Appendix A: Questionnaire

Questions*

This is a preliminary survey for the research project on Asian popular

culture. Your response will be used to develop a research plan.

Please list 5 Korean actors/actresses who are popular now.

1
2
3
4
5

Please list 5 K-pop musicians/groups who are popular now.

1
2
3
4
5

Please list Korean actors/actresses who you know or you think are popular
in Japan. List as many as you want.

Please list K-pop musicians/groups who you know or you think are popular
in Japan. List as many as you want.
224 APPENDIX A

What do you think about the popularity of Korean TV dramas, K-pop,

and Korean food in Japan? Please circle the appropriate answer.

*It is good that the Japanese like Korean culture

Strongly Agree Agree Neutral Disagree Strongly Disagree

*Generally speaking, actors, actresses, and musicians who are popular in

Korea also become popular in Japan.

Strongly Agree Agree Neutral Disagree Strongly Disagree

*The Japanese are only influenced by the Korean Wave (hallyu). They are
not interested in Korean culture.

Strongly Agree Agree Neutral Disagree Strongly Disagree

*How popular are Japanese movies, dramas, popular music, and food in
Korea?

Very Popular Popular Not Popular

*Should the Koreans and the Japanese work together to produce TV dramas,
movies, and popular music?

Strongly Agree Agree Neutral Disagree Strongly Disagree

*Do you think Korean culture and Japanese culture are similar? If so, in
what way?
Yes
No
No Answer
Don’t Know
 APPENDIX A 225

*Do you know any other countries where Korean TV dramas and K-pop
are popular? Please list the countries.

Thank you very much for your participation!

Note

* Questions were translated into Japanese and Korean when the survey was
administered.
 Appendix B

Comparison between Japanese respondents and Korean respondents

What do you think about the popularity of Korean TV dramas, K-pop,

and Korean food in Japan? Please circle the appropriate answer.

*It is good that the Japanese like Korean culture.

Strongly Agree Neutral Disagree Strongly No Answer
Agree Disagree

Japanese 17 55 24 0 0 3
Korean 31 58 12 0 0 0

*Generally speaking, actors, actresses, and musicians who are popular in

Korea also become popular in Japan.
Strongly Agree Neutral Disagree Strongly No Answer
Agree Disagree

Japanese 10 50 26 10 0 3
Korean 15 44 25 15 0 0

*The Japanese are only influenced by the Korean Wave (hallyu). They are
not interested in Korean culture.
Strongly Agree Neutral Disagree Strongly No Answer
Agree Disagree

Japanese 3 48 40 9 0 0
Korean 8 40 23 29 0 0
228 APPENDIX B

*How popular are Japanese movies, dramas, popular music, and food in
Korea?
Very Popular Popular Not Popular

Japanese 19 69 12
Korean 6 75 19

*Should the Koreans and the Japanese work together to produce TV

dramas, movies, and popular music?
Strongly Agree Neutral Disagree Strongly No Answer
Agree Disagree

Japanese 5 29 55 7 0 2
Korean 0 38 46 15 0 0

*Do you think Korean culture and Japanese culture are similar? If so, in
what way?
Yes No No Answer Don’t Know

Japanese 33 17 48 2
Korean 39 45 16 0

Comparison between those who are knowledgeable of Hanryu and those

who are not among the Japanese

What do you think about the popularity of Korean TV dramas, K-pop,

and Korean food in Japan? Please circle the appropriate answer.

*It is good that the Japanese like Korean culture.

Strongly Agree Neutral Disagree Strongly No Answer
Agree Disagree

Response 23 60 17 0 0 0
No Response 11 50 32 0 0 7
 APPENDIX B 229

*Generally speaking, actors, actresses, and musicians who are popular in

Korea also become popular in Japan.
Strongly Agree Neutral Disagree Strongly No Answer
Agree Disagree

Response 17 47 27 10 0 0
No Response 4 54 25 11 0 7

*The Japanese are only influenced by the Korean Wave (hallyu). They are
not interested in Korean culture.
Strongly Agree Neutral Disagree Strongly No Answer
Agree Disagree

Response 0 53 40 7 0 0
No Response 7 43 39 11 0 0

*How popular are Japanese movies, dramas, popular music, and food in
Korea?
Very Popular Popular Not Popular

Response 20 67 13
No Response 19 71 11

*Should the Koreans and the Japanese work together to produce TV

dramas, movies, and popular music?
Strongly Agree Neutral Disagree Strongly No Answer
Agree Disagree

Response 7 30 50 10 3 0
No Response 4 29 61 4 0 4

*Do you think Korean culture and Japanese culture are similar? If so, in
what way?
Yes No No Answer Don’t Know

Response 33 20 47 0
No Response 32 14 50 4
 Contributors

Crystal S. Anderson is associate professor of English at Elon University.

