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    THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION

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    Genre
    Thesis/Dissertation
    Date
    2016
    Author
    KIM, JU OAK
    Advisor
    Darling-Wolf, Fabienne
    Committee member
    Morris, Nancy, 1953-
    Murphy, Patrick D.
    Jin, Dal Yong, 1964-
    Department
    Media & Communication
    Subject
    Communication
    Asian Studies
    East Asian Media
    Globalization
    Korean Pop
    Media Production
    Public Broadcasting
    The Korean Wave
    Permanent link to this record
    http://hdl.handle.net/20.500.12613/1619
    
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    DOI
    http://dx.doi.org/10.34944/dspace/1601
    Abstract
    This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices. In conclusion, the Korean Wave has rekindled national forces in spreading local popular content globally in three ways: 1) by deconstructing a binary approach of West vs. non-West, and Global vs. Local in order to understand media cultures and practices; 2) by understanding the rise of Northeast Asian media connections as part of a global culture; and 3) by decolonizing non-US/UK state actors to perceive their actions, which hinges on the ongoing centrality of nation-states in the global media sphere.
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