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1.
Abstract

This paper juxtaposes the predicaments of two popular stars in Asia whose mobility in their respective cultural fields became challenged by political sentiments in 2004. Chang Hui‐Mei (A‐Mei), the aboriginal pop diva from Taiwan, became the target of a protest organized by Chinese ‘patriots’ before a performance in Hangzhou. The event set off a series of public debates involving high‐level Taiwanese politicians, fans, and members of the public that recalled a similar controversy in 2000 when A‐Mei was banned in China after singing at the inauguration of President Chen Shui‐Bian. Some months later, Korean Wave star Song Seung‐Heon became the subject of a draft‐dodging investigation while he was shooting a highly anticipated TV drama, Sad Love Story. Support from different configurations of overseas fans poured in and remained strong even after he gave up the project and began his mandatory military service. Using these two parallel cases to reveal how politics and entertainment interact in Asia independent of stars’ volition, this paper investigates the affective investment and communication strategies of A‐Mei’s cross‐strait fans and Song’s Chinese‐Asian fans during these emotion‐laden circumstances. The inter‐referential approach of this paper not only reveals the importance of considering patriotism as a latent (rather than exceptional) political and popular force in trans‐Asian popular culture, but also reconfigures the relationships between the public, popular, and political in inter‐Asia cultural traffic.  相似文献   

2.
The reaction video is an understudied area in YouTube and other online scholarship. Despite its limited scholarly attention, it is an influential site of meaning making, particularly for global youth cultures. Understanding polyculturalism as the suturing of self into multiple lineages, this project argues that Black American fans self-represent their K-pop fan interests as being salient to their racial identities. The videos construct identities that are not confined to the Black–White paradigm. Instead, YouTubers engage in fan practices of production, represent conformity to values within the fan community, articulate racially specific fan participation, and express concern for racially specific marginalizing discourses. Thus, the YouTube response video becomes a complicated site with multiple negotiations that reveal the self-production of polycultural identities.  相似文献   

3.
Abstract

(Transnationalized) popular culture and (global) social movement are often seen as unrelated, if not mutually exclusive. Popular culture is entertaining, consensual but trivial; social movement is serious, idealized and oppositional. Yet the WTO Ministerial Conference, held in Hong Kong in December 2005, saw the Korean protesters' adoption of the theme‐song of a popular Korean television drama, Daejanggeum, as their protest strategy. The Korean protesters had been framed by mainstream Hong Kong media as ‘violent rioters’, but the inclusion of the drama elements helped the protesters advance their cause by gaining instant rapport with the local Hong Kong news media and public/fans (of Korean wave). The impact of celebrity involvement in the WTO was also about an immediate transferal of fan affect, from celebrities to the movement, and to the Korean protesters. This ‘affect mobilization’, becomes important as movement capital, as the effective manipulation of emotions is a key to ‘getting the message across’ as movement strategies. The case of WTO Hong Kong reveals the possibility of a symbiotic relationship between transnational popular culture and globalized social movements. The ‘use’ of (Korean) popular cultural products enriches and complicates the affect subjectivities within the social movement, and arranges fan affect into multiple layers of emotion hierarchies/spheres. It remains to be seen, however, if this would set a precedence to protesters in future WTO rounds as they are keen to mobilize their causes in different locales. More research is needed, too, to demonstrate if the success of the Korean wave fosters the emergence of a transnational Asian ‘public’ or civil society. Yet, for now, the success of Korean protesters in the mobilization of Hong Kong public's affect epitomizes the hegemonic flow, or soft power, of Korean TV dramas in the Asian popular.  相似文献   

4.
《Popular Communication》2013,11(2):111-130
Studies of gender, science fiction television, and fan culture have often asserted that female fans resist patriarchy by negotiating cultural texts through such practices as fan fiction and interactive deliberation. This analysis holds that specific motivation and context must be considered to advance such a claim, especially in light of undercurrents of misogyny contributing to such phenomena as "slash" fan fiction authored by women and dealing with romances between male heroes. This study assesses the practices of fans, relevant text, and production factors in the context of particular, gender-related issues surrounding the series Farscape and Stargate SG-1, and finds that activities often thought to be emancipatory can, in fact, reproduce hegemony, and that fans sometimes appropriate resistive rhetoric in defense of hegemonic proclivities.  相似文献   