She conducts research in comparative ethnic studies (African American,
Asian, Asian American) focusing on literature, visual culture, and pop-
ular culture. In addition to her book, Beyond the Chinese Connection:
Contemporary Afro-Asian Cultural Production, she has published work
in several journals, including African American Revieww, MELUS, Ethnic
Studies Revieww, and Extrapolation. Currently, she conducts qualitative
and cultural studies research on global fans of Korean popular music
(K-pop) and is working on a book project on the impact of rhythm and
blues on K-pop.
Young Eun Chae is a Korea Foundation postdoctoral fellow in the
Department of East Asian Languages and Civilizations at the University
of Chicago. Her dissertation examines representations of historical trau-
mas during the decade of liberal regimes in recent South Korean films.
Chae is currently working on a manuscript investigating violence and
humor in various genre films in contemporary Korean cinema.
Hyejung Ju is assistant professor in the Department of Mass
Communications at Claflin University, South Carolina. Her research
interests include studying popular culture in conjunction with globaliza-
tion, Asian media, migration and transnational consumption, and inter-
national media industries, audiences and technologies. She has published
articles in Communication, Culture & Critique, Asian Women, and also
several book chapters.
Jennifer Jung-Kim teaches Korean history and East Asian studies at the
University of California, Los Angeles. Her dissertation was titled Women
and Modernity in Colonial Korea (UCLA, 2005) and her ongoing research
is on Korean women’s history and roles in modern and contemporary
Korea.
Yasue Kuwahara is professor of Communication and director of Popular
Culture Studies at Northern Kentucky University where she teaches a
232 CONTRIBUTORS

variety of courses on American and Asian popular culture. Her ongoing

research focuses on the US influence on postwar Japan. She has authored
book chapters and published articles in various journals, including the
Journal of Popular Culture.
Claire Seungeun Lee is a PhD candidate at the Asia Research Institute
and the Department of Sociology at the National University of Singapore.
Her broader research interests include cultural sociology, economic soci-
ology, media, globalization, and Asia from a comparative angle.
Chuyun Oh is a PhD student in Performance as Public Practice at the
University of Texas at Austin. She has received Fulbright Graduate Study
Award for the program. She earned her master’s degree in dance aesthet-
ics and bachelor’s degrees in Philosophy and Dance from Ewha Woman’s
University in South Korea. Her research focuses on race, gender, and class
representations in the twenty-first-century Korean pop culture. Her dis-
sertation investigates the ways in which the dancing body in K-pop is
racialized and gendered, embodying sociopolitical notions of hybridity
and cultural authenticity.
Myoung-Sun Songg is a doctoral student in Communication at the
University of Southern California’s Annenberg School for Communication
and Journalism. Her research looks at the intersections of race, gender,
and citizenship in Korean media and popular culture.
Sherri L. Ter Molen is a doctoral candidate and 2013–2014 Thomas C.
Rumble Fellow in the Department of Communication at Wayne State
University in Detroit, Michigan, where she studies the complicated medi-
ated relationships between the divided Koreas and the United States. She
is also an adjunct instructor at DePaul University in Chicago, Illinois.
She is a nearly lifelong Koreanophile who bought her first K-pop CDs in
1995 while she was teaching English in Daejeon, South Korea. She is the
organizer of the Metro Detroit Korean Meetup Group.
John Walsh is director of the SIU Research Centre, editor of the
SIU Journal of Management, t and assistant professor at the School of
Management, Shinawatra University, Thailand. He received his doctorate
from the University of Oxford for a thesis related to international man-
agement in East Asia. He has lived and worked in Sudan, Greece, Korea,
Australia, and Abu Dhabi, in addition to his native United Kingdom. His
research mainly focuses on the social and economic development of the
Mekong Region.
 Index

