• Title/Summary/Keyword: Chinese Audiences

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A Study on Xu Bing's artworks Contributed to expansion of printmaking in Contemporary Chinese Art (중국 현대미술에서의 판화 매체 확장을 일으킨 쉬빙(徐冰) 작품 연구)

  • Song, Dae-Sup;Cho, Ye-In
    • Cartoon and Animation Studies
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    • s.45
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    • pp.321-343
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    • 2016
  • The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.

The Vehicle and Driver of China's Cultural Diplomacy: Global Vision Vs. Localised Practice

  • Liu, Xin
    • Journal of Contemporary Eastern Asia
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    • v.17 no.1
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    • pp.130-151
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    • 2018
  • China's cultural diplomacy is mostly understood as an endeavour to build and project soft power, which draws on three sources of 'culture, political values and foreign policy' according to Nye. This paper focuses on the debates about the vehicle and agents of China's cultural diplomacy. It starts with a theoretical discussion of the competing views in the Chinese context, and develops an argument that the vehicle of China's cultural diplomacy tries to project soft power on two wheels of culture and political values, to serve the purpose of reshaping China's image away from being the 'cultural other' and 'ideological other' respectively. However, the state-led approach to driving this vehicle is generating some side effects with its sponsorship, censorship and presence in the driver's seat. Then the paper analyses the inherent tensions existing in practice both between the two sources of building soft power and between the two means of doing so, attraction and persuasion, with empirical evidence through a comparative case study of the Confucius Institutes in the US and South Korea. The finding shows that China's attempt at reshaping its image as an Eastern cultural contestant is often disrupted by its authoritarian political values, and the state-led persuasion is often reducing China's cultural attraction. Following this, the paper finishes with some recommendations regarding evolving the cultural diplomacy approach from a vertical one that is government-centred to a horizontal one that is network-based with multiple agents, and localising its practice by engaging the target audiences as stakeholders.

A Framework Exploring the Pivotal Role of Preannounced Information Attributes in the Chinese Market: Moderating Effects of Product Knowledge and Product Innovativeness (중국 시장의 신제품 사전예고 정보 속성의 중요성에 관한 연구: 제품 지식과 제품 혁신성의 조절역할을 중심으로)

  • Duan, Xiaowei;Lu, Yeqing;Huang, Mengjie
    • The Journal of the Korea Contents Association
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    • v.21 no.7
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    • pp.386-403
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    • 2021
  • Preannouncing a new product to its target audiences has been more and more prevalent in a wealth of industries, particularly industries that attach great importance to the speed of entry. Grounded in market signaling theory, the current research advances a theoretical model that takes full cognizance of the relation between preannounced information about an upcoming product and individual customers' behavioral intentions as well as significant moderating effects of prior product knowledge and new product innovativeness. In response, a web-based survey is conducted for data collection and the structural equation model is utilized for data analysis. Results of this study demonstrate that preannounced new product information attributes (i.e., quantity, clarity) may positively influence consumers' attitudes, in turn, lead to a favorable purchase intention. Moreover, the moderating effects of product knowledge and product innovativeness are also confirmed. Specifically, product knowledge moderates the quantity-attitude relation positively and moderates the clarity-attitude relation negatively, whereas product innovativeness does opposite. Both implications and limitations are also described.

China's Public Diplomacy towards Africa: Strategies, Economic Linkages and Implications for Korea's Ambitions in Africa

  • Ochieng, Haggai Kennedy
    • East Asian Economic Review
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    • v.26 no.1
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    • pp.49-91
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    • 2022
  • Recent years have witnessed renewed interest in Africa and public diplomacy has emerged as the vital tool being used to cultivate these relations. China has been leading in pursuing stronger economic partnership with Africa while middle powers such as Korea are also intensifying engagement with the continent. While previous studies have analyzed the implications of China's activities in Africa on advanced powers, none has examined them from the paradigm of middle powers. This study fills this gap by assessing China's activities in Africa, their economic engagement and implications for Korea's interest in Africa. The analysis is qualitative based on secondary data from various sources and literature. The study shows that China's public diplomacy strategy involves a high degree of innovation and has evolved to encompass new tools and audiences. China has institutionalized a cooperative model that permeates many aspects of governance institutions in Africa, enabling it to strengthen their relations. This could also be helping China to adjust faster leadership transitions in Africa. Whereas the US is still the most influential country in Africa, China is influential in economic policies and has outstripped the US in infrastructure diplomacy. This could be because African policy makers align more with China's economic model than the US' mainstream economics. Chinese aid to Africa has been diversified to social sectors that are more responsive to the needs of Africa. Trade and investment relations between China and Africa have deepened, but so does trade imbalance since 2010. China mainly imports natural resources and raw materials from Africa. But this product portfolio is not different from Korea and the US. China's energetic insertion in Africa using various strategies has significant implications for countries with ambitions in Africa. Korea can achieve its ambitions in Africa by focusing resources in areas it can leverage its core strengths-such as education and vocational training, environmental policy and development cooperation.