5.
Conversations surrounding relationships between media fans and media industries frequently categorize fans according to their degree of industrial incorporation or resistance, for instance, as either “affirmational” fans who uncritically celebrate media on industrial terms or “transformational” fans who engage in critical and non-sanctioned forms of participation. Drawing on interviews with participants in the Veronica Mars Kickstarter campaign, this article connects rhetoric used by these fans to longstanding issues around patronage in fine arts, arguing these historical discourses provide a way to deepen our understanding of how fan audiences relate to media industry interests. The complex, asymmetrical relations that exist between patrons and artists they sponsor offer a valuable model for a type of fandom experience that does not fit neatly into the existing typology.  相似文献   

6.
This article investigates the potential role and use of place in long-term fandom, via a case study of fans of The Prisoner and its main filming location of Portmeirion in North Wales. Much research on film tourism focuses on one-time encounters, but fans of The Prisoner have been visiting and revisiting Portmeirion regularly for over 50 years, potentially developing a different sort of relationship with it. Based on interviews with 16 long-term fans of The Prisoner and participatory observation on site, we develop the concept of the “fan homecoming,” a return visit to a familiar fandom-related place, and show how this relationship with place can shape long-term fandom. In facilitating repeated and ritualized practices, being able to regularly gather with other fans, and providing a “safe vault” for the fandom and its memories, place is shown to have an integral role.  相似文献   

7.
This article explores the textual and historical poaching practices by Tumblr fans of the novels A Song of Ice and Fire and the television adaption Game of Thrones, a pseudo-historical fantasy series. Fans critique both the text (novels and TV show) and other fans’ interpretations of the text, as well as parallel real-world history with the world and characters of the series. Tensions arise around the “historical accuracy” of the novels and show, along with the role that dominant narratives and cultural norms play in interpreting a past that never was through the lens of a real-world past. Fantasy and history intersect in layered ways and are used by fans to support a variety of textual points of view. Issues of violence, presentism, colonialism, gender, and “historical truths” are argued in relation to the ahistoricism or historicism of the novels/show.  相似文献   

8.
Abstract

‘Asian Pop’ cultural products, which include a wide range of media artifacts such as film, music, television drama, comic books, magazines, websites and fashion, have emerged as a popular choice for youth in Asia in recent times. These cultural artifacts feature prominently in the lives of urban youth in major metropolitan centers throughout Asia. This paper examines how Thai youths have become consumers of Korean pop (K‐pop), following the trend of neighboring countries. The popularization of Japanese pop (J‐pop), Taiwanese‐pop and more recently, K‐pop, is welcomed by the Cultural Industry as a sign of expanding borders and as a major step towards expanding its Asian market. On the one hand, growing consumption and mainstreaming of Asian pop might become problematic due to the notion of cultural ‘McDonaldization’/standardization, in the future. On the other hand, perhaps nationalism and national ties will manage to overrule this projected standardization. This paper explores the Thai youth’s consumption of K‐pop in the process of cultural appropriation vis‐à‐vis their ‘national’ cultural formation in changing socio‐cultural contexts.  相似文献   

9.
ABSTRACT

This article advocates developing students’ intercultural competence through authentic video in language education. It first explores the definition of intercultural competence in language education from relevant literature, and reviews the use of audio-visual media in developing intercultural competence; it then uses one Chinese TV drama as an example, discussing the development of second language (L2) Chinese learners’ intercultural competence through authentic video in Chinese language education; finally, it discusses some implications for developing students’ intercultural competence in language education.  相似文献   

10.
Abstract

This paper examines some of the questions that could emerge from the relationship between Law and Cinema. While there has been some scholarship on law and cinema, most of it has largely focused on the formal properties of film, and not moved beyond the question of representation. This paper argues that for a fruitful enquiry to emerge, we would need to have an understanding of the complex relationship between the spatial implication of cinema, practices of groups like fan clubs, the question of changing technologies of cinema and how they relate to issues of citizenship and modernity. Finally, it argues for a more nuanced understanding of the phenomenon of non‐legal media circulation or piracy in the contemporary and links this to the question of citizenship and globalization.  相似文献   

11.
Based on an online ethnography study of 274 YouTube videos posted during the Virginia Tech or the Newtown massacres, this article discusses how users resort to participatory media during such mediatized events to create a digital spontaneous shrine. The assemblage of this sanctuary on a website hosting billions of user-generated contents is made possible by means of folksonomy and website architecture, and a two-fold social dynamic based on participatory commitment and the institutionalization of a collective entity. Unlike “physical” spontaneous shrines erected in public spaces, these digital shrines connect the bereaved with provocative or outrageous contributions, notably tributes from school shooting fans using participatory media to commemorate the killer’s memory. This side effect, generated by the technical properties of the platform, compromises the tranquility of the memorial and muddles the boundaries and the contents of such sanctuaries.  相似文献   