A Moment to Rememberr (2004), 156 Asian

adaptation, 85, 87, 89, 90, 92, 94–7 body, 54, 66–7
Africa, 191 cultures, 118, 197
African American countries, 5–7, 40–1, 44, 90, 153,
culture, 118, 121–2, 128 197, 199, 201, 206
expressive culture, 123–4 fan, 37, 39, 192
male performance, 122–3 masculinity, 5, 58, 127
marching bands, 122 media, 33, 47, 205
musical traditions, 121 men, 118, 127–8
soul music, 121 popular culture, 46, 223
see also under black sexuality, 68
African Americans, 5–6, 58 television, 36–7
Africans, 66 women, 64, 68
Ai Weiwei, 109 Asian Americans, 55
America, 6, 89, 90, 106, 135–7, 141, 144. Asianness, 3, 65–6, 68
See also the United States Asians, 55, 64, 65
American audience, 138–9, 196, 199
audiences, 163, 165 Australia, 37
culture, 3, 5, 89, 90 authenticity, 3, 6, 19, 56, 65–9, 134,
folk music, 121 137, 139, 144
influence, 17 Autumn in My Heartt (2000), 193
media, 155, 158, 167
popular culture, 152 Bae, Yong-joon, 6–7, 36–7, 44, 157,
popular music, 7 191–2, 199–201, 204–5, 213–16
see also under US see also Yonsama
Americanization, 54 Bak, Seung. See DramaFever
Americans, 149 Beenzino, 142–3
animation, 14, 18 Big Bang, 6, 214
anime, 1, 165 Big Mama, 121
anti-American sentiment, 152, 164 black
Appadurai, Arjun, 33, 56, 149, 158–9, expressive culture, 122
160, 162, 165 male performance, 122–3
artist, 133–42, 144–5, 218 males, 123
Asia, 4, 34–6, 38–9, 42, 46, 53, 85, 93, music, 121
106, 119, 121, 149, 157–8, 164–7, see also under African American
197, 200, 202–3, 105–6 blackness, 136–7, 139, 144
234 INDEX

BoA, 119 computer games, 14

Bollywood, 91–2, 95, 97 Confucian
boy bands, 35, 117 heritage, 197
Boys Over Flowers (2009), 162 patriarchy, 207
brand Korea, 2, 4, 20, 25 tradition, 203
Brazil, 42 values, 192, 218
Britain, 151 Confucianism, 8, 54, 167, 198, 202
Broadcasting Act of Korea, 42 Confucianist
Busan, 137 background, 207
socio-cultural values, 166
Canada, 37, 42, 53 conglomerate, 4, 155
Caucasians, 64, 163 conglomerate companies, 145
CCTV (Chinese state television), 35 coproduction, 46, 217
CD, 40, 136, 158 copyright, 3, 38–9, 40–1, 43–4, 46,
CGV at Madang, 160 108, 154, 162
Cha, In-Pyo, 36 broadcast, 39–40
chaebols, 4, 20, 155–6, 160 digital content right, 40
Channel V, 14 extra products. services right, 40, 44
Cheongdam-Dong Alice (2012), 103 infringement, 108
Cheongdam-Dong Sarayo (I Live in video-gram right, 40, 44
Cheongdam-Dom) (2011), 103 critical race theory, 55
Chicago, 144, 159, 165 cultural
Chile, 42 flow, 34
China, 2, 4, 13, 17–18, 24, 35, 38, 42, 44, hegemony, 19
53, 92, 109, 151–2, 157, 162, 167, hybridity, 166
205–6 hybridity theory, 150, 165
Chinese hybridization, 93, 144
culture, 218 imperialism, 6, 150, 168
fans, 37, 192 industries, 149, 154–5
immigrants, 127 production, 13, 15, 25
men, 127 Cultural Industry Bureau, 155
viewers, 201 culture, 1, 4–7, 15, 21, 34, 45, 47, 59,
youth, 204 65–7, 69, 93–4, 96–7, 118–20,
chogukjeok, 120 124, 128, 134–6, 144, 155,
Choi, Ji-woo, 193, 216 161, 166
choreography, 55, 57, 68, 117–18, cuteness, 56, 63, 68
121–3, 137
Chosen Nippo, 217 Dae Jang Geum (Jewel of the Palace)
Chosun Ilbo, 205 (2003), 22, 37–40, 156–7, 165–6
Chosun dynasty, 22, 156 Daegu, 137, 141
CNN, 149 dance, 13, 55, 57
Cold War, 17, 21 DC Inside, 105
colonial Deepflow, 140
history, 207 Democratic People’s Republic of
memory, 191, 204–6 Korea (DPPK), 151
past, 192, 205, 207 see also North Korea
 INDEX 235

