This book investigates transcultural consumption of three iconic figures ù the middle-aged Japanese female fandom of actor Bae Yong-Joon, the Western online cult fandom of the thriller film Oldboy, and the Singaporean fandom of the pop-star Rain. Through these three specific but hybrid context, the author develops the concepts of soft masculinity, as well as global and postmodern variants of masculine cultural impacts. In the concluding chapter, the author also discusses recently emerging versatile masculinity within the transcultural pop production paradigm represented by K-pop idol boy bands.

This title investigates transcultural consumption of three iconic figures - the middle-aged Japanese female fandom of actor Bae Yong-Joon, the Western online cult fandom of the thriller film 'Oldboy', and the Singaporean fandom of the pop-star Rain.

The contributors analyse the subject of Asian pop culture arranged under three headings: 'Television Industry in East Asia', 'Transnational-Crosscultural Receptions of TV Dramas' and 'Nationalistic reactions'.

The rise in popularity of South Korean entertainment and culture began and is promoted as an official policy of the Korean government to revive the country's economy. This study examines cultural production and consumption, glocalization, the West versus. Asia, global race consciousness, and changing views of masculinity and femininity.

Since the end of the nineteenth century, the Korean people have faced successive waves of foreign domination, authoritarian regimes, forced dispersal, and divided development. Throughout these turbulent times, “queer” Koreans were ignored, minimized, and erased in narratives of their modern nation, East Asia, and the wider world. This interdisciplinary volume challenges such marginalization through critical analyses of non-normative sexuality and gender variance. Considering both personal and collective forces, contributors extend individualized notions of queer neoliberalism beyond those typically set in Western queer theory. Along the way, they recount a range of illuminating topics, from shamanic rituals during the colonial era and B-grade comedy films under Cold War dictatorship to toxic masculinity in today’s South Korean military and transgender confrontations with the resident registration system. More broadly, Queer Korea offers readers new ways of understanding the limits and possibilities of human liberation under exclusionary conditions of modernity in Asia and beyond. Contributors. Pei Jean Chen, John (Song Pae) Cho, Chung-kang Kim, Timothy Gitzen, Todd A. Henry, Merose Hwang, Ruin, Layoung Shin, Shin-ae Ha, John Whittier Treat

K-Pop: Popular Music, Cultural Amnesia, and Economic Innovation in South Korea seeks at once to describe and explain the emergence of export-oriented South Korean popular music and to make sense of larger South Korean economic and cultural transformations. John Lie provides not only a history of South Korean popular music—the premodern background, Japanese colonial influence, post-Liberation American impact, and recent globalization—but also a description of K-pop as a system of economic innovation and cultural production. In doing so, he delves into the broader background of South Korea in this wonderfully informed history and analysis of a pop culture phenomenon sweeping the globe.

"A time-travelling thriller combining the struggles from before and after. Bukit Brown follows the gripping journey of Ji-won, lonely and lost in modern-day cosmopolitan Singapore, who time travels to nineteenth century British Malaya and finds her true self through experiencing the deplorable lives of migrant workers, the veiled enmity among Chinese secret societies and a lavish Peranakan lifestyle"--

The rapid growth of the Korean online game industry, viewed in social, cultural, and economic contexts. In South Korea, online gaming is a cultural phenomenon. Games are broadcast on television, professional gamers are celebrities, and youth culture is often identified with online gaming. Uniquely in the online games market, Korea not only dominates the local market but has also made its mark globally. In Korea's Online Gaming Empire, Dal Yong Jin examines the rapid growth of this industry from a political economy perspective, discussing it in social, cultural, and economic terms. Korea has the largest percentage of broadband subscribers of any country in the world, and Koreans spend increasing amounts of time and money on Internet-based games. Online gaming has become a mode of socializing—a channel for human relationships. The Korean online game industry has been a pioneer in software development and eSports (electronic sports and leagues). Jin discusses the policies of the Korean government that encouraged the development of online gaming both as a cutting-edge business and as a cultural touchstone; the impact of economic globalization; the relationship between online games and Korean society; and the future of the industry. He examines the rise of Korean online games in the global marketplace, the emergence of eSport as a youth culture phenomenon, the working conditions of professional gamers, the role of game fans as consumers, how Korea's local online game industry has become global, and whether these emerging firms have challenged the West's dominance in global markets.

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.

From one of the most celebrated literary figures in Hong Kong comes this collection of short stories. Seeing Hong Kong through a kaleidoscope, the author poignantly represents Hong Kong through a variety of themes.