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Korean Screen Cultures

Interrogating Cinema, TV, Music and Online Games

Edited By Andrew David Jackson and Colette Balmain

The «Korean Wave», or Hallyu phenomenon, has brought South Korean popular culture to the global population. Studies on Korean visual culture have therefore often focused on this aspect, leaving North Korea sidelined and often considered in a negative light because of its political regime. Korean Screen Cultures sets out to redress this imbalance with a broad selection of essays spanning both North and South as well as different methodological approaches, from ethnographic and audience studies to cultural materialist readings. The first section of the book, «The South», highlights popular media – including online gaming and television drama – and concentrates on the margins, in which the very nature of «The South» is contested. «The South and the North» examines North Korea as an ideological other in South Korean popular culture as well as discussing North Korean cinema itself. «The Global» offers new approaches to Korean popular culture beyond national borders and includes work on K-pop and Korean television drama. This book is a vital addition to existing scholarship on Korean popular culture, offering a unique view by providing an imaginary unification of the two Koreas negotiated through local and transnational popular culture flows.
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Cedarbough T. Saeji - 13 Cosmopolitan Strivings and Racialisation: The Foreign Dancing Body in Korean Popular Music Videos


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13 Cosmopolitan Strivings and Racialisation: The Foreign Dancing Body in Korean Popular Music Videos1


In 2013 and early 2014, popular music from the Republic of Korea (hereafter Korea), known as K-pop by its many fans, has increasingly incorporated obvious non-Koreans (white, black, and Latino/a) into music videos. These individuals are typically back-up dancers or characters in the story shown in the video. This diversity has emerged in the genres that have been subsumed into the bricolage of K-pop, in the production teams, and increasingly in the performers themselves. K-pop, practical to the core, has so far subscribed to the cultural diversification of performers only within a narrow frame: performers should look Korean, but major groups now include performers who are Korean-American, Korean-Thai, Chinese and even Chinese-American. Other performers have lived abroad and may be better able to appeal to foreign audiences.

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