digital film, 53, 119, 137, 154, 157, 160, 162,

age, 1, 5 191, 201
music, 121 financescapes, 158, 160
streaming service, 41 food, 13, 14, 153, 165
technology, 7–8, 110 foreign
Digital Mobile Broadcasting (DMB), 40 content, 14, 34, 36
Dok, 2, 139–40 control, 34, 36
Dong Bang Shin Gi, 213, 215–6, 218. cultures, 157
See also TVXQ film, 4, 96–7, 163
drama, 7, 53, 156, 165, 199, 202 investors, 43–4
DramaFever, 162–3, 165 market, 45–6
Bak, Seung, 162 media, 149–50, 167
Park, Suk, 162, 165 media firm, 43
DVD, 38–40, 44, 85–6, 97, 158–9 product, 6, 150
D-Warr (2007), 163 programs, 37
television networks, 39
East Asia, 13, 15, 17, 20, 39, 45–6, 53, 59, television station, 37, 39
67, 150, 157, 191–2, 195, 201, 206 formats, 104–5, 107–8, 110
East Asian France, 53, 155, 167, 194–5, 218
countries, 24, 207 Fuji television network, 36, 213, 218
culture, 54 Full House (2004), 39
East Asians, 59
East Europe, 108 Gangbuk, 101–2
East, the, 205–6 Gangnam, 4, 101–3, 109
E-Sens, 144 Gangnam Omma Ddarajapgi
ethnoscapes, 158, 160 (Cathcing Up with Gangnam
Europe, 5, 34, 42, 102, 106, 119, 191 Moms) (2007), 103
export, 36, 38, 42, 46, 153, 167 “Gangnam Style”, 1, 4–5, 67, 101–2,
exporter, 3 104–11, 164–6
genba, 134, 138
The 1st Shop of Coffee Prince (2007), gender, 1, 53, 55, 62–4, 68–9, 90
36, 162 ideology, 3, 57, 68
Facebook, 137–8, 161 roles, 87
Fana, 133, 143 stereotypes, 91
Far East, 152 The Gift, 166
fashion, 14, 53, 118, 126, 191 Girls’ Generation, 3, 5, 23–4, 53–65,
femininity, 54–6, 58–61, 63, 68–9, 90, 67–9, 119, 161, 214–16, 218
127, 207 “The Boys”, 53–7, 59, 61, 64, 68
feminism, 63 Genie, 60
filial “Genie”, 61
duty, 198, 203 “Run Devil Run”, 60
piety, 127, 166, 197 “I Got a Boy”, 65
financial crisis Glandale (CA), 159
Asian, 34 global
1997, 20 Asian communities, 5, 102
of 1998, 2, 216 audience, 3, 45, 69, 102, 106, 118, 128
236 INDEX

global—Continued band, 218

capitalism, 66, 153 clubs, 140
cultural flow, 7, 110, 149–50, 158 concerts, 138
cultural hegemony, 62 culture, 6, 135, 137, 142
culture, 46, 119–20, 128, 165, 167 groups, 136
fans, 118–9, 121 music, 5, 136
influence, 120 see also Korean hip-hop, Korean
market, 4, 62 hip-hop artists, Korean hip-hop
marketing system, 46 scene, Korean rap
phenomenon, 5, 102 Hollywood, 19, 94, 96, 150, 154, 160,
pop market, 65 163–5, 168
race consciousness, 137 films, 7, 154, 167
globalization, 47, 87, 93, 102, 144, 164 movies, 4
glocalization, 1, 4, 7–8, 34, 45–7, 62–3, star system, 38
87, 90–3, 95–7 stars, 36, 154
Gnyeodeul Ooe Wanbyokhan Haru system, 38
(Their Perfect Day) (2013), 103 homogenization, 54
Gong, Yu, 36 Hong Kong, 4, 37, 44, 85, 92, 167,
The Good, the Bad, the Weird d (2008), 204–5, 207, 213, 216
166 Hongdae, 133–5
Gwangju, 138 hip-hop clubs, 138
Hongik University, 133
Hallyu, 2, 13–4, 18, 21–5, 53, 85, 93, The Hostt (2006), 163
118–21, 128, 149–50, 154, Hulu, 163
157–8, 160–8, 191, 216, 224, hybridity, 4, 6, 53–6, 62–3, 67–9, 93–4,
227, 229 120, 150, 166–7
anti-Hallyu, 25 hybridization, 95, 136, 144
see also the Korean Wave Hyun Bin, 213
Han River, 4, 101–3, 140 Hyuna, 139
Hangyure, 205 Hyundai, 19, 160
Hanryu, 7, 213–8, 228
boom, 213–5, 218 identity, 6, 53, 65, 67, 133–5, 137,
fans, 215 139–45, 155, 198
Happy Together, r 121 hybrid, 67, 168
Haru: An Unforgettable Day in Korea, Japanese, 165
161 Korean, 20, 55, 65, 155
Hawaii, 159 Korean national identity, 192
hegemonic national identity, 7
Eurocentric racial discourse, 56 ideoscapes, 158, 165
ideology, 195 Il Mare (2000), 163
US culture, 161 Illionaire Records, 139
hegemony, 7, 18, 68, 134 import, 153
heterogeneity, 94 importer, 3, 38
heterogenization, 54 Incheon, 151
hip-hop, 5, 134, 139, 144–5 independent production companies,
artist, 6, 135, 141 43–6
 INDEX 237

