Bøger i East Asian Popular Culture serien

How has Hanguk (South Korean) hip hop developed over the last two decades as a musical, cultural, and artistic entity?

The female gaze is used by writers and readers to examine narratives from a perspective that sees women as subjects instead of objects, and the application of a female gaze to male-dominated discourses can open new avenues of interpretation.

This book highlights inconsistencies within the field of sports scholarship and provides an opportunity to open up and extend conversations about the intersection of sports media and race ¿ particularly surrounding athletes of East Asian descent. Despite the growing influence of East Asian and Asian American/Canadian athletes, they are still underrepresented in Western media and in scholarship. This anthology adds much-needed literature to sports, popular culture, East Asian, and Asian American studies. The prominence of sports in global popular culture makes the intersections explored in this collection a crucial addition to existing conversations about both sports and East Asian/Asian American/Canadian studies.

This book explores 2010s Hong Kong film industry, focusing on its (presumably) independent sector. Although frequently mentioned in global film industry studies, the term ¿independent film¿ does not always carry a clear meaning. Starting with this point, this book studies closely Hong Kong¿s new indie cinema of the 2010s from political, economic, social, cultural, and film industrial perspectives, arguing that this indie cinema was vital to the long-term sustainability of the city¿s film industry.

This book explores South Korean cinemäs inimitable relationship with the urban landscape and identifies the ways in which Seoul is utilised as a celluloid canvas, national artefact and, above all else, a distinctive cultural backdrop. Using five di¿erent approaches to urban space, from five distinctive and contrasting theoretical perspectives, Urban Landscapes in Post-Millennial South Korean Cinema investigates and seeks to understand why the cinematic representation, identity and presence of Seoul have been central to the preservation and recognition of the South Korean film industry as an independent, autonomous and nationally unique institution.

Taking a transnational approach to the study of film culture, this book draws on ethnographic fieldwork in a South Korean university film club to explore a cosmopolitan cinephile subculture that thrived in an ironic unevenness between the highly nationalistic mood of commercial film culture and the intense neoliberal milieu of the 2000s. As these time-poor students devoted themselves to the study of film that is unlikely to help them in the job market, they experienced what a student described as 'a different kind of fun', while they appreciated their voracious consumption of international art films as a very private matter at a time of unprecedented boom in the domestic film industry. This unexpectedly vibrant cosmopolitan subculture of student cinephiles in neoliberal South Korea makes the nation's film culture more complex and interesting than a simple nationalistic affair.

This book brings together nine original chapters to examine genre agency in East Asian cinema within the transnational context. It addresses several urgent and pertinent issues such as the distribution and exhibition practices of East Asian genre films, intra-regional creative flow of screen culture, and genreΓÇÖs creative response to censorship. The volume expands the scholarly discussion of the rich heritage and fast-changing landscape of filmmaking in East Asian cinemas. Confronting the complex interaction between genres, filmic narrative and aesthetics, film history and politics, and cross-cultural translation, this book not only reevaluates genreΓÇÖs role in film production, distribution, and consumption, but also tackles several under-explored areas in film studies and transnational cinema, such as the history of East Asian commercial cinema, the East Asian film industry, and cross-media and cross-market film dissemination.

The comic novel, The Adventures of Ma Suzhen, was written during a highpoint in the popularity of xia "knight-errant" fiction.

In this book, Marcella Szablewicz traces what she calls the topography of digital game culture in urban China, drawing our attention to discourse and affect as they shape the popular imaginary surrounding digital games.

The Films of Kore-eda Hirokazu: An Elemental Cinema draws readers into the first 13 feature films and 5 of the documentaries of award-winning Japanese film director Kore-eda Hirokazu.

This book is a scholarly investigation of the historical development and contemporary transformation of film noir in today's Hong Kong.

This book examines the local, regional and transnational contexts of video games through a focused analysis on gaming communities, the ways game design regulates gender and class relations, and the impacts of colonization on game design.

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Since the 2000s, the Japanese word shojo has gained global currency, accompanying the transcultural spread of other popular Japanese media such as manga and anime. The term refers to both a character type specifically, as well as commercial genres marketed to female audiences more generally. Through its diverse chapters this edited collection introduces the two main currents of shojo research: on the one hand, historical investigations of Japan's modern girl culture and its representations, informed by Japanese-studies and gender-studies concerns; on the other hand, explorations of the transcultural performativity of shojo as a crafted concept and affect-prone code, shaped by media studies, genre theory, and fan-culture research. While acknowledging that shojo has mediated multiple discourses throughout the twentieth century-discourses on Japan and its modernity, consumption and consumerism, non-hegemonic gender, and also technology-this volume shifts the focus to shojo mediations, stretching from media by and for actual girls, to shojo as media. As a result, the Japan-derived concept, while still situated, begins to offer possibilities for broader conceptualizations of girlness within the contemporary global digital mediascape.

This book examines the historical background of game development, offline and online gamer interactions, and presents a method to study the health impacts of digital games in East Asia.

Japanese Horror and the Transnational Cinema of Sensations undertakes a critical reassessment of Japanese horror cinema by attending to its intermediality and transnational hybridity in relation to world horror cinema.

This book studies how the increase of visual representation of mixed-race Koreans formulates a particular racial project in contemporary South Korean media.

Furthermore, Entertainment and Politics in Contemporary China is the first book to apply the theoretical innovation of an aesthetic public sphere in examining closely the linkages between China's political life and activities in the country's culture sphere.

This book examines the historical background of game development, offline and online gamer interactions, and presents a method to study the health impacts of digital games in East Asia.

This book examines the local, regional and transnational contexts of video games through a focused analysis on gaming communities, the ways game design regulates gender and class relations, and the impacts of colonization on game design.

This book analyzes the role of manga in contemporary Japanese political expression and debate, and explores its role in propagating new perceptions regarding Japanese history.

This book examines Hong Kong's struggle against the disappearance of its unique identity under the historical challenges of colonialism, in addition to the more recent reimposition of Chinese authoritarian government control, as reflected in three under-researched forms of visual media: comics, advertising and graphic design.

The book focuses on several iterations of the monstrous-feminine in contemporary Japan: the self-replicating shojo in horror, monstrous mothers in science fiction, female ghosts and suburban hauntings in cinema, female monsters and public violence in survival horror games, and the rebellious female body in mytho-fiction.

This edited volume on radical dress reforms in East Asia takes a fresh look at the symbols and languages of modernity in dress and body. Dress reform movements around the turn of the twentieth century in the region have received little critical attention as a multicultural discourse of labor, body, gender identity, colonialism, and government authority. With contributions by leading experts of costume/textile history of China, Korea, and Japan, this book presents up-to-date scholarship using diverse methodologies in costume history, history of consumption, and international trade. Thematically organized into sections exploring the garments and uniforms, accessories, fabrics, and fashion styles of Asia, this edited volume offers case studies for students and scholars in an ever-expanding field of material culture including, but not limited to, economic history, visual culture, art history, history of journalism, and popular culture. Fashion, Identity, and Power in Modern Asia stimulates further research on the impact of modernity and imperialism in neglected areas such as military uniform, school uniform, women's accessories, hairstyles, and textile trade.

The book focuses on several iterations of the monstrous-feminine in contemporary Japan: the self-replicating shojo in horror, monstrous mothers in science fiction, female ghosts and suburban hauntings in cinema, female monsters and public violence in survival horror games, and the rebellious female body in mytho-fiction.