The Analysis of the "Idol Nurture" Pattern of the PRODUCE 101 Program (<창조 101> 프로그램의 아이돌 양성 모식 분석)

  • Li, Duruo
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.5
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    • pp.37-46
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    • 2019
  • The PRODUCE 101 (Chinese version《创造101》) program is an "Idol Nurture" reality show bought by China's Tencent Video from the copyright of the Korean PRODUCE 101 program. The program's "Idol Nurture" pattern is concentrated in the four aspects of the "Semi-finished" training objects, the complementary nurturing goals, the key points of storytelling, and the extreme empowerment of training subjects. The "Idol Nurture" process is fully presented through the programming of the training processes inside entertainment companies, and the foregrounding of the back stages of the recording, trainees and entertainment companies. The "Idol Nurture" pattern of the program has attracted great attention and has been applauded by many because it better satisfies audiences' diversion utility, personal relation utility, and personal identity utility. This pattern of "Idol Nurture" program can provide insightful reference and valuable experience to the development of other reality talent shows.

Eurasian Naval Power on Display: Sino-Russian Naval Exercises under Presidents Xi and Putin (유라시아 지역의 해군 전력 과시: 시진핑 주석과 푸틴 대통령 체제 하에 펼쳐지는 중러 해상합동훈련)

  • Richard Weitz
    • Maritime Security
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    • v.5 no.1
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    • pp.1-53
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    • 2022
  • One manifestation of the contemporary era of renewed great power competition has been the deepening relationship between China and Russia. Their strengthening military ties, notwithstanding their lack of a formal defense alliance, have been especially striking. Since China and Russia deploy two of the world's most powerful navies, their growing maritime cooperation has been one of the most significant international security developments of recent years. The Sino-Russian naval exercises, involving varying platforms and locations, have built on years of high-level personnel exchanges, large Russian weapons sales to China, the Sino-Russia Treaty of Friendship, and other forms of cooperation. Though the joint Sino-Russian naval drills began soon after Beijing and Moscow ended their Cold War confrontation, these exercises have become much more important during the last decade, essentially becoming a core pillar of their expanding defense partnership. China and Russia now conduct more naval exercises in more places and with more types of weapons systems than ever before. In the future, Chinese and Russian maritime drills will likely encompass new locations, capabilities, and partners-including possibly the Arctic, hypersonic delivery systems, and novel African, Asian, and Middle East partners-as well as continue such recent innovations as conducting joint naval patrols and combined arms maritime drills. China and Russia pursue several objectives through their bilateral naval cooperation. The Treaty of Good-Neighborliness and Friendly Cooperation Between the People's Republic of China and the Russian Federation lacks a mutual defense clause, but does provide for consultations about common threats. The naval exercises, which rehearse non-traditional along with traditional missions (e.g., counter-piracy and humanitarian relief as well as with high-end warfighting), provide a means to enhance their response to such mutual challenges through coordinated military activities. Though the exercises may not realize substantial interoperability gains regarding combat capabilities, the drills do highlight to foreign audiences the Sino-Russian capacity to project coordinated naval power globally. This messaging is important given the reliance of China and Russia on the world's oceans for trade and the two countries' maritime territorial disputes with other countries. The exercises can also improve their national military capabilities as well as help them learn more about the tactics, techniques, and procedures of each other. The rising Chinese Navy especially benefits from working with the Russian armed forces, which have more experience conducting maritime missions, particularly in combat operations involving multiple combat arms, than the People's Liberation Army (PLA). On the negative side, these exercises, by enhancing their combat capabilities, may make Chinese and Russian policymakers more willing to employ military force or run escalatory risks in confrontations with other states. All these impacts are amplified in Northeast Asia, where the Chinese and Russian navies conduct most of their joint exercises. Northeast Asia has become an area of intensifying maritime confrontations involving China and Russia against the United States and Japan, with South Korea situated uneasily between them. The growing ties between the Chinese and Russian navies have complicated South Korean-U.S. military planning, diverted resources from concentrating against North Korea, and worsened the regional security environment. Naval planners in the United States, South Korea, and Japan will increasingly need to consider scenarios involving both the Chinese and Russian navies. For example, South Korean and U.S. policymakers need to prepare for situations in which coordinated Chinese and Russian military aggression overtaxes the Pentagon, obligating the South Korean Navy to rapidly backfill for any U.S.-allied security gaps that arise on the Korean Peninsula. Potentially reinforcing Chinese and Russian naval support to North Korea in a maritime confrontation with South Korea and its allies would present another serious challenge. Building on the commitment of Japan and South Korea to strengthen security ties, future exercises involving Japan, South Korea, and the United States should expand to consider these potential contingencies.