India, 4, 90, 95 society, 192

Indian audience, 91–2 television, 213, 215, 218
Indonesia, 41, 157 television drama, 203
industry policy, 14–5 television network, 37–8
intellectual property, 16, 20, 105, 108, viewers, 38
153 women, 206, 214, 218
international Japanese, the, 7, 17, 150, 152, 192, 213,
audience, 1, 3 215–7, 224, 228–9
fan, 5 Ji, Jin-Hee, 37
markets, 25, 43, 105 jimseungdol, 124, 126–7
relations, 20, 25 joint venture, 42–3, 45–6
International Monetary Fund, 153 Joong Ang Ilbo, 159
internationalization, 18 J-pop, 121, 218
Internet, 1, 15, 40–1, 105, 162 Jurassic Park Syndrome, 155
censorship, 109 JYP Entertainment, 53, 161, 164
drama, 161 Park, Jin Young, 161, 164
novel, 85, 92, 96
IP TV, 40 Kanryu, 213
Iran, 37 KARA, 119, 214, 215, 216, 218
Iris (2009), 36, 44, 215 KBS (Korean Broadcasting System),
Israel, 37 39, 41–2, 58, 156–7, 162,
“Itaewon Freedom”, 103 199–200, 217
Iwabuchi, Koichi, 3, 90, 92, 204–7 K-dramas, 120, 156–8, 160–3, 165–7,
218
Jan, Keun-suk, 58 Kim, Dae-jung, 2, 93, 158, 216
Jang, Dong-geon, 214 Kim, Ho-sik, 85, 92
Jang, Geun-suk, 213–16 Kim, Ji-woon, 163
Japan, 2–4, 7, 18, 20, 24, 34, 37, 40, 42, Kim, Tae-hee, 214–5
44–6, 85, 87–8, 120, 144, 151, Kim, Young-sam, 155
157, 162, 167, 191–3, 199–201, KJH Production, 44
203–7, 213–14, 216–18, 223–4, kkonminam, 124–8
227–9 knowledge-based society, 34–5
Japanese Korea, 4, 6, 17–23, 34, 67, 85–6, 88,
audience, 205 90, 92, 95–6, 106, 118, 120, 135,
culture, 165, 204, 217, 224, 228–9 137–8, 141–2, 144–5, 149–57,
drama, 166, 224, 228–9 160, 162, 166–8, 192–6, 198–201,
fans, 7, 39, 192, 204–5 204–6, 214–15, 217, 224, 227–9
hip-hop, 144 Korea Creative Agency Japan Office,
identity. See identity 215
media, 157 Korea Creative Content Agency, 216
media industry, 45 Korea Daily, 159
media market, 40 Korea Times, The, 163, 165
media marketing, 38 Korean
networks, 46 actor, 157, 164, 306
popular culture, 1, 3, 7, 24, 45, 213 actors and actresses, 36, 223
popular culture products, 217 see also under individual names
238 INDEX
Korean—Continued
artists, 6, 144, 152, 157, 164
audience, 90, 92, 96, 135
beauty products, 36
broadcast industry, 39
broadcast system, 45
community, 159, 162
cosmetics industry
culture, 15, 18, 102, 118–21, 128,
165, 168, 204, 207, 214, 217–18,
224, 227, 228–9
culture industries, 149–50, 154,
156–7, 161
domestic audience, 201
drama, 36–7, 39–41, 43, 45–6,
53, 102, 156, 158, 162, 203,
213
economy, 153, 155, 216
ethnicity, 163
fans, 193
female, 62, 64
film, 4, 6, 149, 155–6, 160, 163,
165, 167
film industry, 154, 160
food, 157–8, 224, 227–8
government, 1, 15–6, 18–20, 34,
149, 154, 160–1
hip-hop, 134–6, 144, 145
hip-hop artists, 137–8
hip-hop scene, 139
identity See identity
language, 19, 58, 60, 121, 136, 158,
159, 168, 192, 205
masculinity, 5, 58, 206
media, 149, 157–160, 206–7
media industry, 33–4, 39–40, 42–3,
45–7
media system, 45
men, 58, 59, 64, 68, 204, 206
music, 35
national brand, 160
network station, 41, 46
network television, 38, 42
peninsula, 151
people, 151, 155, 158
pop culture, 54, 192, 205
pop music, 35, 150
pop songs, 6, 149
popular culture, 1–3, 5–8, 14,
23, 33, 42, 46, 85, 93–4, 119,
157–8, 160, 162, 204–5, 207,
213–15, 217
popular culture product, 4–5, 102,
120
popular music, 101, 117, 213
popular songs, 103
products, 13, 17, 53, 149, 162
rap, 133, 144
R&B groups, 121
star system, 39
television, 156
television and music industry, 39
television drama, 2–3, 5, 7, 35, 38,
42, 44, 196, 199, 204, 224–5,
227–8
television industry, 2–3, 145
television networks, 36
television programs, 35, 38
values, 121
viewers, 91
Wave, 1–8, 13, 53–4, 85, 87, 93,
102, 118–9, 149–50, 157–8,
167–8, 191, 205, 207, 224,
227, 229
women, 62
youth, 5–6, 145
Korean American, 136, 159, 160
rappers, 136
Korean Broadcast Act of 2000,
39, 42
Korean Culture and Information
Service (KOCIS), 15
Korean Tourism Organization, 158,
161
Korean War, 152
Koreanness, 3, 46, 54–6, 68, 204
see also multinational mutant
Koreanness
Koreans, the, 7, 15, 22, 55, 103, 106,
109, 121, 155, 158, 159, 162,
167, 192, 206, 213–15, 217,
224, 228–9
 INDEX 239

