Download Korean Masculinities and Transcultural Consumption: Yonsama, by Sun Jung PDF

By Sun Jung

This booklet investigates the transcultural intake of hybrid South Korean masculinities in modern South Korean pop culture. It specializes in the japanese middle-aged woman fandom of an actor -- Bae Yong-Joon (aka. Yonsama) -- the center type Singaporean girl fandom of a pop-star Rain, and the Western on-line cult fandom of a movie, Oldboy.

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Extra info for Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols (TransAsia: Screen Cultures)

Sample text

Kim observes that South Korea’s modernization is often considered as a process of production, rationalization, and control which is often perceived as belonging to the masculine realm. She further states that South Korean modernization is based on “dynamic achievement and development, desires for infinite growth ... and the individual male’s desire for modernization and male solidarity” (2000: 117). Such dynamic modernization of the Westernized and production-driven industrial structure in South Korea is initiated and controlled by men because of traditional patriarchy (2000: 118).

Herald Kyungje 2004; J. W. Cho 2004a; Nikkan Sports cited in J. W. Cho 2004b; D. M. Park 2004; D. J. Lee 2004; Sankei Sports 2004). Many of these newspapers devoted their front pages to describing the welcome given to the South Korean actor, Bae Yong-Joon (BYJ), by the 5,000 “fanatic” Japanese fans that greeted him at the Haneda International Airport. 2 Many of these fans had arrived at the airport the night before BYJ’s arrival and had stayed up all night in order to find the best location from which to see him.

However, the colony is becoming imperialist and is establishing itself as an empire. What are the implications of the new kind of imperialism associated with the colonized empire? ” In contrast, the imperialism as exemplified by Hong Kong movies emerges at the margin of the world system, and occurs primarily within third-world countries. ” (1998: 125) Lii argues that the form of marginal imperialism articulated by Hong Kong cinema is different from the original imperialism emanating from the Western core.

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