She also elaborates on how this shift toward globalization at the time is specifically connected to the rise of hallyu: This outward-bound, expansionist new nation-building effort in the globalizing era was first vocalized in the early 1990s in the name of segyehwa (usually translated as globalization although the term/concept often encompasses broader globalization discourses).’Įnjoying this article? Click here to subscribe for full access. Jung-sun Park, professor at California State University at Dominguez Hills concurs, writing on hallyu in the book Korea at the Center: Dynamics of Regionalism in Northeast Asia: ‘The South Korean government’s growing attention to the genre of pop culture is largely motivated by nationalistic intention, that is, the expansion of South Korean cultural and economic influence in the Asian region. Get briefed on the story of the week, and developing stories to watch across the Asia-Pacific. In the mid-1990s, South Korea’s rhetoric and foreign policy shifted from being somewhat isolationist to pro-globalization-Korea was opening up to the world. So why did it take off in the first place? Jung-Bong Choi, assistant professor of Cinema Studies at NYU’s Tisch School of the Arts, told me that the Korean Wave was likely given a boost by economic circumstances. The interest and fanfare surrounding the latter soon spread to China and Japan, among other places, and through the early 2000s fanned out as far as India and the United States (and even Iran-I’ll be talking about this more on Monday.) What are the roots of the Korean Wave-the remarkable global rise in popularity of South Korean pop culture over the past decade? Analysts I’ve spoken to agree the trend began in the late 1990s in Taiwan, where the unexpected popularity of a politically endorsed hit dance music group called Clon sparked an interest in Korean pop and then Korean TV shows. In this first in a series on the Korean Wave, or hallyu, The Diplomat investigates the history behind the phenomenon.
0 kommentar(er)