Korea-US Free Trade Agreement manga, 18

(KORUS-FTA), 6, 150, 153–4, masculinity, 5, 58, 90, 117–20, 123–4,
159, 161 126–8, 191–3, 201–2, 204, 206,
K-pop, 3, 5, 7, 21, 53–6, 62–3, 67–9, 207
101–3, 105–6, 117–21, 124, 150, hegemonic masculinity, 127
156–8, 161, 164, 167, 191, 213, hybrid masculinity, 5
215, 217–8, 224–5, 228 metrosexual masculinity, 126
band, 3, 161 overlapping masculinity, 5
boy idols, 58 sartorial masculinity, 126
groups, 118, 126, 128, 218 transnational hybrid masculinity, 5
idol groups, 137 white masculinity, 58
idols, 139 see also Korean masculinity
industry, 61, 63 mass media, 8, 59, 103
singer, 39, 164 Massively Multiplayer Online
Kwon, Sang Woo, 14 Role Playing Games
(MMORPGs), 16
The Lake House, 95, 163 MBC (Munhwa Broadcasting
The Last Godfather, r 163 Corporation), 36–8, 42, 44,
The Last Stand, 163 157, 162
Latin America, 46 media, 6, 21, 34, 45, 126, 149
Latin American countries, 153 mediascapes, 158, 162
Lee, Byun-Hun, 36, 44, 215 melodrama, 6, 92, 192, 194–7, 204, 206
Lee, Myung-bak, 216 Asian, 197
Lee, Roy, 95 Western, 197
Lee, Young-Ae, 36–7 Mexico, 37, 42
LG, 18, 160 Middle East, 106, 191
local, the, 6, 34, 47, 87, 93, 94 military force, 21
audience, 3, 34, 36, 40, 87, 89, 90, Minos, 141–2
94, 95, 96 modernity, 7, 205
culture, 54, 150, 165 modernization, 62, 205
customs, 46 Monstarr (2013), 22
market, 4, 42 moral legibility, 194–5
media, 45 Motion Picture Association of Korea,
promotion, 36, 46 154
taste, 7, 105 Motown, 5, 166
television industry, 41 movies, 162, 224, 228–9
television market, 41 MTV, 19, 67, 90, 164
Los Angeles, 144, 159, 160, 163 multinational
Love Rain (2012), 58, 193 elements, 65
lyrics, 134–7, 139–44, 166 mutant Koreanness, 3, 65, 69
mugukjeak, 120
Mainichi Shinbun, 217 music, 3, 5–6, 53, 121, 134, 136, 137–8,
Malay, 108 144–5, 154, 157, 162, 168
Malaysian music video, 3, 4, 53, 55–6, 59–60, 65,
boyfriend, 157 118, 121, 124, 134,-5, 140–1,
pop song, 157 163, 166
240 INDEX

