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- Kim, Suk-Young, 1970- author.
- Stanford, California : Stanford University Press, [2018]
- Description
- Book — ix, 275 pages : illustrations ; 23 cm
- Summary
-
- Contents and Abstracts1Historicizing K-pop chapter abstract
- Chapter 1 explores K-pop as an ideological and technological playing field where the forces of a rapidly changing media environment, a neoliberal marketplace, and the consequent desires to make and break various social networks interact. As K-pop has become increasingly visible around the world in the past ten years or so, the South Korean government has been trying to forge a meaningful partnership with the K-pop industry. By situating such a move in its historical trajectory, this chapter shows K-pop as a dynamic force that has been shaped equally by top-down and bottom-up movements, namely industry-led paradigm shifts in media technology and users' creative ways of employing that technology.
- 2K-pop from Live Television to Social Media chapter abstract
- Chapter 2 presents the unique production and consumption modes of K-pop in relation to the medium of television. The history of television reveals this platform's inherent link to the format of live theater, especially the live broadcasting model. Two examples of K-pop-related TV shows explored in this chapter-the top-of-the-chart show Music Core and an English-language live chat show, After School Club-encourage real-time participation by viewers that opens a new dimension of TV liveness in the digital era. Defining this dimension as simultaneous production and consumption of music rather than improvised and unrehearsed performance, this chapter challenges the purist notion of "live." The two case studies present contrapuntal visions of how domestic and foreign fans exercise ownership over K-pop by using various digital platforms and show how TV channels optimize their visibility by transposing TV media content onto social networks.
- 3Simulating Liveness in K-pop Music Videos chapter abstract
- Chapter 3 examines K-pop music videos as a central medium articulating the dynamics between liveness and mediatization. Music videos' primary platforms, YouTube and Vevo, generally replay recorded performances and are not conceived as primary venues for live performances. At most, music videos can only simulate the vestiges of live performances that have already happened. A comparative analysis of two examples of K-pop music videos-"Twinkle" by TaeTiSeo, a subunit of the representative K-pop girl group Girls' Generation, and "Who You?" by G-Dragon, leader of the boy band BIGBANG-shows the tremendous investment in the notion of live performance in K-pop as a way of forging the genre's artistic authenticity. Also illuminated is the significance of invoking various performing arts traditions, such as revues, Broadway-style musicals, Hollywood musicals, and performance art, to make K-pop music videos more approachable for a global audience.
- 4Hologram Stars Greet Live Audiences chapter abstract
- Chapter 4 explores the emerging interface between digital technology and live performances. Two key players in the K-pop industry, YG Entertainment and SM Entertainment, have invested heavily in creating infinitely reproducible and exportable K-pop shows featuring their top stars in holographic form. With a subsidy from and in partnership with the South Korean Ministry of Science, ICT (Information and Communications Technology), and Future Planning (Mirae changjo gwahakpu), a government unit deeply committed to Korea's national branding campaign, both companies have actively sought opportunities to present their hologram works in foreign markets that the actual stars have difficulty reaching through traditional live tours. By comparing YG Entertainment's hologram concert with SM Entertainment's hologram musical, the
- chapter investigates how live performance can be realized without live performers but only with live spectators.
- 5Live K-pop Concerts and Their Digital Doubles chapter abstract
- Chapter 5 looks into live K-pop tours overseas, an increasingly common mode of global circulation. While the case studies in this chapter exhibit the most conventional and purest notion of liveness (copresence of performer and spectator), they nonetheless provide examples of how live concerts cannot exist without digitally augmented audiovisual effects. The chapter also explores how live K-pop tours are promoted by digital campaigns carried out on social media and in online music stores, making it impossible to separate the live event from its digital counterpart. By comparing and contrasting BIGBANG's Made tour in seventy cities across four continents with CJ Entertainment and Music's KCON, a multiday K-pop festival and convention hosted in Europe, Japan, the Middle East, and the United States, I analyze these events' different strategies to attract Korean and global audiences while incidentally participating in a campaign to enhance the nation's soft power.
