as a subculture, Korean popular music of the Hallyu era (K-pop) has a significant cultural impact in the United States. Combining elements of Korean and other cultures, it appeals to fans of varying ages and ethnicities. Using surveys and analysis of online K-pop culture originating in the United States, this paper will show that hybridization explains the appeal of and the backlash against K-pop. K-pop appeals to American fans because it is simultaneously similar to and different from American popular culture. American fans recognize elements of American culture and they embrace Korean cultural elements. At the same time, critiques of K-pop in the United States target those very elements, mocking K-pop and its fans for the ways they diverge from mainstream American cultural norms. For many in the United States, K-pop represents a complex negotiation with a Korean global culture.