My Lovely Kim Sam Soon (2005), 162 Park, Yong-ha, 193, 216
My Sassy Girl, 4, 85–92, 94–7, 156 parody, 5, 8, 86, 105–11
Gyeon-u, 86–7, 94 patriarchal
Ma, Joe, 86, 92 desire, 61
see also Ryokiteki na kanojo, fantasy, 55, 59, 60, 68
Ugly Aur Pagli femininity, 68
My Sassy Girl, 2, 86, 92, 96 gender ideology, 61
Myanmar, 41 gender representation, 54
hegemony, 66
netizen funds, 156 ideology, 56–7, 59, 207
New Millennium Vision, 35 institution, 61
New York, 135, 144, 159, 161–2 society, 57, 61
NHK, 38–40, 44, 199–200, 217 patriarchy, 60
Ninja Assassin, 39, 164 performance, 3, 55–7, 134–6, 138–9, 144
North America, 5, 34, 42, 102, 119, Philadelphia, 159
162, 165 Philippines, The, 41, 162, 167
North Korea, 61, 151 plastic surgery, 60, 65
Northeast Asia, 151–2 platform, 5, 16, 53, 55, 102, 107, 110, 160
nostalgia, 7, 201, 205, 218 Poetryy (2010), 156
nostalgic pop music, 14, 191
consumption, 206 popular culture, 1, 3, 7, 15, 21, 25, 34,
desire, 191, 204 45–7, 93, 103, 149–50, 158, 166,
images, 204 168, 216
longing, 205 popular music, 101, 119, 151, 224, 228–9
memories, 192 postcolonial
critique, 63
Oldboyy (2003), 156, 163 discourse, 55
online computer game industry, 16, 22 global cultural flow, 8
Organization of Economic hybridity and mimicry, 93
Cooperation and Development identity, 68
(OECD), 13 mimicry, 3, 62, 67–8
Orient woman, 63–4 relationship, 3
Oriental, 3 world, 6
cultures, 66 PSY, 1, 4, 67, 101, 103, 105, 107–9, 111,
Orientalism, 205 164–5
sexual fantasies, 64
stereotype, 66, 68 Queen of Ambition (2013), 120
womanhood, 62
Orientalness, 55 race, 1, 54–5, 62–6, 68–9, 134, 144
racial
pal-ship-pal-man-won-sae-dae, 145 ethnic passing, 65
Paradise Ranch (2011), 120 hybridity, 55
Park, Jin Young. See JYP hierarchy, 63, 66, 67–8
Entertainment markers, 65
Park, Seung. See DramaFever passing, 56, 63, 65
Park, Sol-mi, 193 stereotypes, 55, 67
 INDEX 241

racialization, 54 S.M. Entertainment, 53–4, 60–2,

Radio Hankook, 159 119, 121
Rain (Jung, Ji-hoon), 39, 161, 164, Lee, Soo Man, 119, 121
166–7 So, Ji-Sub, 36
rap, 5, 134, 137, 120, 142–5, 157, 166 soap opera, 19, 206
dance, 135 American, 197
music, 135 Korean, 23
see also hip-hop Thai, 19
RCA, 156 social media, 1, 5, 8, 22, 67, 102, 105,
remake, 4, 6, 85–7, 89–90, 94–7, 163 110, 138, 144
republic of Korea (ROK), 151 soft power, 13, 18, 20–1, 54, 93
Riley, Teddy, 58, 61 Solid, 121
rock, 121, 134, 157, 166 Song, Seung-heon, 157
music, 166 Sorry and Love You (2004), 36
rock’n’roll, 156 South America, 34, 42
ROH, Moo-hyun, 93 South Asia, 46
Romania, 37 South Korea, 1–7, 24, 33, 101–2,
romantic comedy, 86–8, 90, 94, 96 1–5, 1–8, 110, 121, 133–4, 141,
Russia, 37, 191 145, 151–3, 167, 195, 204–5,
Ryokiteki na kanojo, 85, 87–8 214, 217
South Korean
Said, Edward, 68 government, 93
Samsung, 19, 155–6, 160, 161 popular culture, 93–4, 149, 168, 191
Samuel, Yan, 85, 89–90 Southeast Asia, 15, 18, 21, 39, 216
SBS (Seoul Broadcasting System), 42, Soviet Union, 151
103, 162 Sparks, 36
Scent of Summerr (2003), 193 Speed Racer,r 39, 164
Second Wave, The, 3, 53 Spring Waltzz (2006), 193
Secret Sunshine (2007), 156 Stairway to Heaven (2003), 14
Seo Taeji (and the Boys), 135, 157, star marketing system, 2, 34, 36, 38
166 star training system, 119
Seopyeonje (1993), 155 Stars in My Heartt (1997), 14
Seoul, 4, 101–3, 109, 133, 135, 140–1, stereotype, 63–4, 68–9, 87, 108–9,
145, 151, 156, 163–4, 195, 198, 127–8
200, 214 gender, 90
Seoul Olympics of 1988, 20 Strong Heart, 121
sexiness, 63, 68 Stuart Hall, 46
sexuality, 54–5, 62, 69, 119 sub-Saharan African countries, 153
Shim, Doobo, 93, 119, 121, 144 Sunshine Policy, 93
Shim, Hyung-rae, 163 Super, 7, 59
Shin, Joong-hyun, 157, 166 Super Junior, 5, 121, 161
Shin, Nak-yun, 155 Swings, 141
SHINee, 119, 121, 161
Shinhwa, 121 2002 FIFA World Cup, 20, 217
Shiri (1999), 167 2NE1, 218
Singapore, 44, 109, 157, 167, 204 2PM, 119, 161, 214
242 INDEX

