Uses cookies to personalize content, tailor ads and improve the user experience. By using our site, you agree to our collection of information through the use of cookies. To learn more, view ourPrivacy Policy.
Korean Street Fashion as Truly Popular Culture: The ‘PAEPI’ as an Interruption in the Discursive Formation of ‘HALLYU’ and the Special ‘K
Over the past couple decades, much ado has been made over Korean pop cultural forms receiving attention and critical acclaim outside of Korea. Both the pop culture products and the nationalist, media sensation around them have been lumped together and called a “Korean Wave” (hallyu), and coalesced into a “discursive formation” that makes obvious its place in the Korean national project and the culture industry. But as an actual form of truly popular culture, the “K” in the dominant examples of everything from K-POP to K-Cinema, and K-Everything becomes an increasingly meaningless signifier. This paper considers the singularly successful case of Korean street fashion, which has managed to gain worldwide recognition without (indeed, despite) the presence of state or culture industry actors. The paper explains how and why this form of truly ground-up, organically-formed popular culture came to be so successful within the international field before considering the ramifications of a closer look at a truly unique formation of community, consumption, and identity that started in the streets of Seoul. It also argues that street fashion is uniquely interesting in being successful without the major support of other institutions and culture industry actor and has come to constitute an important part of the hallyu phenomenon, yet actually does not resemble other forms of hallyu in terms of origin, execution, or path of critical reception. 지난 20년간 한국의 팝 문화는 해외에서 많은 관심과 비판을 받았고 그 결과 이와 관련해 여러 현상들이 발생했다. 한국의 문화 상품 결과물들, 민족주의자 와 미디어의 센세이션은 한국 팝 문화를 통칭해 ‘한류’로 부르고 한국의 국가정 책이나 문화 산업에서 중요한 위치를 차지하게 만들었다. 하지만, 진정한 팝 문 화의 실질적인 형태로 볼 때, ‘K-POP’이나 ‘K-Cinema’와 같이 모든 것에 ‘K’를 붙이는 것은 점점 의미 없는 기표가 되고 있다. 이 논문은 한국의 길거리 패션 을 다루는데, 한국의 길거리 패션이 정부나 문화 산업 종사자의 역할 없이 전 세계적인 성공을 거두었다는 점에 주목한다. 특히 서울의 거리에서 시작된 독 특한 공동체와 소비 형태, 정체성의 형성이 국제 문화의 장에서 어떻게 그리고 왜 그렇게 성공적일 수 있는지를 설명할 것이다. 또한 이 논문은, 길거리 패션 이 아무런 제도적 지원 없이 성공한 한류의 새로운 현상이라는 점, 그럼에도 그 기원이나 실행, 비판적 수용에서 기존의 한류와 전혀 다른 모습을 보였다는 것을 제시한다.
How To Become A Fashion Designer: Everything You Need To Know
As simple as it may sound, “street fashion” is a complex and contested concept, with a more layered and complex genealogy than its seemingly simple, colloquial usage in vernacular discourse might tend to belie. Commonly used and understood today, the term “street fashion” refers to the items of clothing that everyday people on the street wear. However, more theoretically argued, “street fashion” is a mediated social practice centered around a particular kind of consumption. In this sense, it is inextricably linked to industrial, productive forces with interests in fostering further consumption. In South Korea, it has developed from a tiny, unnoticed fandom at the fringes of a culture industry field that had enjoyed little international success into one of the most noted events in the international field of fashion, all in less than a decade. Based as it is on the attention gained from the efforts of non-fashion field members possessed of little cultural capital or institutional support, the transformation is quite remarkable.
Street fashion is an embodied and mediated social practice that, like dance, the primary medium of the exchange of information is the body. At Seoul Fashion Week, street fashion has become a performance of sartorial acts of gender transgression. And when interpreted through Elaine Aston’s notion of feminist theater practice that utilizlizs the Brechtian dramatic tool of Verfremdung (“alienation”) to help the audience form a critical view of a social practice. According to Aston, there are three main forms of embodied, performed “display” in which feminist theater engages as a way of social critique: Over-Display, Under-Display, and Cross-gendered Display. This paper posits an additional one, called Code-Smashing Display, that is part and parcel of a unique form of Astonian, feminist theater practice that occurs within Korean street fashion as it is constructed as cultural text. Code-Smashing Display is the very currency of the socially conscious Verfremdung in which many frequently paepi engage and which seems to help define style within Korean street fashion as a transgressive social practice unto itself.