12.
ABSTRACT

This article asks whether “sharenting” (sharing representations of one’s parenting or children online) is a form of digital self-representation. Drawing on interviews with 17 parent bloggers, we explore how parents define the borders of their digital selves and justify what is their “story to tell.” We find that bloggers grapple with profound ethical dilemmas, as representing their identities as parents inevitably makes public aspects of their children’s lives, introducing risks that they are, paradoxically, responsible for safeguarding against. Parents thus evaluate what to share by juggling multiple obligations—to themselves, their children in the present and imagined into the future, and to their physical and virtual communities. The digital practices of representing the relational self are impeded more than eased by the individualistic notion of identity instantiated by digital platforms, thereby intensifying the ambivalence of both parents and the wider society in judging emerging genres of blogging the self.  相似文献   

13.
This essay explores the political implications of the flash mob dance in Dhaka, Bangladesh performed in response to the 2012 global viral sensation of South Korean rapper PSY’s “Gangnam Style” music video. The global fame of “Gangnam Style” has much to do with its success online and in the U.S. popular music industry. It, however, also solicited suspicion from popular culture critics that the images of comical PSY worked successfully thanks to unchecked consumption of the racial stereotypes of Asian men. While recognizing these problems as more than valid, this essay simultaneously calls for a more transnational and inter-Asian understanding of the material to argue for a productive quality of PSY’s performance. Using “refraction” as a mode of thinking about inter-Asian circulation of pop culture, this essay considers the flash mob performed in Dhaka, Bangladesh as an important yet underexplored case study that shows different performative practices associated with “Gangnam Style” deeply rooted in historicity of colonialism and nationalism. The case study shows that the circulation of “Gangnam Style” materialized through a performance in Dhaka enlarged contemporary discourse among young urban Bangladeshi spectators around Bangladeshiness and its cultural identity. This complicated an easy assumption about “Gangnam Style” and its success in the U.S. mainstream pop culture, while simultaneously displacing the Bangladeshi cultural subjects from the immobile position of “the Other.”  相似文献   

14.
Abstract

This paper investigates the conditions of the manufacture of low‐cost technology in China with the examples of ‘pirated’ VCD players, ‘no‐name’ DVD players, and Shenzhen’s development as a techno‐urban city. It emphasizes the significance of the cultural logic of original equipment manufacturers (OEMs) and argues that the various transformations and deflections that are derived from ubiquitous OEM experiences have gone beyond the original model of an authorized OEM, experiences that are to some extent embodied in the transgression of brand name and patent hegemonies, which are mainly controlled by high technology companies. OEMs have been associated with China’s current imperative and uninhibited development of low‐cost technology capitalism. ‘Made in China’ signifies the production of any product, legal or illegal, for transnational high technology giants or domestic technology manufacturers. Learning to ‘become an OEM’ in China has partly resulted in excessive technological mimesis that may be part of an unauthorized, underground economy that is based on low‐cost technology. Based on the Shenzhen experience, part of this study will show industrial production‐oriented OEM cultures in which illegal operations and counterfeit trade are incorporated, even in city projects that are shared by municipal governments and Chinese technological companies, and undergo spatial restructuring in the development of the economy, consumerism, and urbanism.  相似文献   

15.
This article reviews three recently published books which make an important contribution, in their different ways, to our understanding of major media policy issues in the digital era. They are all concerned with the core issue of how well media policy serves the public interest. They exemplify different approaches to the study of media policy with regard to how political they are in their content. The first two draw strongly on political science. The first might be best described as critically engaged and has an ideologically sensitive perspective on media policy in the United Kingdom and the United States. The second adopts a policy studies approach to examine the introduction of digital TV in the United Kingdom. The third, written by a media sociologist, provides a comparative study of policies for public service TV in six European countries. It offers rather less political analysis, but presents a useful policy content-focused approach. The article concludes by calling for more work on the development of policies that will ensure the continued fulfilment in the digital era of public service journalistic functions and provision of public service content.  相似文献   