Tae Wang Sa Sin Gi (The Legend) government, 154

(2007), 36, 44 Korean population, 159
Tae Won Entertainment, 44 media, 64, 150, 160, 165–6
Takaoka, Sosuke, 24, 213, 218 military, 152–3, 166
Taiwan, 4, 17, 24, 36–8, 42, 44, 59, 157, military bases, 156
165, 203, 205, 216 pop, 67
Taxi, 121 pop culture, 64, 66
technoscapes, 158–60, 162 pop market, 54, 150, 154
television drama, 8, 14, 21, 119, 137, pop stars, 166
149, 157, 199, 200–1, 206, 224, popular culture, 157
228–9 troops, 150–2, 158
television formats, 104–5 viewers, 67
television production companies, 36 see also underr American
Thailand, 23, 24, 41, 44
ting, 23 video, 154, 161, 165
Tokyo, 203 video games, 1, 13, 16
transculturalism, 94 video-gram copyright, 40, 44
transculturality, 93 video-on-demand (VOD), 40
transculturation, 94 Vietnam, 41, 44, 158, 167
transnationalism, 120
TVXQ (DBSK, Tohoshinki), 5, 117–28, Wall Street Journal, The, 67
213, 215–6, 218 WaWa,
W 135
All About DBSK, K 120 West, the, 7, 63–4, 66, 68–9, 87, 127,
Jung, Yunho, 117, 120, 122–5 205–6
Shim, Changmin, 117, 120, 122–5 Western
Keep Your Head Down, 117, 121–2, audience, 55, 64
134–5, 128 beauty, 63
“Keep Your Head Down”, 121 countries, 53
see also Dong Bang Shin Gi culture, 204
Twitter, 137–8, 161 dance beats, 165
hegemony, 7
Ugly Aur Pagli, 85, 91–2, 95 music, 156
Khot, Sachin, 85 pop, 119
United States, 4, 6, 39, 42, 45–6, 53–5, pop icons, 36
62, 64, 89, 90, 127, 149–54, 156, society, 63–4
158–68, 191, 194–6, 198–9, women, 63
202, 218 What is Love All About, 14, 35
see also America white
Uptown and Drunken Tiger, 136 beauty, 65, 68
US music, 67
Asian population, 163 supremacist patriarchy, 69
audience, 6, 67, 160, 166–8 supremacy, 3, 66–8
brand, 160 viewers, 63
cultural imperialism, 149–50, 167 whiteness, 65–6, 69
entertainment industries, 154 whites, 62, 64, 66–7

whore-virgin
dichotomy, 60
identity, 61
“windowing”, 3, 38–9
Winter Sonata (2002), 2, 6–7, 37–40,
44, 157, 191–207, 213, 215–6
Chuncheon, 195, 200, 203
Jung, Yu-jin, 193–8, 200–3
Kang, Jun-Sang, 192–201, 203
Lee, Min-Hyung, 192–6, 198–9,
201, 3, 207
Namiseom, 200
Oh, Chae-lin, 193, 195–7
Yoon, Seok-ho, 193, 200
Won Bin, 214
INDEX 243
Wonder Girls, 161, 164, 166
“2 Different Tears”, 164
“Nobody”, 164, 166
The Wonder Girls Movie, 164
World War II, 5, 6, 150–2, 217
YG Entertainment, 53, 107
yin and yang, 197
Yonsama, 157, 191–3, 200–7
syndrome, 192, 204, 206
see also Bae, Yong-joon
Yoon, Seok-ho. See Winter Sonata
Yoona, 58–9
YouTube, 5, 25, 56, 64, 102, 105, 107,
110, 119, 121, 137–8, 162, 165