- Conclusion chapter abstractBy showcasing my ethnographic fieldwork at KCON Paris 2016, the Conclusion reiterates how K-pop is a kaleidoscopic cultural scene whose ongoing popularity is sustained not only by the calculating forces of neoliberalism but also by the sincere desire to build a global community through shared interest. It also points to the affective power of K-pop that transcends the genre's commercialization.
- Introduction chapter abstractThe introduction presents multifaceted definitions of K-pop and raises the question of why it is significant to investigate the liveness of K-pop. As a multimedia performance, K-pop's authentic liveness emanates not only from the performance of live music but also from the impactful bodily presentation of its performers. The notion of liveness is explored from technological, ideological, and affective angles with an eye toward bringing out the uniquely Korean dimension of liveness-heung. Liveness here is not limited to real-time broadcasting or the copresence of performers and spectators-- more profoundly, it is about the authentic rapport built around various actors involved in the making of the K-pop scene.
- (source: Nielsen Book Data)
(source: Nielsen Book Data)
Green Library
Green Library | Status |
---|---|
Find it Stacks | Request (opens in new tab) |
ML3502 .K6 K577 2018 | Unknown |
- Kim, Suk-Young, 1970- author.
- Stanford, California : Stanford University Press, [2018]
- Description
- Book — 1 online resource (ix, 275 pages) : illustrations
- Summary
-
- Contents and Abstracts1Historicizing K-pop chapter abstract
- Chapter 1 explores K-pop as an ideological and technological playing field where the forces of a rapidly changing media environment, a neoliberal marketplace, and the consequent desires to make and break various social networks interact. As K-pop has become increasingly visible around the world in the past ten years or so, the South Korean government has been trying to forge a meaningful partnership with the K-pop industry. By situating such a move in its historical trajectory, this chapter shows K-pop as a dynamic force that has been shaped equally by top-down and bottom-up movements, namely industry-led paradigm shifts in media technology and users' creative ways of employing that technology.
- 2K-pop from Live Television to Social Media chapter abstract
- Chapter 2 presents the unique production and consumption modes of K-pop in relation to the medium of television. The history of television reveals this platform's inherent link to the format of live theater, especially the live broadcasting model. Two examples of K-pop-related TV shows explored in this chapter-the top-of-the-chart show Music Core and an English-language live chat show, After School Club-encourage real-time participation by viewers that opens a new dimension of TV liveness in the digital era. Defining this dimension as simultaneous production and consumption of music rather than improvised and unrehearsed performance, this chapter challenges the purist notion of "live." The two case studies present contrapuntal visions of how domestic and foreign fans exercise ownership over K-pop by using various digital platforms and show how TV channels optimize their visibility by transposing TV media content onto social networks.
- 3Simulating Liveness in K-pop Music Videos chapter abstract
- Chapter 3 examines K-pop music videos as a central medium articulating the dynamics between liveness and mediatization. Music videos' primary platforms, YouTube and Vevo, generally replay recorded performances and are not conceived as primary venues for live performances. At most, music videos can only simulate the vestiges of live performances that have already happened. A comparative analysis of two examples of K-pop music videos-"Twinkle" by TaeTiSeo, a subunit of the representative K-pop girl group Girls' Generation, and "Who You?" by G-Dragon, leader of the boy band BIGBANG-shows the tremendous investment in the notion of live performance in K-pop as a way of forging the genre's artistic authenticity. Also illuminated is the significance of invoking various performing arts traditions, such as revues, Broadway-style musicals, Hollywood musicals, and performance art, to make K-pop music videos more approachable for a global audience.