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China's Post '80s and '90s Generation and Selective Reception of Foreign Popular Culture: The Case of Beijing (중국 80-90후(后)와 외국 대중문화의 선택적 수용: 베이징 사례)

  • Ahn, Jungah
    • The Journal of the Korea Contents Association
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    • v.14 no.6
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    • pp.34-43
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    • 2014
  • Young Chinese audience can select and watch TV dramas, movies and entertainment programs from many different nations, such as Korea, America, Japan, England, Thailand, India, and so on, through multiple channels, such as online video sites - iQiyi, Youku, LeTV, PPTV, and many others - which were induced by changes in media environment. Various genres of Korean popular culture have recently become popular in China, but this phenomenon differs from the early Korean Wave. During the earlier period (from 1997 to the early 2000s) of the Korean Wave, soap operas were popular among middle-aged women, but now various other genres, such as K-pop, entertainment programs, etc., are also popular in China. The purpose of this study is to explore how young Chinese audiences use foreign pop culture, including their preferred genres, reasons for preferring these genres, and the relationship between the preferred pop culture and national image in Korean, American, and Japanese pop culture were analyzed. According to the study results, similarities and differences between preferred genres and the reasons for preferring these genres, and also a close correlation between preferred pop culture and national image were found. These findings will be fundamental for supporting the continual development of the Korean Wave in China.

Embedded Korean in American Oriental Imagination: Kim Sisters' "Their First Album"

  • Lee, Yu Jung
    • Cross-Cultural Studies
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    • v.24
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    • pp.46-61
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    • 2011
  • This paper considers how Koreans found their positions in the complex, overlapping, disjunctive, and interconnected "Oriental" repertoires in the early Cold War years. When we use the term, Oriental, it should require careful translation from context to context because it may be subject to very different sets of contextual circumstances. Klein views Cold War Orientalism in the complex of various regions including East Asian and Southeast Asian countries; however, when Koreans are contextualized at the center of the discussion the Orientalism produces another discursive meaning. Even though many great researches have been done on Korean immigrations, Korean American literatures, and US-Korea economic, political, and foreign relations, not many discussions about Korean American popular cultures have been discussed in the basis of the Oriental discourse in the United States.For this argument, this paper investigates the performative trajectory of a girl group "Kim Sisters" who began to sing at the US military show stages in South Korea in 1952 during the Korean War. They moved to Las Vegas show stages in 1959 and later appeared in Ed Sullivan Show more than thirty times during the 1960s and 70s. Meanwhile, they not only returned to South Korea often times to perform at the stages for Korean audiences in South Korea but also played at the shows for Korean immigrants in the United States. Korean American immigration to the United States has followed a different route from the majority of Asian American population such as Chinese or Japanese Americans, which means that efforts to compare this particular group to the others may be unnecessary. Rather doing comparative studies, this paper, therefore, focuses on the formation of the intersecting and multiple identities of Korean female entertainers who were forced or forced themselves to be incorporated into the American popular "Oriental" imagination, which I would call "embedded" identities. This embeddedness has been continuously maintained in the configuration of Korean characters in the United States. This will help not only to observe the discursive aspect of Asian American identity politics but also to claim a space for comparatively invisible Korean characters in the United States which has been often times neglected and not brought into a major Asian American or Oriental historical discourse. This paper starts with American scenes at the beginning of the twentieth century to trace Americans Oriental imagination which was observable in the various American cultural landscape and popular music soundscape. It will help us more clearly understand the production and consumption of the Korean "Oriental" performances during the early Cold War period and especially the Korean performance in the American venue, silently overshadowed into the political, social, and cultural framework.

A Study on the Children's Perspective in Iranian Films - Focus on the films by Director Majid Majidi (이란 영화 속에 나타난 어린이 시각에 관한 연구 - 마지드 마지디 감독 작품을 중심으로)

  • JIAYI WAN;Daniel H. Byun
    • Trans-
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    • v.14
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    • pp.93-122
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    • 2023
  • Children's films can be found by country and region within the scope of world films, but children's films have different definitions depending on the country and region. For example, American children's films represented by Disney are mainly aimed at satisfying the joys of children and families.Chinese children's films place more importance on the educational role of children. Although the purpose is different, children's films in the general sense are films that main audiences are children and are created for children. Children's films in Iran differ greatly from ordinary children's films. It indirectly expresses the creator's intention by reflecting reality while looking at the adult world through the eyes of children. This special function is a children's visual language that indirectly conveys the creator's thoughts. The use of children's perspective is a kind of special strategy, paving the way for Iranian films to survive in a special creative environment, and creating unique characteristics of Iranian films. Among the numerous Iranian directors who make children's films, Majid Majidi is one of the representative directors with personal characteristics. Of his nine Iranian films written and directed, five are children's films.At the same time, in his other Iranian films, we can more or less see the traces of children and children's perspective of the narrative and performance.Looking at the use of children's vision in Iranian films, the use of children's vision in Iranian films began with children's films and developed in Iranian children's films and other genres of Iranian films.