The global success of PSY’s Gangnam Style was mediated through combination of YouTube and SNS. PSY’s success led into some communication scholars’ consideration of new international circulation of Korean pop culture (Korean Trend 2.0). In terms of global circulation of pop culture, it is noticeable how users appropriate YouTube channel beyond mere watching music videos and mere international circulation of Korean pop culture. The mode of fan’s activity and appropriation contributes to the expansion of the width and amplification of the volume of Korean popular culture as well. The circulation of pop culture was considered in the level of exchange of tangible commodities such as CD, DVD, and so on until the adoption of digital media and Internet. YouTube has brought new mode in which the international circulation of pop culture is mediated without exchange of tangible commodities but was amplified with the diffusion of network. This study grasps how the mode of users’ appropriation contributes to international circulation of pop culture through case studies of some K-pop music videos and international K-pop fans’ tribute activities. In terms of theoretical perspective, fandom studies will be examined. In terms of research method, the researcher adopts netnography, a participatory observation on network, to find the feature of fandom and its contribution to the international circulation of pop cultures.
Full Article: Traditional Aesthetic Characteristics Traced In South Korean Contemporary Fashion Practice
The literature on financialization has grown considerably over the last decade; however, far too little of it has focused on regions outside of Europe and North America and much of it risks ignoring class dynamics. Surveying the literature on financialization in geography and beyond, this article suggests some ways in which it might be modified to better address the constraints of political economic transformation in South Korea. I suggest that an understanding of financialization that takes into account the dynamics of exportist economies and moves beyond the limitations of developmental state theory might be useful for understanding some of the challenges of the Korean context. If undertaken in a manner sensitive to the nature of uneven geographical development, the problematic of financialization can complement and perhaps enrich existing research into the dynamics of economic development, urban restructuring, and political economic strategy in Korea and East Asia.
There are numerous theoretical perspectives and methods used to gauge regional cooperation and integration. Yet, quantitative measurements of a state’s propensity for increased or decreased integration have been less than forthcoming. Using what is here termed ‘cumulative cooperation, ’ this paper offers a new method for measuring a state’s inclination for enhanced regional integration that is based on three dimensions: security, economic and cultural. Using qualitative context and a unique quantitative method, this paper analyzes South Korea’s enhanced integration prospects with the ASEAN Plus Three states. The method provides three quantitative reference points in relation to regional integration. The reference points show that South Korea is more inclined toward global security cooperation and currently demonstrates an independent streak in regional security cooperation. The reference points also show that South Korea’s economic and cultural integration with the ASEAN Plus Three region has decreased since 2007-2008. In response to these findings, possible areas of enhanced regional integration are identified and suggested.
For almost a decade, Korean Pop (K-pop) music has become a global phenomenon. Transgressing regional boundaries, K-pop music found extraordinary success in Southeast Asia, including the Philippines. Globalization of culture, however, had not only produced skeptics but also challenged the tenets of cultural identity vis-à-vis a crisis on nationalism. This paper seeks to theorize the adverse and favorable effects of K-pop music with regard to its significance to contemporary Filipino national identity through assessment of history, culture, and meaning. This paper tackles and examines its nuance to contradictions of culture and identity and how the transnationalism of pop culture, like K-pop music, contributes to the development of culture and society in the Philippines in recent history.
Culture Of Korea
Arts and Cultural/Creative Activities as Creative Placemaking Strategy in a newly built urban district: The Case of Seoul Digital Media City (DMC)
This paper crosses the research fields of cultural policy and urban design, and examines a new globally significant experiment in creative city development/creative placemaking strategy: the Seoul Digital Media City (DMC). In order to examine important factors in creative placemaking – the ‘vitality’ and ‘authenticity’ of the DMC – the paper investigates the arts and cultural/creative activities in the area. In particular, it conveys how arts and culture is carefully and strategically used as a ‘tool’ to accomplish the national political aim of developing the new urban district as a ‘creative’ urban place and its identity-making for achieving ‘local globalness’ as
Arts and Cultural/Creative Activities as Creative Placemaking Strategy in a newly built urban district: The Case of Seoul Digital Media City (DMC)
This paper crosses the research fields of cultural policy and urban design, and examines a new globally significant experiment in creative city development/creative placemaking strategy: the Seoul Digital Media City (DMC). In order to examine important factors in creative placemaking – the ‘vitality’ and ‘authenticity’ of the DMC – the paper investigates the arts and cultural/creative activities in the area. In particular, it conveys how arts and culture is carefully and strategically used as a ‘tool’ to accomplish the national political aim of developing the new urban district as a ‘creative’ urban place and its identity-making for achieving ‘local globalness’ as
0 komentar
Posting Komentar