16.
Abstract

The evaluation of the cold war influences played by the US on the rest of the world should not only be accounted economically and politically, but also culturally. In this paper we see the US influences on South Korea and Taiwan from the value‐laden concept of Americanization and through which we examine comparatively specific practices of domestic popular music development in these two countries. Setting this paper as a historical comparative study, we see the working of Americanization in relation to popular music as a value regime in which American is constructed as an ideal model imaginatively and discursively, which was made possible by economic, social and cultural forces in South Korea and Taiwan. Focusing on the Cold War period, circa 1950s to 1960s, levels and aspects of Americanization were therefore ways of translation, to use Said’s concept of traveling theory analogically; Anglo‐American music genres traveled to these countries to be incorporated contextually as new or trendy conventions of music‐making, which in turn helped form local music genres. The socio‐historical contexts of South Korea and Taiwan, with respect to the presence of American army forces, and similar postwar anti‐communist political forces, in nation‐building (north–south Korea, red China–free China antagonism respectively) are central to our understanding of the visibility of Americanization in different music cultures in these two countries. This paper will go into each country’s historical trajectory of music practices that took Japanese colonial influences up to the postwar time and then blending with Anglo‐American genres in indigenizing that eventually marked their different paths, as we comparatively reveal their institutional, political and national cultural conditions, which were necessary in shaping each country’s music‐making conventions, entertainment business, and consumption cultures of popular music – and that might implicitly inform tentatively the present rivalry between ‘offensive’ Korean Wave and ‘defensive’ Taiwanese ‘rockers’ in the globalization era.  相似文献   

17.
ABSTRACT

Streaming services for music are growing worldwide, and the Nordic countries are leading the way. In Norway, streaming represented 88% of digital music revenues in 2014 versus just 23% globally. In essence, streaming services offer subscribers access to vast databases of music and offer artists new means of exposure and sources of revenue. This article argues that the possibility of musical discovery is essential to these services’ distribution model. It examines the provisions for exploration through streaming, pointing to automated algorithms and human curation as key devices. It then collects quantitative data on the presentation of music via a Norwegian service (WiMP/Tidal) and qualitative findings from interviews with consumers about their experiences with music streaming. Key discrepancies arise between the promise and the reality of streamed-music discovery, both for artists seeking new fans (and funds) and for audiences expecting streaming to supersede existing forms of musical exploration.  相似文献   

18.
Ian Huffer 《Cultural Trends》2017,26(2):138-154
It has been argued that the circulation of film online is a “democratising process”, evident in the breadth and depth of international film now available online, and in the greater ease of access to this content for audiences across the world. This is seen by some to present greater commercial opportunities for film-making from countries marginalised by previous distribution networks, and to foster a more globally diverse and inclusive film-viewing culture, with particular benefits for diasporic populations. Others, however, have pointed to the way in which audiences’ engagement with film online may be constrained by the economics and technology of online distribution and cultural competencies rooted in social stratification. These factors may limit how and what audiences watch, extending beyond issues of physical access to those of cultural access. As such, they raise questions regarding the demographic composition of the audience for online methods of film distribution and different types of international film. We lack sufficient understanding of these issues, however, due to the limited emphasis upon socio-demographic variables in existing academic research into online film consumption, and the limited consideration of particular film content in relevant market research. This article uses original audience research to interrogate the extent to which online distribution is able to connect audiences to a diversity of international film in comparison to other methods of distribution. It also considers some of the socio-demographic characteristics of the audiences for different methods of distribution and types of international film. In doing so, the article grants us a clearer understanding of the degree to which online film distribution fosters diversity and inclusivity through the connections it facilitates between audiences and content.  相似文献   

19.
Support provided through social contacts in the host environment has long been recognized as critical for expatriate adjustment. Internet technologies are changing the way individuals form and interact with social contacts and access social support. These technologies have the potential to offer expatriates new sources and means for accessing social support. We investigated the role of blogging technology in expatriates’ adjustment to foreign environments through a qualitative analysis of a set of blogs written by foreign individuals living in Canada between 2005 and 2012. We found that the blogging system, which is comprised of the blogging technology, bloggers, discussants, and co-created digital discourse, generated online adjustment support resources which were accessed by expatriates. Online adjustment support resources are social support resources, created and residing online, which may help expatriates deal with their experiences of uncertainty, ambiguity and anxiety and include information, interpretation schemas, and comfort.  相似文献   

20.
Abstract

This article opens up the question of modernity in relation to Yan’an woodcuts by recounting the Matisse debate among artists in Yan’an circa 1942, during the War of Resistance against Japanese occupation. Yan’an woodcuts did not move in a direction akin to the stylistic reform engaged by Western modernism; instead they pushed modern Chinese woodcuts to develop according to the requirements of ‘national form.’ Yan’an woodcut artists’ exploration of ‘national form’ involved a synthesis of folk aesthetics and woodcut techniques with the creation of modern‐style woodcuts, and a synthesis of revolutionary content with the artistic expression of national form. In this way a new kind of artistic ideal was realized. Compared with contemporary artistic questions in the West, the formal questions of Chinese revolutionary art surpassed the artistic as such to support rich social content and revolutionary discourse. The establishment of national language in art accords with the desire and imagination to construct of a new kind of modern nation‐state.  相似文献   

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