Suchergebnisse

The personal anecdotes and candid reflections on the lives and work of these important critical scholars, and their predictions on the future of the field, make this book a valuable resource for scholars and students of communication, media studies, political economy, political science, and those interested in critical theoretical approaches.

"Examines contemporary consumption practices in South Korea, China, India, Japan, and Singapore and both updates and extends popular culture studies of the region. Through an interdisciplinary lens, this collection of essays explores how recent advances and shifts in information technologies and globalization have impacted cultural markets, fashion, the digital generation, mobile culture, femininity, matrimonial advertising, and a film actress' image and performance."--Publisher's description

Asian Popular Culture: New, Hybrid, and Alternate Media, edited by John A. Lent and Lorna Fitzsimmons, is an interdisciplinary study of popular culture practices in Asia, including regional and national studies in Japan, China, South Korea, and Australia. The contributors explore the evolution and intersection of popular forms (gaming, manga, anime, film, music, fiction, YouTube videos) and explicate these media's changing cultural meanings in historical and contemporary contexts. At its core is the issue of the roles popular culture

The world of animation is usually scrutinized through cartoons emanating from the United States, Japan, and, perhaps, France. That is partly as it should be, but missing from the lineup is China. In quantity (more than 220,000 minutes annually) and quality (particularly from 1955 to 1988), China has been a top-level animation producer. However, because of a number of factors, Chinese animation is not well known beyond the contours of the country. Reasons might be the long, closed-society period, the same time when some of the world's most artistically exquisite animation was produced in China; the use of a less than universal language (although the Japanese animation industry overcame this problem); the concentration on overseas production for U.S. and European studios, done for the most part anonymously, and until recently, the absence of effective promotion globally of indigenous content.

Having provided an overview of the introduction of films in Korea (in 1903) and films produced in this country between 1919 and 1945, the authors discuss the struggle for Korean films (1945-61), the Korean films under (South Korean) government control (1962-79) and Korean films produced during the Fifth Republic (1980-88). Films imported into South Korea from other countries are briefly mentioned. (DÜI-Sen)