- 4Hologram Stars Greet Live Audiences chapter abstract
- Chapter 4 explores the emerging interface between digital technology and live performances. Two key players in the K-pop industry, YG Entertainment and SM Entertainment, have invested heavily in creating infinitely reproducible and exportable K-pop shows featuring their top stars in holographic form. With a subsidy from and in partnership with the South Korean Ministry of Science, ICT (Information and Communications Technology), and Future Planning (Mirae changjo gwahakpu), a government unit deeply committed to Korea's national branding campaign, both companies have actively sought opportunities to present their hologram works in foreign markets that the actual stars have difficulty reaching through traditional live tours. By comparing YG Entertainment's hologram concert with SM Entertainment's hologram musical, the
- chapter investigates how live performance can be realized without live performers but only with live spectators.
- 5Live K-pop Concerts and Their Digital Doubles chapter abstract
- Chapter 5 looks into live K-pop tours overseas, an increasingly common mode of global circulation. While the case studies in this chapter exhibit the most conventional and purest notion of liveness (copresence of performer and spectator), they nonetheless provide examples of how live concerts cannot exist without digitally augmented audiovisual effects. The chapter also explores how live K-pop tours are promoted by digital campaigns carried out on social media and in online music stores, making it impossible to separate the live event from its digital counterpart. By comparing and contrasting BIGBANG's Made tour in seventy cities across four continents with CJ Entertainment and Music's KCON, a multiday K-pop festival and convention hosted in Europe, Japan, the Middle East, and the United States, I analyze these events' different strategies to attract Korean and global audiences while incidentally participating in a campaign to enhance the nation's soft power.
- Conclusion chapter abstractBy showcasing my ethnographic fieldwork at KCON Paris 2016, the Conclusion reiterates how K-pop is a kaleidoscopic cultural scene whose ongoing popularity is sustained not only by the calculating forces of neoliberalism but also by the sincere desire to build a global community through shared interest. It also points to the affective power of K-pop that transcends the genre's commercialization.
- Introduction chapter abstractThe introduction presents multifaceted definitions of K-pop and raises the question of why it is significant to investigate the liveness of K-pop. As a multimedia performance, K-pop's authentic liveness emanates not only from the performance of live music but also from the impactful bodily presentation of its performers. The notion of liveness is explored from technological, ideological, and affective angles with an eye toward bringing out the uniquely Korean dimension of liveness-heung. Liveness here is not limited to real-time broadcasting or the copresence of performers and spectators-- more profoundly, it is about the authentic rapport built around various actors involved in the making of the K-pop scene.
- (source: Nielsen Book Data)
(source: Nielsen Book Data)
- Kim, Suk-Young, 1970- author.
- New York : Columbia University Press, [2014]
- Description
- Book — 1 online resource (xiv, 205 pages) : illustrations Digital: text file; PDF.
- Summary
-
- Acknowledgments List of Illustrations Introduction: Contesting the Border
- 1. Imagined Border Crossers on Stage
- 2. Divided Screen, Divided Paths
- 3. Twice Crossing and the Price of Emotional Citizenship
- 4. Borders on Display: Museum Exhibitions
- 5. Nation and Nature Beyond the Borderland Notes Works Cited Index.
- (source: Nielsen Book Data)
(source: Nielsen Book Data)
- Kim, Suk-Young, 1970- author.
- New York : Columbia University Press, [2014]
- Description
- Book — xiv, 205 pages : illustrations ; 24 cm
- Summary
-
- Acknowledgments List of Illustrations Introduction: Contesting the Border
- 1. Imagined Border Crossers on Stage
- 2. Divided Screen, Divided Paths
- 3. Twice Crossing and the Price of Emotional Citizenship
- 4. Borders on Display: Museum Exhibitions
- 5. Nation and Nature Beyond the Borderland Notes Works Cited Index.
- (source: Nielsen Book Data)
(source: Nielsen Book Data)
- Online
Green Library
Green Library | Status |
---|---|
Find it Stacks | Request (opens in new tab) |
DS921.7 .K5525 2014 | Unknown |
- Kim, Suk-Young, 1970-
- Ann Arbor : University of Michigan Press, c2010.
- Description
- Book — x, 387 p. : ill. (some col.) ; 25 cm.
- Summary
-
- Hybridization of performance genres
- Time and space in North Korean performance
- Revival of the state patriarchs
- Model citizens of the family-nation
- Acting like women in North Korea
- Performing paradoxes : staging utopia, upstaging dystopia
- Conclusion: Looking back, moving forward.
(source: Nielsen Book Data)
Green Library
Green Library | Status |
---|---|
Find it Stacks | Request (opens in new tab) |
PN2939.1 .K56 2010 | Unknown |
- Kim, Yong, 1950-
- New York : Columbia University Press, c2009.
- Description
- Book — x, 168 p. : ill., maps ; 22 cm.
- Summary
-
- Preface Introduction Translator's Note
- 1. Coming of Age
- 2. Living for the Great Leader
- 3. Downfall of a Model Citizen
- 4. In the Mouth of Death
- 5. Escape
- 6. Across the Continent Afterword: Unfinished Story Notes.
- (source: Nielsen Book Data)
(source: Nielsen Book Data)
Kim Yong shares his harrowing account of life in a labor camp& mdash; a singularly despairing form of torture carried out by the secret state. Although it is known that gulags exist in North Korea, little information is available about their organization and conduct, for prisoners rarely escape both incarceration and the country alive. Long Road Home shares the remarkable story of one such survivor, a former military official who spent six years in a gulag and experienced firsthand the brutality of an unconscionable regime. As a lieutenant colonel in the North Korean army, Kim Yong enjoyed unprecedented privilege in a society that closely monitored its citizens. He owned an imported car and drove it freely throughout the country. He also encountered corruption at all levels, whether among party officials or Japanese trade partners, and took note of the illicit benefits that were awarded to some and cruelly denied to others. When accusations of treason stripped Kim Yong of his position, the loose distinction between those who prosper and those who suffer under Kim Jong-il became painfully clear. Kim Yong was thrown into a world of violence and terror, condemned to camp No. 14 in Hamkyeong province, North Korea's most notorious labor camp. As he worked a constant shift 2,400 feet underground, daylight became Kim's new luxury; as the months wore on, he became intimately acquainted with political prisoners, subhuman camp guards, and an apocalyptic famine that killed millions. After years of meticulous planning, and with the help of old friends, Kim escaped and came to the United States via China, Mongolia, and South Korea. Presented here for the first time in its entirety, his story not only testifies to the atrocities being committed behind North Korea's wall of silence, but it also illuminates the daily struggle to maintain dignity and integrity in the face of unbelievable odds. Like the work of Solzhenitsyn, this rare portrait tells a story of resilience as it reveals the dark forms of oppression, torture, and ideological terror at work in our world today.
(source: Nielsen Book Data)
- Online
Green Library
Green Library | Status |
---|---|
Find it Stacks | Request (opens in new tab) |
HV9815.6 .K56 2009 | Unknown |
Online 7. Performing the self : cosmetic surgery and the political economy of beauty in Korea [2018]
- Lee, So-Rim, author.
- [Stanford, California] : [Stanford University], 2018.
- Description
- Book — 1 online resource.
- Summary
-
This dissertation construes cosmetic surgery as a mode of performing oneself in contemporary South Korea. Reimagining beauty as an incessant doing, partaking, and embodying oneself that is more "becoming" than "being, " I use cosmetic surgery as its performative measure to discuss the political economy of neoliberal self-management within the Korean media, popular culture, and everyday life. With case studies from reality television, performance art, photography, and K-pop, I locate the representational discourse of beauty as precariously imbricated within the social fabric interwoven by neoliberal, patriarchal, and heteronormative systems of power. Interdisciplinary in nature, this project renders the performance of beauty as an ever-shifting construct of subjectivity determined by race, gender, and sexuality. In the process of interrogating what lies at stake for not only the individual subject but for all parties partaking in the Korean cosmetic surgery industry, I hope to destabilize the rhetorical devices that choreograph, construct, and negotiate a particular image of Koreanness.
- Also online at
-
Special Collections
Special Collections | Status |
---|---|
University Archives | Request on-site access (opens in new tab) |
3781 2018 L | In-library use |
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